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2 SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
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FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM WELCOME 3<br />
FILL YOUR SHOPPING CART<br />
www.clevelandfilm.org<br />
1<br />
5 WAYS TO<br />
BUY YOUR TICKETS<br />
2<br />
CALL US AT<br />
866.865.FILM<br />
3<br />
VISIT US AT<br />
THE CIFF STORE<br />
located in the lobby of<br />
Tower City Cinemas<br />
4<br />
5<br />
MAIL OR FAX US BY<br />
using the order form<br />
on page 61<br />
FOR PROGRAM UPDATES<br />
Welcome<br />
...to the 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
2003 was called the year of the “perfect storm” for organizations<br />
such as the <strong>Cleveland</strong> <strong>Film</strong> Society: global, domestic and economic<br />
uncertainties colliding at once made for a bumpy road indeed. Like<br />
many other arts organizations, the <strong>Cleveland</strong> <strong>Film</strong> Society tightened<br />
its belt and faced some unprecedented challenges. However, thanks<br />
to the tireless efforts of our Development Director, Patrick Shepherd,<br />
and the invaluable involvement of our Board of Directors, we are proud<br />
to say we’ve turned the corner and now offer you one of the most<br />
exciting <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>s in recent memory.<br />
In his first year as Director of Programming, Bill Guentzler has<br />
assembled nearly 90 feature films and over 70 short subjects representing<br />
more than 50 countries, including some newly minted films<br />
that made their world premieres in the last six months. There are new<br />
films by directors as diverse as Hector Babenco, Jonathan Demme<br />
and Stephen Fry, and there are films ranging from a beautiful<br />
Buddhist lesson to a fascinating documentary on men who happily<br />
do society’s dirtiest work—always keeping in mind the high expectations<br />
of <strong>Cleveland</strong>’s sophisticated film-going audience.<br />
Also new this year is our Internet-based ticketing system. For the<br />
first time, festival goers can fill their shopping carts online at<br />
www.clevelandfilm.org. All advance orders can be placed by going<br />
online, phoning the ticket line, faxing or mailing the ticket order<br />
form, or buying in-person from the CIFF store in the lobby of Tower<br />
City Cinemas.<br />
In addition to purchasing tickets, we hope you will support us by<br />
participating in a special fundraising effort: The <strong>Cleveland</strong> Foundation<br />
has given us a unique opportunity by offering a $25,000 Challenge<br />
Grant. For every dollar contributed by an individual between now<br />
and the end of the festival, the <strong>Cleveland</strong> Foundation will match it.<br />
For previous donors, the foundation will match any donation above<br />
what they have donated before. We are grateful for this opportunity,<br />
and we want to thank all of our supporters past, present and future.<br />
We hope you enjoy the festival; please arrive early and often.<br />
Marcie Goodman Timothy J. Downing<br />
Executive Director President, Board of Directors<br />
CONTENTS PAGE<br />
Our Sponsors . . . . . . . . . . . . . . 4<br />
Getting There, Staying There . . . . 6<br />
Special Programs for 2004 . . . . . 9<br />
Cultural Journeys . . . . . . . . . . . 10<br />
<strong>Film</strong>Slam . . . . . . . . . . . . . . . . 10<br />
Cinema for Seniors . . . . . . . . . 11<br />
<strong>Film</strong>Forums . . . . . . . . . . . . . . 11<br />
Pre-Feature Shorts . . . . . . . . . 11<br />
Opening Night. . . . . . . . . . . . . 12<br />
Closing Night . . . . . . . . . . . . . 13<br />
Service to the Field Award. . . . . 13<br />
<strong>Film</strong>s A-Z. . . . . . . . . . . . . . . . 14<br />
CONTENTS PAGE<br />
Calendar. . . . . . . . . . . . . . . . . 35<br />
<strong>Film</strong>s A-Z, continued . . . . . . . . 39<br />
Shorts Programs . . . . . . . . . . . 47<br />
<strong>Film</strong> Index . . . . . . . . . . . . . . . 50<br />
Country List . . . . . . . . . . . . . . 53<br />
Print Sources . . . . . . . . . . . . . 54<br />
Membership . . . . . . . . . . . . . . 59<br />
Roxanne T. Mueller Award . . . . . 59<br />
Ticket Information . . . . . . . . . . 60<br />
Ticket Order Form . . . . . . . . . . 61<br />
Board, Committees . . . . . . . . . 62<br />
Staff . . . . . . . . . . . . . . . . . . . 63<br />
THE CLEVELAND<br />
INTERNATIONAL FILM<br />
FESTIVAL<br />
IS A PROGRAM<br />
OF THE<br />
CLEVELAND FILM SOCIETY<br />
MISSION<br />
The <strong>Cleveland</strong> <strong>Film</strong><br />
Society promotes<br />
artistically and<br />
culturally significant<br />
film arts through<br />
education and<br />
exhibition to enrich<br />
the life of the<br />
community.<br />
VISION<br />
The <strong>Cleveland</strong> <strong>Film</strong><br />
Society is a leader<br />
in helping the<br />
world discover the<br />
power of film arts<br />
to educate, entertain<br />
and celebrate the<br />
human experience.
4 SPONSORS<br />
PLATINUM SPONSORS<br />
GOLD SPONSORS<br />
SILVER SPONSORS<br />
The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> is made<br />
possible by the generosity of our sponsors and funders.<br />
OFFICIAL AIRLINE OFFICIAL TV SPONSOR
BRONZE SPONSORS<br />
FOUNDATION AND GOVERNMENT SUPPORT<br />
MEDIA SPONSORS<br />
The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> SPONSORS 5<br />
The Eva L. and Joseph M. Bruening Foundation<br />
The George W. Codrington Foundation<br />
Kiwanis Foundation of <strong>Cleveland</strong><br />
The Kulas Foundation<br />
The John P. Murphy Foundation<br />
OFFICIAL HOTEL ADDITIONAL HOTEL SPONSORS<br />
American Express<br />
Avery Dennison Fasson Rolle North America<br />
Century Cycles<br />
The Chesler Group, Inc.<br />
<strong>Cleveland</strong> Tomorrow
6 GETTING THERE AND STAYING THERE The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Free Parking<br />
...WHEN AVAILABLE, is offered to CIFF patrons in the Tower City Center self-parking garage and lot—which is accessible from Huron Road.<br />
Patrons must have their parking ticket validated in the Tower City Cinemas lobby. Complimentary valet parking is available only to CIFF<br />
subscribers at the Movie Mogul and Executive Producer levels (see page 60). Visit http://www.towercityparking.com/otherParking.asp for<br />
alternative parking choices. Riverview Parking is the only another free option for CIFF Patrons with a validated parking ticket.<br />
Driving Directions to<br />
Tower City Self-Parking<br />
Tower City Cinemas is located at<br />
Tower City Center on Public Square in<br />
the heart of downtown <strong>Cleveland</strong>.<br />
FROM THE WEST<br />
Shoreway (Ohio 2) East to Lakeside Ave<br />
exit. South (right) on W 6 St. West (right)<br />
on St Clair Ave. South (left) on W 9 St.<br />
Continue south on Huron Rd. Enter Tower<br />
City Center Self-Parking on the right.<br />
OR, FROM THE WEST<br />
I-90 East to Ontario Ave, Exit 171B.<br />
Continue North on Ontario Ave. West<br />
(left) on Huron Rd. Enter Tower City<br />
Center Parking on the left.<br />
FROM THE EAST<br />
Shoreway (Ohio 2) West to W 3 St exit.<br />
West (right) on St Clair Ave. South (left)<br />
on W 9 St. Continue south on Huron Rd.<br />
Enter Tower City Center Self-Parking on<br />
the right.<br />
OR, FROM THE EAST<br />
I-90 West to Prospect Ave, Exit 173A.<br />
West (right) on Prospect Ave. West (left)<br />
on Huron Rd. Continue West on Huron<br />
Rd. Enter Tower City Center Self-Parking<br />
on the left.<br />
FROM THE SOUTH<br />
I-71 North to I-90 East. Ontario Ave, Exit<br />
171B. Continue North on Ontario Ave.<br />
West (left) on Huron Rd. Enter Tower<br />
City Center Self-Parking on the left.<br />
OR, FROM THE SOUTH<br />
I-77 North to E 9 St, Exit 163C. North<br />
(right) on Ontario Ave. West (left) on<br />
Huron Rd. Enter Tower City Center Self<br />
Parking on the left.<br />
Ride RTA to the CIFF and Save Money<br />
It’s convenient and economical to ride RTA to the 28th <strong>Cleveland</strong><br />
<strong>International</strong> <strong>Film</strong> <strong>Festival</strong>!<br />
If you ride RTA to the <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>, show your RTA March Monthly Pass<br />
(local or express) and receive $1.00 off your in-person ticket purchase. This offer is good for any<br />
<strong>Festival</strong> film except Special Events. Additional restrictions may apply.<br />
RTA’s four rapid transit lines, the Red Line (Airport to Windermere) the Blue Line (Van Aken) and<br />
Green Line (Green Road), and the Waterfront Line all provide direct service to Tower City Center.<br />
Monday through Friday, the last Red Line train leaves the Tower City Station at 12:23 AM<br />
westbound (Airport) and 11:37 PM eastbound to Stokes/Windermere.<br />
On Saturdays and Sundays, the last Red Line train leaves Tower City Station at 12:24 AM going<br />
westbound Airport and 11:40 PM going eastbound to Stokes/Windermere.<br />
Monday through Friday, the last Green Road train leaves the Tower City Station at 12:00 Midnight<br />
and the last Van Aken train leaves from Tower City at 12:<strong>15</strong> AM<br />
On Saturdays and Sundays, the last Green Road train leaves from Tower City Station at 11:57 PM<br />
and the last Van Aken train leaves at 12:12 AM<br />
On the Waterfront Line, the last train leaves Tower City Toward South Harbor at 11:48 PM,<br />
7 days a week.<br />
Many of RTA’s major bus routes provide service to the Public Square area.<br />
For more detailed information about routes and schedules, please visit the RTA website at<br />
www.rideRTA.com or call the RTAnswerline at 216-621-9500<br />
Hotels<br />
When making your hotel reservations be sure to tell the hotel’s contact person that<br />
you are attending the <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>.<br />
The Ritz-Carlton Hotel<br />
Official Hotel Sponsor of the<br />
28th <strong>Cleveland</strong> <strong>International</strong><br />
<strong>Film</strong> <strong>Festival</strong><br />
<strong>15</strong><strong>15</strong> W. 3rd Street<br />
<strong>Cleveland</strong>, Ohio 44113<br />
216.623.1300<br />
http://www.ritzcarlton.com<br />
go to hotels/cleveland<br />
Additional Hotel Sponsors<br />
Holiday Inn Select <strong>Cleveland</strong> City Centre Lakeshore<br />
1111 Lakeside Ave<br />
<strong>Cleveland</strong>, Ohio 44114<br />
216.241.5100 or 888.425.3835<br />
www.hiselect.com/cle-lakeshore<br />
$59 per night, Code: CIF<br />
InterContinental Hotel &<br />
Conference Center <strong>Cleveland</strong><br />
9601 Carnegie Ave<br />
<strong>Cleveland</strong>, Ohio 44106<br />
216.707.4100<br />
www.cleveland-conferencecenter.intercontinental.com<br />
$149.00 per night, Code: <strong>Cleveland</strong> <strong>Film</strong> <strong>Festival</strong><br />
All rates subject to availability.<br />
Additional restrictions may apply.<br />
The Ritz-Carlton <strong>Cleveland</strong> would like to<br />
extend a special offer to <strong>Film</strong> <strong>Festival</strong><br />
patrons during the 28th CIFF. Guests can<br />
enjoy the hotel’s deluxe room accommodations,<br />
renowned service and convenient location to<br />
the <strong>Film</strong> <strong>Festival</strong>. Preferred room rates are<br />
available for $139 per evening, and $169<br />
for the <strong>Film</strong> <strong>Festival</strong> Package, which includes deluxe room<br />
accommodations, two film vouchers, and breakfast for two the<br />
following morning. Call and reference the “RITZ” code to secure<br />
your reservation. The Ritz-Carlton and Century Restaurant & Bar<br />
are conveniently adjoined to The Avenue at Tower City Center.<br />
InterContinental Suites <strong>Cleveland</strong><br />
8800 Euclid Ave<br />
<strong>Cleveland</strong>, Ohio 44106<br />
216.707.4300<br />
www.cleveland-suites.intercontinental.com<br />
$99.00 per night,<br />
Code: <strong>Cleveland</strong> <strong>Film</strong> <strong>Festival</strong><br />
Residence Inn by<br />
Marriott-<strong>Cleveland</strong> Downtown<br />
527 Prospect Ave<br />
<strong>Cleveland</strong>, Ohio 441<strong>15</strong><br />
216.443.9043<br />
www.residenceinn.com/cleri<br />
$99 per night for a studio or one bedroom<br />
suite, Code: <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>
The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> SPONSORS 7<br />
SHOP<br />
DINE<br />
PLAY<br />
STAY<br />
LET THE FUN BEGIN<br />
You can do it all at TOWER CITY CENTER. Between the raves and reviews of this year’s<br />
most-talked-about movies, come take a break from the 28th <strong>Cleveland</strong> <strong>International</strong><br />
<strong>Film</strong> <strong>Festival</strong> at Tower City Cinemas. See coming attractions for spring at all your favorite<br />
stores including J Crew, Abercrombie & Fitch, Gap, Chico’s<br />
and Ann Taylor. Preview the city’s hottest restaurants:<br />
Century at The Ritz-Carlton, California Greenhouse Café,<br />
Big City Bar & Grille, Hard Rock Café, Houlihan’s, Mortons<br />
Steakhouse and Panera Bread Co. Looking for a quick meal<br />
between movies? Then visit one of the many specialty<br />
eateries in our Team Diner Food Court. Enjoy an overnight<br />
stay in the heart of the city with a specialty package from<br />
the The Ritz-Carlton <strong>Cleveland</strong> or Renaissance hotels.<br />
www.towercitycenter.com<br />
WifiCITY<br />
Your Wireless HOT-SPOT in Tower City Center<br />
FREE WIRELESS<br />
INTERNET ACCESS<br />
WifiCITY complimentary<br />
stations are available next to the<br />
Customer Service Desk.<br />
Connect to WifiCITY and connect to the <strong>Cleveland</strong> <strong>International</strong><br />
<strong>Film</strong> <strong>Festival</strong>. Sit back, relax and start surfing your way through festival<br />
info on movie schedules, tickets and membership.
8 SPONSORS<br />
© 2004 Continental Airlines, Inc.<br />
AWAY<br />
SWEET AWAY.<br />
More international destinations<br />
than any other U.S. airline.<br />
With over 200 destinations in more than 40 countries, we can take you just<br />
about anywhere you’d ever want to go. Which means home is just a<br />
nice place to visit. For reservations, call your travel agent<br />
or Continental Airlines at 1-800-523-FARE,<br />
or visit continental.com.<br />
Includes Continental Express and<br />
Continental Micronesia service.<br />
Proud to be the official airline of the<br />
<strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>.<br />
Work Hard.<br />
Fly Right. ®
SOMEONE TO WATCH<br />
2004 DIRECTORS<br />
The 27th CIFF introduced a<br />
new program called Someone<br />
to Watch, in which we focused<br />
on three early or mid-career filmmakers<br />
by screening their latest<br />
work with an earlier film. Once<br />
again we honor three international<br />
filmmakers whom we believe<br />
will reach and continue acclaim<br />
around the world.<br />
Our first Someone to Watch<br />
director this year is veteran<br />
New Zealand filmmaker,<br />
Gaylene Preston, whose new film<br />
PERFECT STRANGERS will be<br />
her third film screened at the<br />
CIFF. We will also screen MR.<br />
WRONG, her debut feature.<br />
In addition, we will be showing<br />
three films from Thai director<br />
Pen-ek Ratanaruang whose<br />
current film, LAST LIFE IN<br />
THE UNIVERSE, has recently<br />
screened in several festivals<br />
around the world. His other films,<br />
6IXTYNIN9 and MON-RAK<br />
TRANSISTOR, will also be<br />
presented.<br />
Finally, Josef Fares from<br />
Sweden, who broke out with his<br />
debut feature JALLA! JALLA! in<br />
2000, returns to the CIFF with<br />
KOPS. At only 26 years old, he<br />
is definitely Someone to Watch.<br />
Chris Clark<br />
The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> SPECIAL PROGRAMS FOR 2004 9<br />
Gaylene Preston<br />
2004 COMPETITION<br />
Pen-ek Ratanaruang<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Last year the <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> hosted our inaugural Central and<br />
Eastern European <strong>Film</strong> Competition. This year we have a new batch of 12 films from<br />
Bosnia and Herzegovina, Serbia and Montenegro, Estonia, Czech Republic, Slovenia, Russia,<br />
Slovakia, Bulgaria, Hungary and Poland. The 2004 Competition will also be celebrating the<br />
<strong>15</strong>th Anniversary of the CIFF’s focus on Central and Eastern European film. Much has<br />
changed since the series was created to provide films of interest to <strong>Cleveland</strong>’s large Central<br />
and Eastern European communities—the Berlin Wall came down, the U.S.S.R. dissolved, the<br />
Cold War ended—and, with a change in politics, filmmakers have created new work without<br />
the fear of government censorship. What hasn’t changed is our commitment to bringing the<br />
best films from this area of the world to <strong>Cleveland</strong>. When we look back over the films that<br />
have been part of this special focus (which you can do at our www.clevelandfilm.org web<br />
archive), the growth of cinema in Central and Eastern Europe has been outstanding, both in<br />
number of films produced and overall vision. And now with our Competition, we look to a<br />
future with more great film coming out of this vital area of the world.<br />
The 12 films will be viewed by our jurors throughout the festival, and the winner will be<br />
announced at the Closing Night Reception. Our jurors this year are:<br />
Chris Clark, Managing & Artistic Director of Cinema St. Louis, producer and presenter of the<br />
St. Louis <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> and the St. Louis <strong>Film</strong>makers Showcase. Chris was recently<br />
named one of the top <strong>Festival</strong> Directors and Programmers in <strong>Film</strong> <strong>Festival</strong> Today magazine.<br />
Andrea Picard, a writer on film and art who, since 1999, has been a member of the programming<br />
department at Cinematheque Ontario, the celebrated year-round screening program of<br />
the Toronto <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> Group (TIFFG).<br />
Andrea Picard Sheryl Mousley<br />
Sheryl Mousley, Associate Curator of <strong>Film</strong>/<br />
Video at Walker Art Center in Minneapolis<br />
where she produces contemporary media<br />
exhibition programs, retrospective series,<br />
and artist-in-residence projects. She also<br />
directs the Women With Vision festival, a<br />
showcase of women filmmakers, directors<br />
and artists.<br />
To find out more about our jurors, please<br />
visit www.clevelandfilm.org.<br />
Josef Fares
10 EDUCATIONAL PROGRAMS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Cultural Journeys<br />
<strong>Film</strong>s<br />
Cultural Journeys is sponsored by<br />
Cultural Journeys<br />
A multicultural program of the <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>,<br />
Cultural Journeys welcomes new audiences from a broad spectrum of<br />
ethnic and national backgrounds. Cultural Journeys opens windows onto<br />
other diverse worlds, this year from Finland, Greece, Tunisia, Iran,<br />
Morocco, Bulgaria and Japan. It’s designed to bring people together to<br />
learn about each other’s customs, lifestyles and traditions through the<br />
shared language of film, food and dance. The Co-Chairpersons leading us<br />
through our Cultural Journeys this year are immigration attorney Svetlana<br />
Schreiber and writer Laura Taxel, author of <strong>Cleveland</strong> Ethnic Eats.<br />
Art, Food,<br />
World Celebration Event<br />
Dance and Music<br />
Saturday, March 27, 2004<br />
from Around<br />
9:00 PM – 1:00 AM<br />
The 530 ARTcade in the Colonial Marketplace<br />
the World<br />
Downtown <strong>Cleveland</strong>’s Gateway Neighborhood<br />
530 Euclid Avenue (accessible from Prospect Avenue only)<br />
Sample delicious cuisine at a nominal cost from all over the world and<br />
dance to live ethnic music at our World Celebration. Admission to this<br />
special event is $5 per person and everyone is welcome. (All CIFF<br />
passholders are admitted free.)<br />
Journey to Jerusalem<br />
The Bookshop The Handcuff King<br />
TUNISIA, FRANCE, MOROCCO FINLAND<br />
See page 17 for screening times See page 23 for screening times<br />
Deep Breath Hard Goodbyes: My Father<br />
IRAN GREECE, GERMANY<br />
See page 19 for screening times See page 23 for screening times<br />
Dream Cuisine Journey to Jerusalem<br />
JAPAN BULGARIA<br />
See page 20 for screening times See page 25 for screening times<br />
Tri-C presents<br />
<strong>Film</strong>Slam2004<br />
FILMS<br />
4th Floor, SPAIN, see page <strong>15</strong> for description<br />
5 Sides of a Coin, CANADA, see page <strong>15</strong> for description<br />
Cuba Libre, USA, DOMINICAN REPUBLIC,<br />
see page 18 for description<br />
Home of the Brave, USA, see page 24 for description<br />
I Always Wanted to Be a Saint, LUXEMBOURG, BELGIUM,<br />
see page 24 for description<br />
Justice, USA, see page 26 for description<br />
Shorts Program, INTERNATIONAL<br />
<strong>Film</strong>Slam for Students<br />
Monday-Friday, March 22 – 26, 2004<br />
9:30 AM – 12:00 Noon<br />
Contact Beth Radisek, <strong>Film</strong>Slam Coordinator, at<br />
216.623.3456, ext.13 or filmslam@clevelandfilm.org<br />
for registration information.<br />
Students from Northeast Ohio high schools have the<br />
extraordinary opportunity to see new films by some of the<br />
world’s most innovative filmmakers.<br />
This year films from Spain, Canada, Dominican Republic,<br />
Luxembourg, Belgium and the U.S. provide everything from a<br />
global survey of hip-hop, to a girl with an unusual guardian<br />
angel, to the creation of a comic-book superhero, to a Cuban<br />
boy entranced with Hollywood, to the camaraderie among<br />
children on a cancer ward. <strong>Film</strong>Slam also includes great<br />
short films.<br />
Participating teachers will receive study guides with<br />
background information on each film, discussion topics,<br />
curriculum links, and an introduction to media literacy.<br />
Also, filmmakers and other presenters will briefly speak<br />
and answer questions following each screening.<br />
The Chairperson of <strong>Film</strong>Slam is Deb Pinter, Associate<br />
Educator at the Akron Art Museum.<br />
Additional support for <strong>Film</strong>Slam 2004 comes from<br />
The Kiwanis Foundation of <strong>Cleveland</strong><br />
4th Floor
Cinema for<br />
Seniors...<br />
is a new program of the <strong>Cleveland</strong> <strong>International</strong><br />
<strong>Film</strong> <strong>Festival</strong>. Cinema for Seniors adds a new<br />
dimension to the festival—world-class films presented with<br />
informational perks, including private, post-screening question/<br />
answer sessions with filmmakers and community leaders.<br />
Tuesday, March 23, Wednesday, March 24, Thursday, March 25<br />
9:30 to 11:30 AM each day<br />
Group Reservations Only<br />
For information on Cinema for Seniors, call 216.623.3456,<br />
ext. 20, or email seniors@clevelandfilm.org<br />
Cinema for Seniors is supported by the Eva L. and Joseph M.<br />
Bruening Foundation, and presented in partnership with Cuyahoga<br />
Community College’s TransformAging Initiative<br />
Cinema for Seniors <strong>Film</strong>s<br />
Cuba Libre, USA, DOMINICAN REPUBLIC,<br />
see page 18 for description<br />
Double Dare, USA, see page 20 for description<br />
Granny, RUSSIA, FRANCE, see page 22 for description<br />
<strong>Film</strong>Forums<br />
The <strong>Cleveland</strong> <strong>Film</strong> Society is committed to using film as an<br />
impetus for educating people on timely, complex and controversial<br />
issues. <strong>Film</strong>Forums (read: moderated panel discussions)<br />
follow film screenings and include filmmakers, educators,<br />
professionals and/or people who have experienced issues<br />
addressed in the films.<br />
5 SIDES OF A COIN <strong>Film</strong>Forum<br />
Monday, March 22, 7:<strong>15</strong> PM, page <strong>15</strong><br />
Discussion topic: The influence of hip-hop on American culture<br />
HOME OF THE BRAVE <strong>Film</strong>Forum<br />
Thursday, March 25, 7:<strong>15</strong> PM, page 24<br />
Discussion topic #1: The African American Civil Rights Movement<br />
Discussion topic #2: The USA Patriot Act<br />
PARENTAL INSTINCT <strong>Film</strong>Forum<br />
Saturday, March 27, 5:00 PM, page 40<br />
Discussion topic: Second-parent adoption for lesbian-gaybisexual-transgender<br />
(LGBT) couples<br />
Visit www.clevelandfilm.org for more information on panelists.<br />
Cuba Libre<br />
African American<br />
Directed by Askia Holloway &<br />
Johnny Ramos, USA, 23 min<br />
Precedes A PANTHER IN AFRICA<br />
The harsh conflicts between Black<br />
Americans and Africans from the continent<br />
of Africa are confronted.<br />
David Mamet’s Gilded Stones<br />
Directed by James Dodson<br />
USA, 9 min.<br />
A damaged print of a David Mamet<br />
film is found and a section must be<br />
replaced. Who possibly can be found<br />
to film it.?<br />
Duke of Goo<br />
Directed by Richard Matson,<br />
USA, <strong>15</strong> min<br />
Precedes MOONLIGHT<br />
A mythical creature haunts the city<br />
while a crew of eccentrics hold a raucous<br />
dance party in a junkyard.<br />
Hummer<br />
Directed by Guinevere Turner<br />
USA, 9 min<br />
Precedes MANGO KISS<br />
Casey invites her friends over to<br />
meet her new “boy” toy for a dinner<br />
party, only to receive an unexpected<br />
surprise.<br />
In the Bar<br />
Directed by Cleiton Stringhini &<br />
Paulo de Tarso Mendonca<br />
Brazil, 8 min<br />
Precedes THE HEAT’S ON<br />
A Brazilian federal law enforces<br />
cigarette manufacturers to print<br />
illustrated messages on the packages,<br />
causing controversy.<br />
The M Word<br />
Directed by Rocky Morten<br />
USA, 4 min<br />
Precedes THE STROLL<br />
What happens when business<br />
etiquette invades the most intimate<br />
of proposals?<br />
The Martyr<br />
Directed by John Dolan, USA, 12 min<br />
Precedes THE FOURTH WORLD WAR<br />
A Palestinian suicide bomber,<br />
disguised as an Orthodox Jew, has<br />
a moral conflict inside an Israeli cafe.<br />
Moo(n)<br />
Directed by Leigh Hodgkinson<br />
United Kingdom, 4 min<br />
Precedes THE OVEREATER<br />
A look at the friendship between a girl<br />
and a cow, and an amalgam of nursery<br />
rhymes gone horribly wrong.<br />
EDUCATIONAL PROGRAMS, PRE-FEATURE SHORTS 11<br />
Pre-Feature Shorts<br />
The School<br />
Directed by Ezra Krybus &<br />
Matthew Miller, Canada, 12 min<br />
Precedes LEARNING TO LIE<br />
Grade two is for laughing, playing<br />
and burying the dead.<br />
Scoub 2<br />
Directed by Stéphane Berla<br />
France, 7 min<br />
Precedes BUDDY<br />
Scoub and his friends are driving<br />
quietly in the Palapalas desert.<br />
Suddenly, a big truck appears and<br />
tries to kill them.<br />
Send Me An Angel<br />
Directed by Nir Ne’Eman<br />
Israel, 45 min<br />
Precedes GARDEN<br />
A man, who just wants to celebrate his<br />
30th birthday, finds love in the place<br />
he least expected.<br />
Survey<br />
Directed by Joe King<br />
United Kingdom, 6 min<br />
Precedes KITCHEN STORIES<br />
The result of a photographic tour of<br />
South Wales.<br />
Walkentalk<br />
Directed by Philip Zlotorynski<br />
USA, 11 min<br />
Precedes HAPPY HOUR<br />
A young man with a severe social<br />
disorder has difficulty meeting his<br />
brother’s girlfriend.<br />
Water<br />
Directed by Chris Graham<br />
New Zealand, <strong>15</strong> min<br />
Precedes PERFECT STRANGERS<br />
As her family home is slowly<br />
submerged, a young girl learns how<br />
to rise above the deluge.<br />
When the Storm Came<br />
Directed by Shilpi Gupta<br />
USA, 24 min<br />
Precedes THUNDER IN GUYANA<br />
The legacy that the global “weapon”<br />
of conflict has on a community is<br />
profiled by a village in Kashmir that<br />
was allegedly the site of a mass rape<br />
by Indian security forces.<br />
A Woman and Circles<br />
Directed by Bruce Checefsky<br />
USA, 12 min<br />
Precedes MY TOWN<br />
A visual poem of a script by Jan<br />
Brzekowski (1903-1983)—a poet and<br />
member of the Polish avant-garde.
12 OPENING NIGHT The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
OPENING<br />
NIGHT GALA<br />
THURSDAY, MARCH 18<br />
Sponsored by<br />
Dandelion<br />
Directed by Mark Milgard<br />
USA 2003<br />
94 minutes<br />
Thursday, March 18<br />
7:00 PM I Ticket Code 18A<br />
ONE SCREENING ONLY<br />
CENTRAL/EASTERN SPECIAL EVENT EUROPEAN<br />
FILM COMPETITION<br />
AMERICAN INDEPENDENTS<br />
Somewhere in the wind-swept wheat fields of Idaho, young Mason tries to escape his<br />
tense family life. His mother (Mare Winningham) and his reserved and distant father<br />
(Arliss Howard), who is running for city council, have a less-than-wonderful marriage.<br />
Dinner time is always a touchy affair, especially when you throw in Mason’s uncle, a<br />
Vietnam veteran who is still suffering from some kind of post-traumatic stress syndrome.<br />
If Mason had any dreams, he would follow them. But instead he leads a hollow,<br />
teenaged existence with his best (and possibly only) friend Eddie. Along the way he<br />
meets Danny, a new girl in town who’s a little bit different, and the two are instantly<br />
drawn to each other. But forces from all sides threaten this tender bond when a series of<br />
accidents and complications lead to tragedy that takes Mason away. When Mason<br />
returns, he and Danny find intense solace in each other. It’s one of those once-in-a-lifetime<br />
loves that can change one forever. More than a coming-of-age movie, DANDELION<br />
exudes an old-fashioned poetic realism. Shot with an anamorphic lens, the big sky and<br />
gentle rolling hills of wheat are characters in themselves. The performances all are topnotch,<br />
creating characters so believable that one can hardly distinguish that this is a<br />
film. DANDELION is an auspicious debut by director Mark Milgard, destined to put him<br />
on the cinematic map.<br />
Producer~Molly Mayeux Screenplay~Mark Milgard, Robb Williamson, R.D. Murphy Cinematography~Tim Orr<br />
Editor~Amy E. Duddleston Music~Robb Williamson Principal Cast~Vincent Kartheiser, Taryn Manning, Arliss<br />
Howard, Mare Winningham, Blake Heron, Michelle Forbes Print Source~Ballistic Media<br />
About the Director~Mark Milgard co-founded the independent label Lakeshore Records, which has released artists<br />
such as Queens of the Stone Age and Grandaddy. In 2000, Mark turned his attention to writing and directing his<br />
feature debut. <strong>Film</strong>ography~DANDELION (2003)<br />
TICKET<br />
INFORMATION<br />
CIFF Movie Mogul, Executive Producer,<br />
and Director passholders are invited to<br />
join the <strong>Cleveland</strong> <strong>Film</strong> Society for a Gala<br />
Reception at MK Ferguson Plaza immediately<br />
following the conclusion of the film.<br />
Special guests will include Molly Mayeux,<br />
Mark Milgard, Robb Williamson, Mare<br />
Winningham and others from DANDELION.<br />
For non-passholders, Opening Night Star<br />
tickets gain admission to the film, the Gala<br />
Reception and complimentary valet parking.<br />
Opening Night Star tickets, which include<br />
the film, the party and parking, are on<br />
sale for<br />
$100 CFS Members<br />
$125 Non-Members<br />
Opening Night “<strong>Film</strong> Only” tickets<br />
are on sale for<br />
$20 CFS Members<br />
$25 Non-Members<br />
www.clevelandfilm.org
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM CLOSING NIGHT 13<br />
Bright Young Things<br />
Directed by Stephen Fry<br />
UNITED KINGDOM 2003<br />
105 minutes<br />
Sunday, March 28<br />
7:30 PM I Ticket Code 28P<br />
ONE SCREENING ONLY<br />
Drugged-up royals! Celebrity gossip!<br />
Beautiful people drinking themselves into<br />
oblivion and waking up in strange situations!<br />
Today’s headlines in the National<br />
Enquirer? No, England in the jazz-age<br />
1930s. An all-star cast sparkles in<br />
actor/director Stephen Fry’s adaptation of<br />
the classic Evelyn Waugh satire “Vile<br />
Bodies,” a deconstruction of the British<br />
glitterati, set in the rosily remembered era<br />
Between the Wars, where public fascination<br />
with the likes of Ben(jamin Britten) and<br />
Jen(ny Lady Randolph Churchill) commonly<br />
overrode common sense. Would-be writer<br />
Adam Fenwick-Symes, alias Sue de Nimes,<br />
has his roman-a-clef manuscript taken away<br />
from him, a novelistic expose (entitled<br />
“Bright Young Things”) of the London top<br />
people. His marriage to money-hungry Nina<br />
is delayed while attempting to prove that<br />
he can be a provider, while his new job for<br />
the “The Daily Excess,” which is owned by<br />
Lord Monomark (Dan Aykroyd) takes him<br />
(and Nina) to party after party to after-party<br />
and even 10 Downing Street, where a “latenight<br />
tryst” can mean ruin for the current<br />
Prime Minister. Watch for guest cameos by<br />
Simon Callow, Jim Broadbent, Stockard<br />
Channing, Sir John Mills, Richard E. Grant,<br />
Imelda Staunton and filmmaker Stephen<br />
Fry himself.<br />
Producers~Gina Carter, Miranda Davis<br />
Screenplay~Stephen Fry (based on the novel “Vile<br />
Bodies” by Evelyn Waugh) Cinematography~Henry<br />
Braham Editor~Alex Mackie Music~Anne Dudley<br />
Principal Cast~Stephen Campbell Moore, Michael Sheen,<br />
Emily Mortimer, James McAvoy, David Tennant, Stockard<br />
Channing, Dan Aykroyd, Jim Broadbent, Peter O’Toole,<br />
Bill Paterson, Fenella Woolgar Print Source~Think<strong>Film</strong><br />
About the Director~Born in London in 1957, Stephen<br />
Fry was educated at Stout’s Hall, Uppingham, and<br />
Queens’ College, Cambridge, where he performed along<br />
with Emma Thompson and Hugh Laurie. He has<br />
appeared extensively in stage, film, TV and radio, and<br />
has written several novels. <strong>Film</strong>ography~BRIGHT<br />
YOUNG THINGS (2003)<br />
FOR PROGRAM UPDATES<br />
SPECIAL EVENT<br />
WORLD TOUR<br />
CLOSING NIGHT FILM<br />
AND RECEPTION<br />
SUNDAY, MARCH 28<br />
Sponsored by<br />
TICKET<br />
INFORMATION<br />
CIFF Movie Mogul, Executive Producer,<br />
and Director passholders are invited to<br />
join the <strong>Cleveland</strong> <strong>Film</strong> Society for the<br />
Closing Night <strong>Film</strong>, followed by a<br />
Reception at the English Oak Room in<br />
Tower City Center.<br />
Additional tickets (for both the film<br />
and reception) are on sale for<br />
$35 CFS Members<br />
$40 Non-Members<br />
The Closing Night Reception will include<br />
a brief program with the announcement<br />
of the Central and Eastern European<br />
Competition <strong>Film</strong> Award Winner. In<br />
addition, a special presentation of the<br />
Service to the Field Award will be made<br />
to Think<strong>Film</strong>.<br />
Service to the Field Award<br />
A Tribute to THINK<strong>Film</strong><br />
THINK<strong>Film</strong> embodies the new face of independent<br />
film: bold, business-oriented and brimming<br />
with creativity. This young, dynamic<br />
company acquires and distributes the cream<br />
of the indie crop. Recent theatrical releases<br />
include the acclaimed “Spellbound,” Gus Van<br />
Sant’s “Gerry,” and “The Dangerous Lives of<br />
Altar Boys,” produced and starring Jodie<br />
Foster, among many others.<br />
Founded by President/CEO Jeff Sackman in<br />
2001, THINK<strong>Film</strong> buys independent films for<br />
U.S. theatrical release, works with Canadian<br />
productions for Canadian distribution and<br />
acquires low-budget genre films for the directto-video<br />
market. They currently have offices in<br />
New York City and Toronto. For information on<br />
this impressive young company, visit their<br />
website at www.thinkfilmcompany.com.<br />
THINK<strong>Film</strong> films included in our programming:<br />
FILM TITLE PAGE<br />
The Agronomist (USA, Haiti) . . . . . . . . . . . . . 16<br />
Bright Young Things (United Kingdom) . . . . . . 13<br />
The Story of the Weeping Camel<br />
(Germany, Mongolia) . . . . . . . . . . . . . . . . . . . 42<br />
Wilbur Wants to Kill Himself (Denmark, UK). . . 45<br />
The <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> is<br />
delighted to present its second annual Service<br />
to the Field Award to Think<strong>Film</strong>.
14 FILMS A – Z The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
A<br />
FILMS<br />
TO<br />
Z<br />
PAGES 14-46<br />
PAGES 35-38<br />
CALENDAR<br />
SHORTS<br />
PROGRAMS<br />
PAGES 47-50<br />
FILM<br />
PAGE 50-51<br />
INDEX<br />
For Late Additions, visit<br />
www.clevelandfilm.org<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
<strong>Film</strong> Series Sponsors<br />
Family <strong>Film</strong>s. The films in this<br />
year’s Family <strong>Film</strong> Series come from<br />
all over the world and are appropriate<br />
for children at least eight years<br />
old. This year’s Family <strong>Film</strong>s are presented<br />
with the support of KeyBank<br />
and McDonald Financial Group.<br />
Local Heroes. This year we<br />
continue to spotlight well-deserved<br />
attention on festival films with<br />
<strong>Cleveland</strong> connections. Our Local<br />
Heroes selections are presented<br />
with the support of Great Lakes<br />
Brewing Company.<br />
Documentaries from around<br />
the world continue to make the<br />
<strong>Film</strong> <strong>Festival</strong> smart, savvy, and welltraveled.<br />
This year’s documentaries<br />
are presented with the support of<br />
Nesnadny + Schwartz<br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES, LOCAL HEROES<br />
1<br />
Directed by Tim O’Hara<br />
USA 2004<br />
89 minutes<br />
Friday, March 19<br />
5:00 PM I Ticket Code 19K<br />
Monday, March 22<br />
12:<strong>15</strong> PM I Ticket Code 22A<br />
Wednesday, March 24<br />
10:00 PM I Ticket Code 24T<br />
The De La Salle High Spartans from<br />
Concord, California possess the longest<br />
number of consecutive victories in the record<br />
books—125 games and counting. Not a<br />
loss since 1991. Some have half-seriously<br />
worried whether grief counselors should be<br />
summoned if/when the Spartans ever come<br />
out second-best. Despite all the hype, the<br />
school, a Catholic institution, strives to instill<br />
values and responsibility in the students<br />
and not let The Streak turn into a media and<br />
marketing monster that commercializes<br />
and cheapens sportsmanship, ethics and<br />
academics. “This is still high school. This is<br />
still 16, 17-year-old kids playing a game.”<br />
On the sidelines is the enigmatic “Coach<br />
Lad,” Bob Ladouceur, who has turned down<br />
lucrative outside offers of employment to<br />
rally the Spartans (“We’re hitting like Little<br />
Sisters of the Poor!”) as the team goes to<br />
Hawaii for another championship, and you<br />
have the best seat in the stadium.<br />
Producers~Michael Bragin, Gavin Davis Writers~<br />
Rachel Morse, Tim O’Hara, Jessica Ringel, Gavin Davis<br />
Editors~Rachel Morse, Tim O’Hara, Jessica Ringel<br />
Print Source~goingdigitalfilms<br />
About the Director~Tim O’Hara attended University School<br />
in Shaker Heights. He studied architecture and cinema at<br />
Cornell and worked as a photojournalist before co-founding<br />
goingdigitalfilms in San Francisco. <strong>Film</strong>ography~1 (2004)<br />
The Fine Print:<br />
Most independent and international films are unrated by the M.P.A.A.; therefore, viewer<br />
discretion is advised and “adults only” warnings should be heeded.<br />
Recording devices are prohibited inside <strong>Film</strong> <strong>Festival</strong> theaters. Admission will be denied to<br />
any ticket or pass bearer who attempts to enter with a recording device. If a recording device<br />
is utilized, it will be forfeited and the operator will be removed from the theater. Unauthorized<br />
recording will be reported to law enforcement.
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z <strong>15</strong><br />
WORLD TOUR<br />
4th Floor<br />
(Planta 4a)<br />
Directed by Antonio Mercero<br />
SPAIN 2003<br />
96 minutes<br />
Tuesday, March 23<br />
2:30 PM I Ticket Code 23G<br />
Wednesday, March 24<br />
7:<strong>15</strong> PM I Ticket Code 24Q<br />
Miguel, Angel, Dani, Izan and Pepino are<br />
friends. You might as well call them inseparable<br />
because they practically are, being<br />
young cancer patients with a median age of<br />
<strong>15</strong>, lodged in 4A, an orthopedic, long-term<br />
care ward in a large hospital. Despite a<br />
closely supervised clinical atmosphere,<br />
the regimen of chemotherapy and sodium<br />
hydration, and body parts lost to the gnawing<br />
disease, they remain high-spirited boys,<br />
quick to smile and joke and ready for a<br />
basketball rematch against amputees from<br />
another institution. When cohort Antonio<br />
finally earns his release with a new prosthetic<br />
leg (“...The Terminator 2—very different<br />
from last winter’s Robocop model!”) the<br />
clique welcomes an uneasy newcomer, Jorge,<br />
who still has his full head of hair and all his<br />
limbs, and dreads an upcoming diagnosis.<br />
While the guys struggle individually, facing<br />
quandaries of first love, trauma, solitude and<br />
self-sufficiency, it’s their common bonding<br />
that gives them strength to soldier on. (In<br />
Spanish with English subtitles)<br />
Producers~César Benítez, Claudio Coello Screenplay~<br />
Albert Espinosa, Antonio Mercero, Ignacio del Moral<br />
Cinematography~Raúl Pérez Editor~José María Biurrun<br />
Music~Manuel Villalta Principal Cast~Jaun José Ballesta,<br />
Gorka Moreno, Luis Ángel, Maite Jauregui, Alejandro Jafra,<br />
Marco Martínez Print Source~Boca Boca Producciones<br />
About the Director~Born in San Sebastian, Spain in 1936,<br />
Antonio Mercero studied law at the University of Valladalid<br />
and cinema in Madrid. He has directed<br />
numerous shorts, feature films and TV<br />
programs. <strong>Film</strong>ography~“La Guerra de papa”<br />
(1977), “Esperame en el Cielo” (1987),<br />
“La Hora de los Valientess” (1998),<br />
4TH FLOOR (2003)<br />
DOCUMENTARIES, PAN-AFRICAN<br />
WORLD TOUR<br />
5 Sides of a Coin<br />
Directed by Paul Kell<br />
CANADA 2003<br />
70 minutes<br />
Monday, March 22 w/<strong>Film</strong>Forum<br />
7: <strong>15</strong> PM I Ticket Code 22P<br />
Tuesday, March 23<br />
10:00 PM I Ticket Code 23T<br />
Give it up for Paul Kell’s pulsing cinematic<br />
essay—a global survey and history of hip-hop<br />
presented in less time than it takes to hear a<br />
double-CD (take that, Ken Burns’ “Jazz”).<br />
Hip-hop is a musical genre, a way of life, a<br />
fashion statement, a language, an economic<br />
and political force—even a religion for some.<br />
Kell uncovers the movement’s origins (did<br />
the first rhymes bust out in Detroit, the South<br />
Bronx or the West Bronx?) and his different<br />
“chapters” cover graffiti, breakdancing,<br />
turntabling and rap battles, the latter<br />
depicted in features like “Eight Mile” and<br />
“hiphopbattle.com: Hip Hop for Life” (26th<br />
CIFF, 2002). <strong>International</strong> sound bytes/beats<br />
come from DJ Spooky, KRS One, Ollie Teeba<br />
in the UK, Germany’s Kool Savas, Japan’s<br />
DJ Krush, even gangsta-rap enemy #1,<br />
C. Delores Tucker. Things move so fast in<br />
this milieu that Puff Daddy became P.Diddy<br />
became a clothing label before this flick<br />
was finished. So get in line early; one<br />
subject predicts a hip-hop occupant of the<br />
White House.<br />
Producers~Paul Kell, Jana Ritter Cinematography~<br />
Paul Kell Editor~Paul Kell Music~Manifest, Big Dro,<br />
Son of Mac, DJ Emergency, DJ Bonez, DJ Schizo, Moteo,<br />
Jeff Spec Print Source~Seventh Art Releasing<br />
About the Director~5 SIDES OF A COIN is Paul Kell’s<br />
first feature since graduating from Concordia University’s<br />
Cinema Production program. His previous work is a blend<br />
of experimental and narrative short films and documentaries.<br />
<strong>Film</strong>ography~5 SIDES OF A COIN (2003)<br />
<strong>Film</strong>Forum Topic<br />
The Influence of Hip Hop on<br />
American Culture<br />
For more information, visit<br />
www.clevelandfilm.org<br />
SOMEONE TO WATCH<br />
WORLD TOUR<br />
6ixtynin9<br />
Directed by Pen-ek Ratanaruang<br />
THAILAND 1999<br />
114 minutes<br />
Friday, March 19<br />
12:00 Noon I Ticket Code 19C<br />
Tuesday, March 23<br />
9:30 PM I Ticket Code 23S<br />
Pen-ek Ratanaruang first came to international<br />
attention with this lurid, black-comedy<br />
caper, a high-speed “Shallow Grave” with<br />
Thai flavor and a crazed gallows humor.<br />
Downsized out of her job at the bank,<br />
depressed and lonely urban singleton Tum<br />
finds an instant-noodle carton outside the<br />
door of her tiny apartment. It’s not ramen,<br />
though. It’s cash, delivered to the wrong<br />
address by gangsters. The unexpected<br />
largesse would be enough for Tum to buy a<br />
plane ticket and start a new life, except for<br />
the complications: a series of hoodlums who<br />
come around hunting for the loot. And Tum’s<br />
neighbor, burning with revenge after mistakenly<br />
believing Tum has stolen her boyfriend<br />
away. And Tum’s closest friend, a drama<br />
queen suicidally pining for her absent lover.<br />
And the thugs from the boxing gym. And the<br />
police. And...Who would have known that<br />
such a small flat could hold so many dead<br />
bodies? Watch for a supporting role by Black<br />
Phomtong, the scene-stealer of “Mon-Rak<br />
Transistor,” as Ratanaruang’s cauldron of<br />
noodle-surprise boils over. (In Thai with<br />
English subtitles)<br />
Producer~Pen-ek Ratanaruang Screenplay~Pen-ek<br />
Ratanaruang Cinematography~Chankit Chamnivikaipong<br />
Editor~Patamanadda Yukol Principal Cast~Lalita<br />
Panyopas, Tasanawalai Ongartittichai, Black Phomtong,<br />
Sritao, Arun Wannardbodeewong, Sirisin<br />
Sirinpornsmathikul, Likit Tongnak Print Source~Palm<br />
Pictures<br />
About the Director~Pen-ek Ratanaruang was born in 1962.<br />
He studied art at New York’s Pratt Institute, becoming a<br />
graphic designer and illustrator before working in Thailand<br />
as an art director and award-winning advertising director.<br />
<strong>Film</strong>ography~“Fun Bar Karaoke” (1997), 6IXTYNIN9<br />
(1999), “Mon-Rak Transistor” (2001), “Last Life in the<br />
Universe” (2003)
16 FILMS A – Z [A – B] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
DOCUMENTARIES<br />
CENTRAL/EASTERN EUROPEAN<br />
WORLD TOUR<br />
FILM COMPETITION<br />
AMERICAN INDEPENDENTS<br />
The Agronomist<br />
Directed by Jonathan Demme<br />
USA, HAITI 2003<br />
91 minutes<br />
Friday, March 26<br />
4:45 PM I Ticket Code 26L<br />
Saturday, March 27<br />
9:45 PM I Ticket Code 27T<br />
“Haiti has something for everybody. But<br />
Haiti has very little for the Haitians,” wrote<br />
one traveler. When Hollywood director<br />
Jonathan Demme visited the island in 1986,<br />
he first met Jean Dominique, the republic’s<br />
foremost independent broadcast journalist.<br />
The outspoken Dominique had studied to be<br />
an agronomist, only to discover the bitter<br />
inequities that left his people no land of their<br />
own to develop. After centuries of imperialism<br />
by the French, the British and the Americans,<br />
thug regimes of “Papa Doc” and “Baby Doc”<br />
Duvalier held all the power and enforced it<br />
with violence and intimidation. So instead of<br />
seeds, Dominique sowed information, coded<br />
in Haiti’s first native-made films produced by<br />
the cinema club he helped found, and in<br />
audio portraits aired on his own upstart station,<br />
Radio Haiti Inter. Twice hounded into<br />
exile, the indefatigable Dominique challenged<br />
the dictators and the Tonton Macoutes, and<br />
paid the ultimate price. Now, in this chronicle<br />
in image, sound and music by Wyclef Jean,<br />
Demme pays tribute—the truth about Jean.<br />
(In English and French and Creole with<br />
English subtitles)<br />
Producers~Jonathan Demme, Peter Saraf, Bevin<br />
McNamara Cinematography~Aboudja, Jonathan Demme,<br />
Peter Saraf, Bevin McNamara Editor~Lizi Gelber, Bevin<br />
McNamara Music~Wyclef Jean, Jerry “Wonda” Duplessis<br />
Print Source~Think<strong>Film</strong><br />
About the Director~Born in Baldwin, NY in 1944,<br />
Jonathan Demme grew up in Florida. After working as a<br />
publicist, music arranger and Roger Corman scriptwriter,<br />
he created a widely varied and successful body of screen<br />
work, both in popular fare and documentaries.<br />
<strong>Film</strong>ography~“Citizen’s Band” (1977), “Melvin and<br />
Howard” (1980), “Stop Making Sense” (1984),<br />
“Something Wild” (1986), “Swimming to Cambodia”<br />
(1987), “Married to the Mob” (1988), “The Silence of the<br />
Lambs” (1991), “Cousin Bobby” (1992), “Philadelphia”<br />
(1993), THE AGRONOMIST (2002).<br />
The Big Empty<br />
Directed by Steve Anderson<br />
USA 2003<br />
94 minutes<br />
Thursday, March 25<br />
2:<strong>15</strong> PM I Ticket Code 25G<br />
Saturday, March 27<br />
7:<strong>15</strong> PM I Ticket Code 27Q<br />
John Person (Jon Favreau) is a 30-something<br />
struggling actor behind on his rent and heavily<br />
in debt. He goes against the better judgment<br />
of his pretty neighbor Grace (Joey Lauren<br />
Adams) and accepts an unsolicited offer<br />
from his strange neighbor Neely (Bud Cort)<br />
to courier a blue suitcase up to the desert<br />
truck stop of Baker, California. There, in the<br />
middle of nowhere, at a seedy motel in the<br />
shadow of The World’s Largest Thermometer,<br />
he’ll simply deliver the locked suitcase to a<br />
trucker called Cowboy (Sean Bean) and be<br />
paid $27,000. But on arrival he discovers<br />
he’s already missed the mysterious man and<br />
soon he’s reluctantly mixed up with young<br />
local vixen Ruthie (Rachael Leigh Cook), her<br />
mother Stella (Daryl Hannah), and paranoid,<br />
alien-obsessed locals. Will these random<br />
mishaps keep John from completing his mission,<br />
or do they serve some higher purpose?<br />
Preceded by David Mamet’s Gilded Stones<br />
Directed by James Dodson, USA, 9 minutes<br />
Producers~Doug Mankoff, Gregg L. Daniel, Keith Resnick<br />
Screenplay~Steve Anderson Cinematography~Chris<br />
Manley Editor~Scott Scalise Music~Brian Tyler<br />
Principal Cast~Jon Favreau, Joey Lauren Adams, Bud Cort,<br />
Sean Bean, Rachel Leigh Cook, Daryl Hannah, Adam<br />
Beach, Kelsey Grammer, Gary Farmer Print Source~<br />
Criterion <strong>Film</strong>s<br />
About the Director~A Peabody Award winning cameraman,<br />
Steve Anderson has worked on several documentaries and<br />
thousands of hours of television. He makes his feature<br />
film writing and directing debut with THE BIG EMPTY.<br />
<strong>Film</strong>ography~THE BIG EMPTY (2003)<br />
Sponsored by<br />
AMERICAN INDEPENDENTS<br />
Book of Love<br />
Directed by Alan Brown<br />
USA 2004<br />
83 minutes<br />
Friday, March 19<br />
7:00 PM I Ticket Code 19P<br />
Monday, March 22<br />
12:30 PM I Ticket Code 22B<br />
Tuesday, March 23<br />
5:<strong>15</strong> PM I Ticket Code 23K<br />
There comes a time when a wonderful marriage<br />
settles into mundane complacency.<br />
That’s the state in which we find Elaine<br />
(Frances O’Connor) and David (Simon<br />
Baker). But everything changes when they<br />
meet Chet (Gregory Smith), an innocent <strong>15</strong>year-old<br />
full of youthful wonder and energy<br />
whom they immediately welcome into their<br />
home—and their lives. The threesome form<br />
an immediate bond, but a momentary lapse<br />
in judgment threatens to rupture the core of<br />
the trio’s seemingly idyllic lives, which constantly<br />
keeps the audience wondering why the<br />
couple took in the teenager in the first place.<br />
A sensual tale of the complexity of marriage<br />
and desire, BOOK OF LOVE examines the<br />
choices we make in our daily lives—and the<br />
consequences that follow.<br />
Producer~Robert Ahrens Screenplay~Alan Brown<br />
Cinematography~William Rexer II Editor~Trevor Ristow<br />
Music~Stewart Wallace Principal Cast~Frances O’Connor,<br />
Simon Baker, Gregory Smith, Bryce Dallas Howard<br />
Print Source~Nights, LLC<br />
About the Director~After a career as a journalist and<br />
novelist, Fulbright scholar Alan Brown made his first halfhour<br />
narrative “O Beautiful,” which screened in the 27th<br />
CIFF. This is his first feature. <strong>Film</strong>ography~BOOK OF<br />
LOVE (2004)<br />
This film is presented<br />
with the generous support of<br />
THOMAS A. DUKE
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 17<br />
PAN-AFRICAN<br />
WORLD TOUR WORLD TOUR<br />
The Bookshop<br />
(El Kotbia)<br />
Directed by Nawfel Saheb-Ettaba<br />
TUNISIA, FRANCE, MOROCCO 2002<br />
100 minutes<br />
Saturday, March 27<br />
7:30 PM I Ticket Code 27N<br />
ONE SCREENING ONLY<br />
On his way to a job arranged for him by an<br />
uncle, Jamil follows a siren-like female<br />
singing voice through the crowded streets of<br />
modern Tunis to his goal—a large bookstore<br />
run by the same family for generations.<br />
Business subsists on very few customers<br />
(mainly gossips from the marketplace),<br />
thanks to a cheap, rent control situation.<br />
Present owner Tarik, eager to move out,<br />
grooms the down-on-his-luck Jamil to succeed<br />
him as manager-in-residence. Oh, the<br />
siren? That’s Tarik’s sensuous young wife<br />
Leila, who idolizes great Arab vocalists like<br />
Um Kulthum and pressures Tarik to free her<br />
from the solemn, constraining shop so she<br />
can have children and perhaps a performing<br />
career herself. A workable plan...until you<br />
factor in the unpredictability of human<br />
nature and the limits of sacrifice that people<br />
can make for the ones they love. Soon the<br />
Tunis market gossips will have even more to<br />
chatter about in a page-turning, romantic<br />
drama of destinies bound between two covers.<br />
(In Arabic with English subtitles)<br />
Producer:~Nawfel Saheb-Ettaba Screenplay~Nawfel<br />
Saheb-Ettaba, Tarek Ben Chabaane Cinematography~<br />
Gilles Porte Editors~Nadia Ben Rachid, Mounira Bhar<br />
Music~Kaïs Sellami, Julien Omé Principal Cast~Hend<br />
Sabri, Ahmed El Haffiene, Martine Gafsi, Yadh Beji, Raouf<br />
Ben Amor, Moustapha El Adouani Print Source~Cinexport<br />
About the Director~Born in Tunisia in 1959, Nawfel<br />
Saheb-Ettaba studied cinema and communications at<br />
Concordia University, graduating in 1990. After working in<br />
Canadian TV, he founded his own production company in<br />
Carthage. <strong>Film</strong>ography~THE BOOKSHOP (2002)<br />
Buddy<br />
Directed by Morten Tyldum<br />
NORWAY 2003<br />
104 minutes<br />
Friday, March 19<br />
7:<strong>15</strong> PM I Ticket Code 19N<br />
Saturday, March 20<br />
4:30 PM I Ticket Code 20L<br />
Monday, March 22<br />
5:<strong>15</strong> PM I Ticket Code 22K<br />
If reality TV did not exist, storytellers would<br />
have had to invent it. In fact, they did. From<br />
Paul Bartel’s “The Secret Cinema” to<br />
Bernard Tavernier’s “Death Watch” to Peter<br />
Weir’s “The Truman Show,” moviemakers<br />
anticipated and vivisected video voyeurism<br />
and its values. Now even Average Joes from<br />
Ohio lower themselves to get married as part<br />
of a cheesy TV show; it seems like our worst<br />
imaginings have come to pass. The comedydrama<br />
BUDDY is fiction...for now. Kristoffer,<br />
a billboard-hanger, dwells in a communestyle<br />
setting with eccentrics like his crazy<br />
best pal Geir and Stig Inge, an apparently<br />
agorophobic webmaster. When Kristoffer’s<br />
lover dumps him for her boss, our hero pours<br />
his broken heart into a series of camcorder<br />
confessionals. By accident his digital diaries<br />
are seen by a TV producer and broadcast.<br />
Kristoffer’s “simple life” captivates audiences,<br />
making him the next Scandinavian<br />
Idol. But the spotlight’s glare turns away his<br />
cohorts and changes the people he truly<br />
cares about. What good is being everybody’s<br />
buddy but no one’s friend? (In Norwegian<br />
with English subtitles)<br />
Preceded by Scoub 2<br />
Directed by Stéphane Berla, France, 7 minutes<br />
Producer~Gudny Hummelvoll Screenplay~Lars<br />
Gudmestad Cinematography~John Andreas Anderson<br />
Editor~Eli Nilsen Music~Lars Lillo-Stenberg Principal<br />
Cast~Nicolai Cleve Broch, Aksel Hennie, Pia Tjelta, Anders<br />
Baasmo Christiansen, Janne Formoe Print Source~<br />
Norwegian <strong>Film</strong> Institute<br />
About the Director~Born in 1967, Morten Tyldum<br />
studied cinema at New York University, then worked in<br />
Norwegian television. He makes his feature debut here.<br />
<strong>Film</strong>ography~BUDDY (2003)<br />
TEN PERCENT CINEMA<br />
WORLD TOUR<br />
Bulgarian Lovers<br />
(Los Novios Bulgaros)<br />
Directed by Eloy de la Iglesia<br />
SPAIN 2003<br />
90 minutes<br />
Friday, March 19<br />
9:30 PM I Ticket Code 19U<br />
Monday, March 22<br />
5:00 PM I Ticket Code 22L<br />
Of Madrid, Pedra da Costa Perestrello wrote,<br />
“Quien te quiere, no te sabe/Quien te sabe,<br />
no te quiere.” Or, “He who likes thee does<br />
not know thee. He who knows thee does not<br />
like thee.” What would the poet have made<br />
of the Chueca, the gay quarter of the<br />
Spanish capital? This is cruising territory<br />
for Daniel, a well-heeled and financially<br />
successful lawyer with a taste for the exotic.<br />
He has his choice among the masses of<br />
recent refugees from Eastern Europe who<br />
seem to wind up in the Chueca and are<br />
largely ignored by much of society, except<br />
the police, who harrass them, and the guys,<br />
who desire them. One newcomer is a halfstarved<br />
Bulgarian, Kyril, who admits he has<br />
a fiancee back home but nonetheless goes<br />
to bed with Daniel. Daniel ends up doing his<br />
pickup’s bidding, forging documents, smuggling<br />
contraband and even going to Bulgaria<br />
himself—to attend Kyril’s wedding. Will<br />
Daniel still like Kyril, if he ever gets to know<br />
him? (In Spanish and Bulgarian with English<br />
subtitles)<br />
Producers~Pedro Olea, Fernando Guillen Cuervco, Jesus G.<br />
Ciordia, Eduardo Campoy Screenplay~Fernando Guillen<br />
Cuervo, Eloy de la Iglesia (based on the novel by Eduardo<br />
Mendicutti) Cinematography~Nestor Calvo Editor~Jose<br />
Salcedo Music~Antonio Meliveo Principal Cast~Fernando<br />
Guillen Cuervo, Dritan Biba, Pepon Nieto, Anita Sinnkovic,<br />
Roger Pera, Fernando Albizu, Roman Lucknar, Simon<br />
Andreu, Julia Martinez Print Source~TLA Releasing<br />
About the Director~Eloy de la Iglesia was born in 1944 in<br />
the Basque province of Spain. He studied cinema in Paris<br />
at IDHEC and made his feature debut in 1966, proving<br />
himself a prolific and popular director. <strong>Film</strong>ography~<br />
“The Glass Ceiling” (1971), “La Criaturea” (1977), “Pals”<br />
(1980), “La Mujer del Ministro” (1981), “El Pico” (1984),<br />
BULGARIAN LOVERS (2003)
18 FILMS A – Z [C–D] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
WORLD TOUR<br />
Carandiru<br />
Directed by Hector Babenco<br />
BRAZIL 2003<br />
145 minutes<br />
Friday, March 19<br />
6:45 PM I Ticket Code 19R<br />
ONE SCREENING ONLY<br />
A sappy, 1980s Sylvester Stallone action pic<br />
bore the tagline, “Crime is a disease. Meet<br />
the cure.” In the same era—but thousands<br />
of miles away, figuratively and literally—was<br />
the Casa de Detençion in São Paulo, also<br />
known as Carandiru, Latin America’s largest<br />
jail. Where the line between righteousness<br />
and evil, hero and villain, is never Hollywood<br />
simple. Disease here can mean scourges of<br />
hatred, poverty, revenge, drugs, greed...as<br />
well as tuberculosis, leptospirosis and a new<br />
plague—AIDS. Into this grim fortress comes<br />
a physician to minister to more than 7,000<br />
potentially dangerous (or contagious)<br />
inmates. Based on a nonfiction bestseller,<br />
the film follows a respected prisoner called<br />
Black Nigger who mediates resident disputes<br />
in the cellblock society and a hard assassin<br />
who converts to an evangelical priest.<br />
Pressures build into a 1992 riot that stuns<br />
the entire nation. Hector Babenco, director<br />
of “Pixote” (6th CIFF, 1982), took three<br />
years to make this saga of humanity caged<br />
under criminal conditions. And if bearing<br />
witness is part of the cure, take heart that<br />
CARANDIRU has become the biggest local<br />
hit of Brazilian cinema in ten years. (In<br />
Portuguese with English subtitles)<br />
Producer~Hector Babenco Screenplay~Victor Navas,<br />
Hector Babenco, Fernando Bonassi (based on the book<br />
“Carandiru Station” by Drauzio Varella) Cinematography~<br />
Walter Carvalho Editor~Mauro Alice Music~André<br />
Abujamra Principal Cast~Luiz Carlos Vasconcellos, Milhem<br />
Cortaz, Milton Gonçalves, Avan de Almeida, Ailton Graça,<br />
Maria Luisa Mendonca Print Source~Sony Pictures Classics<br />
About the Director~Born in 1946 in Buenos Aries, Hector<br />
Babenco traveled Europe and worked odd jobs (including<br />
as a movie extra) before becoming a highly regarded filmmaker.<br />
Drauzio Varella, the real-life doctor of CARANDIRU,<br />
helped him overcome lymphatic cancer. <strong>Film</strong>ography~<br />
“King of the Night” (1975), “Pixote” (1982), “Kiss of the<br />
Spider Woman” (1985), “Ironweed” (1987), “At Play in<br />
the Fields of the Lord” (1991), CARANDIRU (2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
The Color of Happiness<br />
(A Boldogság Színe)<br />
Directed by József Pacskovszky<br />
HUNGARY 2003<br />
86 minutes<br />
Monday, March 22<br />
7:30 PM I Ticket Code 22R<br />
Friday, March 26<br />
2:30 PM I Ticket Code 26H<br />
Saturday, March 27<br />
5:30 PM I Ticket Code 27M<br />
A freak May snowstorm in cosmopolitan<br />
Budapest stirs a blizzard of passion in<br />
Jozsef Pacskovszky’s heady tango-dance of<br />
intertwined characters. This film is lensed in<br />
saturated hues so vibrant you can feel the<br />
heat—and the chills—as walking-wounded<br />
in the relationship wars (half the adults are<br />
twice-divorced) swirl around each other,<br />
some connecting and others colliding.<br />
Hanna, mistress of French expat Lorant,<br />
agonizes over a marriage proposal she never<br />
thought she’d get from her live-in boyfriend.<br />
Ditta, Lorant’s advice-columnist wife, tries to<br />
arouse her spouse’s languishing ardor, only to<br />
see everything undone on their child’s birthday<br />
by a tragedy involving a gypsy clan. Ildi,<br />
an ailing gallery owner, auditions potential<br />
stepdads for her fatherless son. These are<br />
people desperately in need of fairy tale<br />
endings. And because THE COLOR OF<br />
HAPPINESS is a movie, one is provided by<br />
Aliam, an African immigrant bus driver in<br />
love with love, life and his adopted land,<br />
despite the tribulations and twists all three<br />
provide. (In Magyar with English subtitles)<br />
Producer~Jenö Hábermann Screenplay: József Pacskovszky<br />
Cinematography~Francisco Gózon Editor: Gabriella Koncz<br />
Music~Ando Drom, Sonoton Principal Cast~Anna Györgyi,<br />
Erik Desfosses, Zoltán Rátóti, Teréz Rudolf, Artúr Kálid,<br />
Todd Williams Print Source~Magyar <strong>Film</strong>unió<br />
About the Director~After receiving his diploma from the<br />
Gardening and Food Industry University, József Pacskovszky<br />
graduated from the Academy of Performing Arts in 1989,<br />
where he has been teaching since 1995. He made his<br />
first feature film in 1989. <strong>Film</strong>ography~“Zafir” (1989),<br />
“The Wondrous Voyage of Kornel Esti” (1994), “Our Love”<br />
(2000), THE COLOR OF HAPPINESS (2003).<br />
AMERICAN INDEPENDENTS<br />
WORLD TOUR<br />
Cuba Libre<br />
Directed by Juan Gerard<br />
USA, DOMINICAN REPUBLIC 2003<br />
110 minutes<br />
Tuesday, March 23<br />
12:00 Noon I Ticket Code 23C<br />
Thursday, March 25<br />
7:30 PM I Ticket Code 25Q<br />
Actor Harvey Keitel teams with a roster of<br />
Cuban-American talent—including exiled<br />
actors Reinaldo Miravalles and Pedro Renteria<br />
—to evoke this misty coming-of-age reverie<br />
set in 1958, the last year of the Battista<br />
regime. In the town of Holguin, a boy at the<br />
local cinema watches the Doris Day melodrama<br />
“Julia” when the screen goes black in<br />
mid-cliffhanger. Castro’s rebels have destroyed<br />
the power plant. It stays dark for months as<br />
Hollywood gloss and the magic of childhood<br />
give way to the sweat, blood and tears of a<br />
land in turmoil. Father leaves the island, a<br />
revolutionary squares off against police and<br />
the boy’s shady grandpapa Che (Harvey Keitel)<br />
tries to fix deals and protect the family like<br />
always. Throughout, the boy’s secret companion<br />
is a mysterious, sleek blonde named<br />
Julia, who looks curiously like Doris Day. Like<br />
“Cinema Paradiso” (14th CIFF, 1990) and<br />
“Movie Days” (19th CIFF, 1995), CUBA<br />
LIBRE speaks the universal language of celluloid,<br />
the stuff that dreams are made of, in<br />
a world that sometimes seems nightmarish.<br />
Producers~Harvey Keitel, Letvia Arza-Goderich, Bonnie<br />
Timmerman, Andrew Pfeffer Screenplay~Juan Gerard,<br />
Letvia Arza-Goderich Cinematography~Kramer Morgenthau<br />
Editor~Duncan Burns Music~Edesio Alejandro<br />
Principal Cast~Harvey Keitel, Iben Hjejle, Gael Garcia<br />
Bernal, Daniel Lugo, Gabino Diego, Gellerman Baralt,<br />
Diana Bracho, Andhy Mendez, Enrique Almarante<br />
Print Source~ Inferno Distribution<br />
About the Director~First-time filmmaker Juan Gerard<br />
tried to shoot CUBA LIBRE in Cuba but was unable to<br />
secure permission, so he lensed the film in the Dominican<br />
Repubic. <strong>Film</strong>ography~CUBA LIBRE (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 19<br />
WORLD TOUR<br />
Deep Breath<br />
(Nafas-E Amigh)<br />
Directed by Parviz Shahbazi<br />
IRAN 2003, 82 minutes<br />
Thursday, March 25<br />
12:00 Noon I Ticket Code 25D<br />
Saturday, March 27<br />
5:<strong>15</strong> PM I Ticket Code 27J<br />
Live fast, die young, leave a pretty corpse.<br />
We associate that nihilistic credo with western<br />
decadence, not with one of the world’s<br />
most prominent Islamic-fundamentalist<br />
republics. Get ready to have your preconceptions<br />
shattered. Get set to take a DEEP<br />
BREATH. This feature dramatizes the malaise<br />
of young Iranians whose parents may have<br />
fought the Revolution against the Shah, but<br />
who are themselves rebels without a cause,<br />
enjoying native rock and roll rather than<br />
traditional music, living for kicks and for<br />
the moment. A Tehran engineering student,<br />
Kamran is Byronically handsome (actor<br />
Saeed Amini has been called a Persian Tom<br />
Cruise or Ethan Hawke) but utterly indifferent.<br />
He forsakes a wealthy family to spend nights<br />
with his penniless buddy Mansour. When<br />
Mansour is evicted they make an easy, downward<br />
transition to stolen cars, dingy hostels<br />
and acts of petty vandalism. Then they run<br />
across Aida, a schoolgirl from an all-female<br />
dormitory, frequently jacked into her walkman.<br />
Mansour thinks he’s made a love connection.<br />
Kamran has hit upon another form of quiet<br />
defiance; he’s given up eating. James Dean<br />
would understand. (In Persian with English<br />
subtitles)<br />
Producer~Amir Satavati Screenplay~Parviz Shahbazi<br />
Cinematography~Ali Loghmani Editor~Parviz Shahbazi<br />
Music~Mehrdad Palizban Principal Cast~Mansour<br />
Shahbazi, Maryam Palyzban, Saeed Amini Print Source~<br />
Behnegar<br />
About the Director~Born in 1962 in Khorramabad, Iran,<br />
Parviz Shahbazi began his filmmaking career after graduating<br />
from the College of Cinema in 1990. He edited several<br />
films and directed 12 shorts<br />
before making his first feature.<br />
<strong>Film</strong>ography~“Traveler from the<br />
South” (1997), “Whispers”<br />
(2000), DEEP BREATH (2003)<br />
AMERICAN INDEPENDENTS, DOCUMENTARIES<br />
LOCAL HEROES<br />
Dirty Work<br />
Directed by David Sampliner,<br />
Tim Nackashi<br />
USA 2004, 58 minutes<br />
SCREENING WITH RED LIGHT GO; see p.41<br />
Saturday, March 20<br />
12:00 Noon I Ticket Code 20B<br />
Wednesday, March 24<br />
2:<strong>15</strong> PM I Ticket Code 24F<br />
HELP WANTED: Ideal applicant must work<br />
with mutilated corpses, human excrement,<br />
and large, dangerous animals in the throes<br />
of sexual frenzy. Benefits include bad smells,<br />
potential injury, sights few would ever want<br />
to see and a risk of social ostracism. Even<br />
today’s desperate job-seekers may never<br />
consider the three career options in David<br />
Sampliner’s probing (in more ways than one)<br />
documentary: a septic-tank pumper, a mortuary<br />
embalmer and a collector of bull semen,<br />
all of whom open up (in more ways than one)<br />
about the trades they ply. Although Bernard<br />
Holston considers filling the dead with<br />
formaldehyde and plastic bags an “art,” he<br />
otherwise takes a cheerfully pragmatic and<br />
unromantic philosophy toward his six-footunder<br />
calling. Meanwhile, homespun “honeywagon”<br />
man Darrell Allen happily shares the<br />
messy septic tank chores with his wife.<br />
And Dr. Russ Page, the “reproductive<br />
physiologist,” must carefully manuever an<br />
unpredictable beast to collect its semen.<br />
“For people who work in an office, that’s<br />
considered gross.” Ultimately there’s an affirmation:<br />
“When you can get something you<br />
can do that nobody else wants to do, you are<br />
smarter than they are.” Contains footage not<br />
for the faint-hearted.<br />
Producers~David Sampliner, Tim Nackashi<br />
Cinematography~David Sampliner, Tim Nackashi Editors~<br />
David Sampliner, Tim Nackashi Print Source~David<br />
Sampliner<br />
About the Directors~Native <strong>Cleveland</strong>er David Sampliner<br />
attended Yale University with actor Edward Norton (executive<br />
producer of DIRTY WORK). Sampliner was working as<br />
a photographer in Athens, Georgia when he partnered with<br />
local multimedia artist Tim Nackashi, who ran an Internet<br />
design company, to create DIRTY WORK. They are both now<br />
working on new projects. <strong>Film</strong>ography~DIRTY WORK (2004)<br />
WORLD TOUR<br />
Distant Lights<br />
(Lichter)<br />
Directed by Hans-Christian Schmid<br />
GERMANY 2003, 105 minutes<br />
Friday, March 19<br />
12:<strong>15</strong> PM I Ticket Code 19A<br />
Saturday, March 20<br />
9:45 PM I Ticket Code 20V<br />
Sunday, March 21<br />
2:<strong>15</strong> PM I Ticket Code 21F<br />
Comparisons to Steven Soderbergh’s<br />
“Traffic” would not be too far off the mark,<br />
although narcotics are just about the only<br />
thing not being smuggled, bartered or stolen<br />
by the many interwoven characters in<br />
DISTANT LIGHTS. Here the principle cargo<br />
is human. Refugees from Eastern Europe<br />
and fortune-seekers trying to carve a new<br />
life along the Oder River borderline between<br />
Poland and Germany in the depressed city<br />
of Sublice. Sonja, a Russian language translator<br />
for the police, risks her job and her<br />
boyfriend’s approval to help a complete<br />
stranger reach Berlin. A family of black-marketeers<br />
comes to blows over Katharina, a<br />
pretty teenage drifter and the wild card in<br />
their midst. Ingo, a struggling small businessman,<br />
and Philip, a hotshot architecture<br />
graduate, experience betrayals and backstabs<br />
of the free-market economy where anything<br />
(and anyone) is up for grabs. Without a<br />
wasted moment, the edgy, hand-held camera<br />
tracks the ensemble through a landscape of<br />
promise and deception where distant lights<br />
are the beckoning illusion of prosperity and a<br />
better future—or the prowling immigration<br />
patrol-boats. (In German, Polish and Russian<br />
with English subtitles)<br />
Producers~Jakob Claussen, Thomas Wöbke, Uli Putz<br />
Screenplay~Hans-Christian Schmid, Michael Gutmann<br />
Cinematography~Bogumil Godfrejow Editor~Hansjörg<br />
Weissbrich Music~The Notwist Principal Cast~Ivan<br />
Shvedoff, Anna Janowskaja, Sergei Frolov, Sebastian<br />
Urzendowsky, Devid Striesow, Zbigniew Zamachowski,<br />
Maria Simon Print Source~Bavaria <strong>Film</strong> <strong>International</strong><br />
About the Director~Hans-Christian Schmid was born in<br />
1965 in Altötting, Germany. He made his feature debut in<br />
1995. <strong>Film</strong>ography~“Nach Fünf im Urwald” (1995),<br />
“23” (1998), “Crazy” (2000), DISTANT LIGHTS (2003)
20 FILMS A – Z [D – F] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES<br />
Double Dare<br />
Directed by Amanda Micheli<br />
USA 2003<br />
81 minutes<br />
Thursday, March 25<br />
12:30 PM I Ticket Code 25B<br />
Friday, March 26<br />
7:00 PM I Ticket Code 26P<br />
When Hollywood made PSAs against film<br />
piracy, who was presented as a sympathetic,<br />
salt-of-the-earth movie laborer with a threatened<br />
livelihood? Not a director, producer or<br />
actor, but a stuntman, who truly risks life<br />
and limb for the lens. But what of stuntwomen?<br />
This breezy peek behind the scenes<br />
pairs a rising ingenue with a founding-mother<br />
of the trade. In the 1970s, Jeannie Epper<br />
cat-fought Pam Grier and leapt tall buildings<br />
in Lynda Carter’s “Wonder Woman” breastplate.<br />
At 60 she’s still on her game, but not<br />
immune to ageism and biases afflicting<br />
women in showbiz as she hustles more gigs.<br />
Even stuntwomen feel pressured into plastic<br />
surgery, but when Jeannie goes under the<br />
knife it’s for a very different reason. Halfway<br />
around the world is New Zealand’s Zoe Bell,<br />
a young gymnast doubling Lucy Lawless as<br />
Xena, Warrior Princess. With “Xena” shooting<br />
its final episodes, Zoe decides to relocate to<br />
Los Angeles and nabs a career-making audition<br />
with Quentin Tarentino. From high falls<br />
to kung-fu brawls, DOUBLE DARE is the<br />
CIFF’s strongest infusion of girl power. Just<br />
ask featured commentator Steven Spielberg.<br />
Producers~Karen Johnson, Danielle Renfrew Writer~<br />
Amanda Micheli Cinematography~Amanda Micheli<br />
Editor~Purcell Carson Music~Marco D’Abrosio Print<br />
Source~Runaway <strong>Film</strong>s<br />
About the Director~Amanda Micheli is a documentary<br />
filmmaker and cinematographer who previously showcased<br />
the world of female rodeo performers. <strong>Film</strong>ography~“Just<br />
for the Ride” (1995), DOUBLE DARE (2003)<br />
Sponsored by<br />
DOCUMENTARIES<br />
WORLD TOUR<br />
Dream Cuisine<br />
(Aji)<br />
Directed by Li Ying<br />
JAPAN 2002, 134 minutes<br />
Sunday, March 21<br />
4:30 PM I Ticket Code 21J<br />
Wednesday, March 24<br />
2:<strong>15</strong> PM I Ticket Code 24E<br />
Hot. Sour. Salty. Sweet. The tongue’s four<br />
basic sensations, as identified by Asian<br />
culinary artists more than a millenium ago,<br />
could also chart upheavals in Chinese history<br />
during Hatsue Sato’s life. Japanese by<br />
ethnicity, she was born in Jinan, China where<br />
Chinese cuisine is said to have begun, and<br />
the first cookbook written. She learned traditional<br />
Shandong cuisine in the 1930s before<br />
the brutal Japanese occupation of WWII and<br />
Chairman Mao’s Cultural Revolution eradicated<br />
such ancient customs. Now Hatsue and<br />
Koroku, her husband of 40 years, run an<br />
authentic Shandong restaurant in Tokyo.<br />
Feeling too old to “swing the wok” in the<br />
kitchen, Hatsue considers returning to Jinan<br />
to teach true Shandong for a fresh generation<br />
at an eminent chefs’ school, where she and<br />
her food skills are revered. But Koroku doesn’t<br />
want to uproot himself. And repeat visits to<br />
Jinan leave a bitter aftertaste, as Hatsue<br />
learns the fates of peers from the old days<br />
and finds her status as a “living fossil” of<br />
Chinese cuisine is not exactly a compliment.<br />
A feast for for both epicures and non-gourmets<br />
alike, the ingredients on the menu of Li<br />
Ying’s documentary recall the finest dramatic<br />
work of Ozu and Zhang Yimou. (In Mandarin<br />
and Japanese with English subtitles)<br />
Producers~Zhang Yi, Tateishi Atsushi Cinematography~<br />
Hotta Yasuhiro Editor~Li Ying, Miyachika Shigenori<br />
Music~Huang Jia Mo, Liu Xue An Print Source~<br />
Dragon <strong>Film</strong>s<br />
About the Director~Li Ying was born in 1963 and began<br />
directing documentaries for China Central Television in<br />
1984. He relocated to Japan in 1989 and co-founded the<br />
production company Dragon <strong>Film</strong>s.<br />
<strong>Film</strong>ography~“Flying Flying”<br />
(2000), “Beijing <strong>Film</strong> Academy:<br />
A Tale of Dreams” (2001),<br />
DREAM CUISINE (2002)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Faithless Games<br />
(Neverné Hry)<br />
Directed by Michaela Pavlátová<br />
CZECH REPUBLIC, SLOVAKIA 2003<br />
93 minutes<br />
Saturday, March 20<br />
7:30 PM I Ticket Code 20N<br />
Sunday, March 21<br />
9:45 PM I Ticket Code 21T<br />
Friday, March 26<br />
4:45 PM I Ticket Code 26M<br />
<strong>Film</strong>maker Michaela Pavlátová defines her<br />
pitch-perfect debut drama as “a chamber<br />
piece about love, unfaithfulness, human<br />
failings and finding one’s self.” At the insistence<br />
of Peter, her composer husband, Eva<br />
(a professional pianist) reluctantly moves<br />
from Prague to a villa in a town near the<br />
Slovak-Hungarian border. Once this was all<br />
one nation, but no longer, and Eva feels<br />
particularly adrift and alienated when she<br />
can’t find employment with local musical<br />
institutions (because, she suspects, she’s<br />
not ethnic Slovak). Furthermore Mária, the<br />
woman from whom they bought their new<br />
estate, refuses to vacate the grounds, squatting<br />
with her fatherless daughter Janka in<br />
the detached guest-quarters that Peter had<br />
wanted to turn into his study (Peter summarily<br />
cuts off their water supply, to no avail).<br />
Peter and Eva’s resigned, brittle marriage<br />
becomes ever more strained as Eva finds<br />
excuses to visit Prague and linger with old<br />
friends, leaving her husband alone in his<br />
house of sand and fog. (In Czech, Slovak<br />
and Magyar with English subtitles)<br />
Producers~Katrˇina Černa, Pavel Strnad Screenplay~Tina<br />
Diosi Cinematography~Martin Sturba Editor~Tonička<br />
Janková Music~Petr Hromádka Principal Cast~Zuzana<br />
Stivínová, Peter Bebjak, Ady Hajdu, Jana Hubinska, Ivara<br />
Chylková Print Source~Negativ <strong>Film</strong> Productions<br />
About the Director~Michaela Pavlátová studied cinema at<br />
the Academy of Arts, Architecture and Design in Prague,<br />
graduating in 1987. Most of her work has been in animation,<br />
and her 1991 short “Words Words Words” received<br />
an Oscar nomination. <strong>Film</strong>ography~FAITHLESS GAMES<br />
(2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 21<br />
WORLD TOUR<br />
The First Night<br />
(La Primera Noche)<br />
Directed by Luis Alberto Restrepo<br />
COLOMBIA 2003<br />
90 minutes<br />
Friday, March 26<br />
12:<strong>15</strong> PM I Ticket Code 26A<br />
Saturday, March 27<br />
5:00 PM I Ticket Code 27L<br />
A story of hidden passion set in a Colombia<br />
drained by war, violence and ignorance. Two<br />
people, Paulina and Toño, like many others<br />
before them, flee from the countryside into<br />
the cities where they are not wanted and are<br />
considered invisible. With them they bring<br />
repressed secret passions. Paulina’s husband<br />
Wilson has abandoned her, while Wilson’s<br />
brother Toño has secretly loved her all along<br />
and wants to help. Paulina, with a disturbing<br />
mix of innocence and sensuality, has two<br />
children to care for, difficult in the rough<br />
streets of the city. The only friendly face in<br />
the city is that of El Indio, a street-smart<br />
survivor who tries to help the newcomers.<br />
Between brutality in the countryside and<br />
betrayal in the city, Paulina and Toño face<br />
immense challenges. The director says this<br />
film began with a vision: “One night in the<br />
city, I saw a young woman folding newspapers<br />
on the street, getting ready to put her infant<br />
son to bed. Her gestures were so fluid and<br />
sure, while full of abandonment, that for a<br />
long time I couldn’t forget what I’d seen.”<br />
(In Spanish with English subtitles)<br />
Producer~Luis Alberto Restrepo Screenplay~Luis Albert<br />
Restrepo, Alberto Quiroga Cinematography~Sergio Garcia<br />
Music~German Arrieta, Gonzalo Sagarminaga Principal<br />
Cast~Carolina Lizarazo, Jhon Alex Toro, Hernan Mendez,<br />
Enrique Carriazo, Julian Roman, Ana Maria Sanchez<br />
Print Source~Centro <strong>Film</strong>s<br />
About the Director~Born in Medellín, Colombia in 1956,<br />
Luis Alberto Restrepo has directed and produced features,<br />
documentaries, videos and television series for over 20<br />
years. <strong>Film</strong>ography~“Bituima 1780” (1995), THE FIRST<br />
NIGHT (2003)<br />
PAN-AFRICAN<br />
WORLD TOUR<br />
The Forest<br />
(Le Silence de le Forêt)<br />
Directed by Didier Ouénangaré,<br />
Bassek ba Kobhio<br />
GABON, REPUBLIC OF CENTRAL AFRICA,<br />
FRANCE 2003<br />
93 minutes<br />
Wednesday, March 24<br />
9:45 PM I Ticket Code 24U<br />
Thursday, March 25<br />
2:30 PM I Ticket Code 25H<br />
“You do not believe your first pygmy when<br />
you see him,” wrote the traveler Negley<br />
Farson. These diminutive forest people<br />
remain known to westerners mostly via circus<br />
stereotypes and Ripley’s Believe It or Not.<br />
Believe in THE FOREST, a drama starring<br />
Eriq Ebouane, whose commanding lead in<br />
the biopic “Lumumba” (25th CIFF, 2001)<br />
made him Africa’s equivalent of Denzel<br />
Washington. He plays Gonaba, a Europeaneducated<br />
school inspector who finds his<br />
progressive ideals ineffective in reforming<br />
urban Gabon’s political lassitude. He ventures<br />
deep in the jungle to give the gifts of his<br />
intellect to “liberate” the pygmy tribes, who<br />
still suffer persecution and exclusion. At<br />
least Gonaba thinks they do. The pygmies<br />
think they are free enough already; it’s the<br />
“tall person” in their midst who needs to<br />
learn ancestral ways and rituals. As Gonaba<br />
fails to teach pygmy children an alphabet, he<br />
falls in love with a native girl and the clan’s<br />
animist beliefs. And the real lessons begin.<br />
(In Aka, Sango and French with English<br />
subtitles)<br />
Producers~Charles Mensah, Annie Izoungou,<br />
Abderrahmane Sissako, Guillaume De Seille Screenplay~<br />
Didier Ouénangaré, Bassek ba Kobhio (based on the novel<br />
by Etienne Goyemidé) Cinematography~Pierre-Olivier<br />
Larrieu Editor~Joseph Licide Music~Manu Dibango<br />
Principal Cast~Eriq Ebouaney, Sonia Zembourou, Nadége<br />
Beausson-Diagne, Philippe Maury, the pygmies of the<br />
Akunen Village Print Source~<strong>Film</strong>s Distribution<br />
About the Director~Didier Ouénangaré was born in<br />
Bambari and studied film in Abidjan before graduating<br />
from the University of Rennes in France. Born in Nindje,<br />
Cameroon, Bassek ba Kobhio is a novelist as well as a<br />
director of documentaries and features. <strong>Film</strong>ography~<br />
THE FOREST (2003)<br />
DOCUMENTARIES<br />
WORLD TOUR<br />
The Fourth World War<br />
Directed by Richard Rowley,<br />
Jacqueline Soohen<br />
USA 2003<br />
76 minutes<br />
Tuesday, March 23<br />
2:<strong>15</strong> PM I Ticket Code 23F<br />
Wednesday, March 24<br />
9:45 PM I Ticket Code 24S<br />
The main reason to see this film: You will<br />
never, ever see these images on American<br />
television. Shot over the last two years by<br />
risk-taking guerrilla filmmakers, THE<br />
FOURTH WORLD WAR criss-crosses the<br />
world’s hotspots as the filmmakers shoot<br />
from the hip and go where mainstream<br />
media can’t—or won’t. From the Jenin<br />
refugee camp at eye level with Israeli tanks,<br />
to the people of Chiapas staring down the<br />
Mexican army, to the streets of Argentina,<br />
South Korea, Genoa, South Africa and Iraq,<br />
wherever there is ongoing friction and fighting.<br />
Breaking all rules of documentary filmmaking,<br />
THE FOURTH WORLD WAR never<br />
fully explains the context of the images or<br />
what date they occurred. Instead, poet<br />
Suheir Hammad and singer Michael Franti of<br />
Spearhead provide lyrical voice-overs. By not<br />
being always specific, the filmmakers imply<br />
that a world war is currently raging all over<br />
the globe and we’re the last to know.<br />
Preceded by The Martyr<br />
Directed by John Dolan, USA, 12 minutes<br />
Producers~Richard Rowley, Jaqueline Soohen<br />
Cinematography~Richard Rowley, Jaqueline Soohen<br />
Editors~Paul McNulty, Joulie Wheeler Print Source~<br />
Big Noise<br />
About the Directors~Richard Rowley and Jaqueline<br />
Soohen are members of Big Noise Tactical Media, a<br />
New York-based radical media group. Their past features<br />
have won top honors at film festivals around the world.<br />
<strong>Film</strong>ography~“Zapatista” (1998), “Black and Gold”<br />
(1999), “This is What Democracy Looks Like” (2000),<br />
THE FOURTH WORLD WAR (2003)
22 FILMS A – Z [G – H] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
DOCUMENTARIES, TEN PERCENT CINEMA<br />
WORLD TOUR<br />
Garden<br />
(Gan)<br />
Directed by Ruthie Shatz, Adi Barash<br />
ISRAEL 2003<br />
85 minutes<br />
SCREENING WITH SEND ME AN ANGEL;<br />
see below<br />
Thursday, March 25<br />
4:30 PM I Ticket Code 25K<br />
Sunday, March 28<br />
7:00 PM I Ticket Code 28N<br />
Over the course of one year, the filmmakers<br />
follow two young men who make their home<br />
in a desolate place called The Garden in<br />
downtown Tel Aviv. It’s where young gay<br />
prostitutes and drug addicts gather. Nino, a<br />
17-year-old Palestinian living illegally in<br />
Israel, is in and out of jail and reformatories.<br />
Dudu, an Arab-Israeli, is heavily into drugs.<br />
Both have experienced abuse by family<br />
members and cling together for survival on<br />
the street. They give the filmmakers extraordinary<br />
access to their daily lives and frequent<br />
ups and downs, resulting in a powerfully<br />
honest film that also provides Nino and<br />
Dudu with the respect and dignity no one<br />
else will offer. Their struggles are set against<br />
the much larger Israeli/Palestinian conflict,<br />
and the dividing lines aren’t so clear. More<br />
than anything, GARDEN is a film about the<br />
elusive meaning of home. (In Hebrew and<br />
Arabic with English subtitles)<br />
Preceded by Send Me An Angel<br />
Directed by Nir Ne’Eman, Israel, 45 minutes<br />
Producers~Ruthie Shatz, Adi Barash Cinematography~<br />
Adi Barash Editor~Janos Billeskov Jansen Print Source~<br />
Fig <strong>Film</strong>s<br />
About the Directors~Adi Barash and Ruthie Shatz are<br />
award-winning documentary filmmakers. Barash and<br />
Shatz are founding members of Fig <strong>Film</strong>s whose previous<br />
feature documentary, “Diamonds and Rust,” participated<br />
in more than 30 international film festivals. <strong>Film</strong>ography~<br />
“Diamonds and Rust” (2001), GARDEN (2003)<br />
TEN PERCENT CENTRAL/EASTERN CINEMA EUROPEAN<br />
FILM COMPETITION<br />
WORLD TOUR<br />
Goldfish Memory<br />
Directed by Liz Gill<br />
IRELAND 2003<br />
85 minutes<br />
Thursday, March 25<br />
12:<strong>15</strong> PM I Ticket Code 25C<br />
Friday, March 26<br />
9:45 PM I Ticket Code 26U<br />
Liz Gill’s bubbly pansexual romp whirlpools<br />
around a university in modern Dublin. This<br />
is an aquarium environment where the assertion<br />
that St. Patrick was really a wandering<br />
Egyptian is just the beginning of the queer<br />
notions and lifestyles PH tested by students,<br />
faculty and civilians. “My actions are dictated<br />
solely by love,” defends literature instructor<br />
Tom Lawless, a failed poet who uses considerable<br />
charm, blarney and self-pity in his<br />
successful sideline as a campus Casanova.<br />
His girlfriend Clara inevitably glimpses Tom<br />
kissing another potential conquest, flaxenhaired<br />
pupil Isolde. The flirtation triggers<br />
a chain reaction of partner-switching and<br />
reappraisals among their circle; straight<br />
women turn lesbian, gay men accidentally<br />
become parents, a TV anchorlady is outed, a<br />
cheater gets jilted...even a marriage breaks<br />
out. “When it comes to love,” Tom says,<br />
“people are akin to goldfish, having only a<br />
three-second memory and fated to repeatedly<br />
swim the same troublesome currents of pain<br />
and delight.”<br />
Producer~Breda Walsh Screenplay~Liz Gill<br />
Cinematography~Ken Byrne Editor~Dermot Diskin<br />
Music~ Richie Buckley Principal Cast~Sean Campion,<br />
Flora Montgomery, Stuart Graham, Fiona O’Shaugnessy,<br />
Keith McErlean, Jean Butler, Aisling O’Neill, Peter Gaynor,<br />
Laura Brennan Print Source~Wolfe<br />
About the Director~Formerly an assistant for Martin<br />
Scorsese, Todd Haynes and Barry Levinson, screenwriter<br />
and playwright Liz Gill made her directing debut in 1996<br />
<strong>Film</strong>ography~“Gold in the Streets” (1996), GOLDFISH<br />
MEMORY (2003)<br />
Granny<br />
(Baboussia)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Directed by Lidia Bobrová<br />
RUSSIA, FRANCE 2003, 98 minutes<br />
Sunday, March 21<br />
5:00 PM I Ticket Code 21M<br />
Thursday, March 25<br />
12:00 Noon I Ticket Code 25A<br />
Lidia Bobrová’s personal appearance on<br />
behalf of her debut, “Hey You, Wild Geese”<br />
(16th CIFF, 1992) is a treasured <strong>Festival</strong><br />
memory. We are honored to present her third<br />
feature, another unadorned, tremendously<br />
moving look at ordinary Russians outside<br />
the modern sprawls of Moscow and St.<br />
Petersburg. Grandmother Tosia is an embodiment<br />
of Russia’s hardy stock. She endured<br />
Sovietization, the Great Patriotic War, purges<br />
and Perestroika. And she knows the old folk<br />
songs and hymns. That counts for nothing<br />
when her son-in-law Ivan declares her a burden<br />
and sends Tosia packing, first to stay<br />
with her aged sister in the countryside, then<br />
with the now-adult nieces, nephews and<br />
grandchildren she helped raise. Some, like<br />
chic, divorced TV commentator Lisa, prosper<br />
in the capitalist economy of “new Russia”;<br />
others have fallen victim to circumstances<br />
and their own flaws, like alcoholic Victor.<br />
None of them seem willing or able to make<br />
room for Granny in their lives now. While Tosia<br />
is a distinct cultural archetype (she could be<br />
Mother Russia herself), ponder whether our<br />
own elders are treated any better in the West.<br />
(In Russian with English subtitles)<br />
Producer~Andrej Zercalov Screenplay~Lidia Bobrová<br />
Cinematography~Valeri Revic Editor~Tatjána Bystrová<br />
Music~Sergei Anoufriev Principal Cast~Nina Shubinová,<br />
Olga Onisčenko, Anna Ovsjanikoková, Vladimir Kulakov,<br />
Sergej Anyfrjev, Galina Bokachevskala, Vladimir Baranov<br />
Print Source~Vision <strong>International</strong><br />
About the Director~Born in 1952 in Zabailkaisk, Siberia,<br />
Lidia Bobrová graduated from Leningrad University in<br />
1975 with a history degree. She studied scriptwriting<br />
and direction before undertaking her<br />
first feature, which was delayed for a<br />
decade because of official censorship.<br />
<strong>Film</strong>ography~“Hey You, Wild Geese”<br />
(1991), GRANNY (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 23<br />
FAMILY FILMS<br />
WORLD TOUR<br />
The Handcuff King<br />
(Kahlekuningas)<br />
Directed by Arto Koskinen<br />
FINLAND 2003<br />
90 minutes<br />
Friday, March 26<br />
7:<strong>15</strong> PM I Ticket Code 26N<br />
Sunday, March 28<br />
12:00 Noon I Ticket Code 28D<br />
To fantasy-prone Esko, growing up in Röyttå<br />
on the Finland-Sweden border in the 1970s,<br />
the links in his heavy personal chains are<br />
squabbling parents on the verge of separation,<br />
an aloof brother only concerned about<br />
his aspiring punk-rock career and ostracism<br />
by his buddies after a trick Esko plays on<br />
their hated Swede rivals badly backfires.<br />
Then a potential escape appears in Esko’s<br />
unexpected friendship with Patrick, an affluent<br />
but semi-invalid Swedish kid. They share<br />
a summer making home movies, comparing<br />
their crazy relatives and practicing Houdini<br />
tricks. Winter is coming and with it a stark<br />
turning point in the two young lives. Be<br />
assured THE HANDCUFF KING has a padlock<br />
on being counted among such bluesy,<br />
bittersweet portraits of boyhood as “My Life<br />
as a Dog” (11th CIFF, 1987), “The Slingshot”<br />
(18th CIFF, 1994), “Odd Little Man” (25th<br />
CIFF, 2001) and “Sweet Dreams” (26th<br />
CIFF, 2002). (In Finnish and Swedish with<br />
English subtitles)<br />
Producers~Claes Olsson, Göran Lindström, Per-Erik<br />
Svensson Screenplay~Arto Koskinen Cinematography~<br />
Hans Welin Editor~Kauko Lindfors Music~Samuli Laiho<br />
Principal Cast~Miikka Enbuske, Emil Lundberg, Lina<br />
Hofverberg, Heikki Hela, Maija Junno, Arttu Kapulainen,<br />
Sulevi Peltola Print Source~The Finnish <strong>Film</strong> Foundation<br />
About the Director~Born in Alatornio, Finland in 1962,<br />
Arto Koskinen studied architecture at the University of<br />
Oulu and cinema at the University of Industrial Arts, <strong>Film</strong><br />
and Television. He has directed numerous award-winning<br />
documentaries and taught film at Tampere Polytechnic.<br />
<strong>Film</strong>ography~“Last Days of Summer” (1992), THE<br />
HANDCUFF KING (2003)<br />
AMERICAN INDEPENDENTS<br />
Happy Hour<br />
Directed by Mike Bencivenga<br />
USA 2003<br />
93 minutes<br />
Friday, March 26<br />
7:30 PM I Ticket Code 26Q<br />
Sunday, March 28<br />
5:<strong>15</strong> PM I Ticket Code 28L<br />
Set in modern-day Manhattan, a once-brilliant<br />
and promising literary star, Ryan Tulley<br />
(Anthony LaPaglia), now writes copy for an<br />
advertising firm and has a barstool waiting<br />
for him regularly at happy hour. Unlike his<br />
famous writer father (played by Robert<br />
Vaughn), Tulley suffers terminal disillusionment,<br />
even as he picks up women in the bar.<br />
One feisty girl, however, holds his attention:<br />
Natalie (Caroleen Feeney), a lovely young<br />
woman who works as a school teacher “who<br />
can’t stand kids.” Rounding out the trio is<br />
Tulley’s close friend Levine (Eric Stoltz), who<br />
idolizes Tulley’s talent and knows him more<br />
intimately than anyone. These three who<br />
were adrift soon become inseparable, until<br />
Tulley comes to a turning point in his life:<br />
his health is failing and he vows to complete<br />
his final novel, 17 years in the making.<br />
As befits a film about a writer, the dialogue<br />
is cutting and witty, the tone shifts easily<br />
from blistering humor to darker waters and<br />
the characters are played with depth and<br />
emotional nuance.<br />
Preceded by Walkentalk<br />
Directed by Philip Zlotorynski, USA, 11 minutes<br />
Producers~J. Todd Harris, Eric M. Klein, Kimberly Shane<br />
O’Hara Screenplay~Mike Bencivenga, Richard Levine<br />
Cinematography~Giselle Chamma Editor~Nina Kawasaki,<br />
Robert Landau Music~Jeffrey M. Taylor Principal Cast~<br />
Anthony LaPaglia, Eric Stoltz, Caroleen Feeney, Robert<br />
Vaughn, Sandrine Holt Print Source~Happy Hour LLC<br />
About the Director~While in the film program at NYU,<br />
Mike Bencivenga won a Student Academy Award for one<br />
of his documentaries and had several of his short comedy<br />
films presented on HBO and Cinemax. His first feature won<br />
a number of festival prizes. <strong>Film</strong>ography~“Losers in Love”<br />
(1993), HAPPY HOUR (2003)<br />
WORLD TOUR<br />
Hard Goodbyes: My Father<br />
(Dhiskoli Apoheretismi: O Babas Mou)<br />
Directed by Penny Panayotopoulou<br />
GREECE, GERMANY 2002, 108 minutes<br />
Sunday, March 21<br />
7:00 PM I Ticket Code 21Q<br />
Wednesday, March 24<br />
2:30 PM I Ticket Code 24G<br />
July 1969. As Apollo astronauts lift off for<br />
the moon, Elias Manolopoulous delightedly<br />
follows their progress. He’s a space-minded<br />
ten-year-old in Athens who makes an oftharsh<br />
homelife gentler with flights of wishful<br />
imagination. Elias is closest to his father, a<br />
traveling salesman whose long business trips<br />
take their toll on the household, leaving his<br />
wife bitter and argumentative. Elias’ older<br />
brother Aris seems to feel almost no connection<br />
to dad. He hardly shows emotion when<br />
he takes the phone call informing them that<br />
Mr. Manolopoulous has perished in a car<br />
wreck. Elias refuses to accept his father isn’t<br />
coming home. After all, he still has the last<br />
note that papa left, the one that said he’d be<br />
back before the lunar landing... HARD<br />
GOODBYES: MY FATHER compassionately<br />
portrays a child coming to terms with an<br />
incomprehensible black hole of grief. (In<br />
Greek with English subtitles)<br />
Producers~Thanos Karathonos, Kostas Lambropoulous,<br />
George Louizos Screenplay~Penny Panayotopoulou<br />
Cinematography~Dimitris Katsaitis Editors~Petar Markovic,<br />
Angelos Angelopoulos Music~Stavros Sofianopoulos<br />
Principal Cast~Yogos Karayannis, Stelios Mainas, Ioanna<br />
Tsirigouli Print Source~Sipapu <strong>Film</strong>s<br />
About the Director~Penny Panayotopoulou was born in<br />
Athens. She studied at the University of Athens, directing<br />
at the Stavrakos <strong>Film</strong> School and<br />
the Polytechnic of Central London.<br />
This is her feature debut.<br />
<strong>Film</strong>ography~HARD GOODBYES:<br />
MY FATHER (2002)<br />
This film is presented with the<br />
generous support of<br />
LAURA and GEORGE KAPPOS and<br />
ANGELEKE and LEE ZAPIS
24 FILMS A – Z [H – J] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
WORLD TOUR<br />
The Heat’s On<br />
(Travail D’Arabe)<br />
Directed by Christian Philibert<br />
FRANCE 2003<br />
88 minutes<br />
Saturday, March 20<br />
2:30 PM I Ticket Code 20F<br />
Sunday, March 21<br />
9:45 PM I Ticket Code 21S<br />
Monday, March 22<br />
12:00 Noon I Ticket Code 22C<br />
The literal film title, “Arab Work,” is racist<br />
slang for shoddy craftsmanship, heard by<br />
the filmmaker as he and a code-inspector<br />
confronted a terrible gas-installation job.<br />
Christian Philibert channeled his reaction<br />
into a sharp comedy-drama of working class<br />
outrage. Tossed out by his conservative<br />
Muslim father after a pot bust, Momo, an<br />
easygoing guy in Provence, needs a job. Via<br />
his sister’s connections, Momo gets under-thetable<br />
work with Gutti Bros., a once-reliable<br />
local HVAC company that has backslid into<br />
greed and malicious incompetence. Instantly<br />
“licensed” as a contractor, Momo is aghast<br />
at customers conned into faulty wiring and<br />
dangerous pipe-fittings. When he turns<br />
whistle-blower, Momo finds one unlikely<br />
and steadfast ally, but mostly bureaucratic<br />
apathy and a mindset that blames him for<br />
everything. After all, he was the trainee, the<br />
apprentice, the guy off the books...the Arab.<br />
Don’t say it doesn’t happen here! (In French<br />
with English subtitles)<br />
Preceded by In the Bar<br />
Directed by Cleiton Stringhini & Paulo de Tarso<br />
Mendonca, Brazil, 8 minutes<br />
Producer~Didier Haudepin Screenplay~Christian<br />
Philibert, Yamina Guebli Cinematography~Gilles Carries<br />
Editor~Eric Renault Music~Michel Korb Principal Cast~<br />
Mohamed Metina, Cyril Lecomte, Jacques Bastide,<br />
Jeanne Dhivers, Didier Becchetti, Jean-Marc Ravera<br />
Print Source~Bloody Mary Productions<br />
About the Director~Creator of both documentaries and narratives<br />
about the history and culture of Provence, Christian<br />
Philibert was born in 1965. At last report he had spent<br />
three winters without heat and was in the middle of his<br />
lawsuit against the contractors. <strong>Film</strong>ography~“Espigoule’s<br />
Four Seasons” (1999), THE HEAT’S ON (2003)<br />
AMERICAN CENTRAL/EASTERN INDEPENDENTSEUROPEAN<br />
FILM COMPETITION<br />
DOCUMENTARIES, LOCAL HEROES<br />
Home of the Brave<br />
Directed by Paola di Florio<br />
USA 2004<br />
75 minutes<br />
Thursday, March 25 w/<strong>Film</strong>Forum<br />
7:<strong>15</strong> PM I Ticket Code 25P<br />
Friday, March 26<br />
3:00 PM I Ticket Code 26F<br />
March 25, 1965. Viola Liuzzo, a white<br />
Detroit woman volunteering in civil-rights<br />
marches from Selma to Montgomery, dies on<br />
an Alabama highway from shots allegedy fired<br />
by marauding Klansmen. After the initial<br />
outrage, the rumors began. Vile leaks to the<br />
media libeled the victim as irresponsible,<br />
lewd, unstable. Her passenger during the<br />
shooting, a black youth left strangely<br />
uscathed, told differing versions of the incident.<br />
Another witness turned out to be an<br />
FBI undercover informant, perhaps with<br />
something to hide... Four decades later,<br />
adult children of Viola Liuzzo live with<br />
unhealed wounds of unanswered questions,<br />
paranoia and disillusion. One son practically<br />
vanishes into the Alabama backwoods, while<br />
another broadcasts the anti-government<br />
gospel of the Michigan Militia from his trailer.<br />
A daughter makes a pilgrimage to the murder<br />
site, seeking closure that may never come.<br />
HOME OF THE BRAVE shows us a heroine<br />
in Viola Liuzzo.<br />
Producers~Nancy Dickenson, Paola di Florio<br />
Cinematography~Joan Churchill Editor~Thomas G. Miller<br />
Music~Karen Childs, David Powell Print Source~CP <strong>Film</strong>s<br />
About the Director~Born to Italian parents and raised in<br />
New Jersey, Paola di Florio studied at New York’s Tisch<br />
School of the Arts. Now based in Los Angeles,<br />
she has produced documentaries and news<br />
segments for Italian television. <strong>Film</strong>ography~<br />
“Speaking in Strings” (1999), HOME OF<br />
THE BRAVE (2004)<br />
Sponsored by<br />
<strong>Film</strong>Forum Topic<br />
The Intersection of Civil<br />
Rights and Civil Liberties<br />
For more information, visit<br />
www.clevelandfilm.org<br />
WORLD TOUR<br />
I Always Wanted to<br />
Be a Saint<br />
(J’ai Toujours Voulu Etre Une Sainte)<br />
Directed by Geneviève Mersch<br />
LUXEMBOURG, BELGIUM 2003<br />
92 minutes<br />
Friday, March 19<br />
5:00 PM I Ticket Code 19L<br />
Tuesday, March 23<br />
9:30 PM I Ticket Code 23V<br />
Like the heroine of primetime’s “Joan of<br />
Arcadia,” Norah, 17, wants to do good things<br />
and believes she has a direct connection to<br />
the higher power. No, it’s not God whom<br />
she imagines coming to consult with her<br />
regularly, but rather Nico Marcuse, a dashing<br />
race-car driver (inspired by Brazil’s Ayrton<br />
Senna) whose death Norah witnessed on TV.<br />
Irrationally blaming herself, Norah has conjured<br />
up the late Nico as a friend and sort of<br />
guardian angel to assist her in volunteerism<br />
and helping others get their lives back on<br />
track. Next assignment: Norah’s friend Magali,<br />
hurting from a dysfunctional relationship<br />
with her mother. The “project” ends up<br />
hitting closer to home than Norah had<br />
bargained for; her own mother abandoned<br />
the family right after Norah’s birth, and now<br />
comes the momentous revelation that the<br />
prodigal adult can be found living not too far<br />
away in the mountains of Switzerland. Her<br />
sainthood faltering, Norah decides to make a<br />
pilgrimage to the Alps for a reckoning—with<br />
mom, with herself, with the motives for her<br />
virtuous impulses and with Nico. (In French<br />
with English subtitles)<br />
Producer~Claude Waringo Screenplay~Philippe Blasband,<br />
Geneviève Mersch, Anne Fournier Cinematography~<br />
Séverine Barde Editor~Ewin Ryckaert Music~Carlo Thoss<br />
Principal Cast~Marie Kremer, Thierry Lefèvre, Janine<br />
Godinas, Barbara Roland, Julien Collard, Raphaëlle<br />
Blancherie, Marie Nypels Print Source~Samsa <strong>Film</strong><br />
About the Director~Geneviève Mersch was born in 1963<br />
in Luxembourg. She studied filmmaking at the Institut des<br />
Arts de Diffusion in Louvain-la-Neuve<br />
and makes her feature bow here.<br />
<strong>Film</strong>ography~I ALWAYS WANTED TO<br />
BE A SAINT (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 25<br />
PARTNERSHIP PRESENTATION<br />
AMERICAN INDEPENDENTS, DOCUMENTARIES<br />
In the Realms of the Unreal<br />
Directed by Jessica Yu<br />
USA 2003, 81 minutes<br />
Wednesday, March 24<br />
7:<strong>15</strong> PM I Ticket Code 24P<br />
Friday, March 26<br />
9:30 PM I Ticket Code 26T<br />
Five years in the making, IN THE REALMS<br />
OF THE UNREAL is a touching homage to<br />
outsider artist Henry Darger. Born in Chicago,<br />
where he lived his entire life, Darger was a<br />
singularly odd man. He made a menial living<br />
as a janitor for a Catholic school, but at night<br />
his imagination ran wild. Over the course of<br />
his life, Darger wrote an epic <strong>15</strong>,000-page<br />
volume of a great war between angelic young<br />
girls called The Vivians and child-enslaving<br />
men. He also painted scenes of the battles<br />
on long pieces of butcher paper—paintings<br />
that now fetch millions at auction. The director<br />
intentionally left out art critics, visionary<br />
art experts and psychologists. Instead,<br />
Dakota Fanning reads from his epic tome,<br />
while images from his paintings are tastefully<br />
and deliciously animated. Larry Pine in turn<br />
reads from Darger’s autobiography, and soon<br />
a cohesive picture emerges of a disturbed<br />
but harmless man left alone to create vast<br />
new worlds. People who lived in his building<br />
and protected him from the outside world<br />
talk about Henry, and how when he died in<br />
1973, they found and preserved his work.<br />
Producer~Susan West Cinematography~Russ Harper,<br />
Tim Bieber Music~Jeff Beal Animators~Andrew Brandou,<br />
Peter Ehrlich, Matt Gadbois, Meher Gourjian, Tom<br />
Kanchanapinyokul, David Wigfross Print Source~<br />
Diorama <strong>Film</strong>s<br />
About the Director~Jessica Yu won the Academy Award<br />
for Best Documentary Short for “Breathing Lessons: The<br />
Life and Work of Mark O’Brien” in 1997. She has directed<br />
numerous TV episodes for several series, and has had<br />
numerous articles and other fiction published. <strong>Film</strong>ography~<br />
“Breathing Lessons: The Life and Work of Mark O’Brien”<br />
(1996), IN THE REALMS OF THE UNREAL (2003)<br />
Sponsored by<br />
Post-<strong>Film</strong> Discussion<br />
and After Party at<br />
SPACES on March 24<br />
www.spacesgallery.org<br />
or 216.621.2314<br />
SOMEONE TO WATCH<br />
WORLD TOUR<br />
Jalla! Jalla!<br />
Directed by Josef Fares<br />
SWEDEN 2000<br />
88 minutes<br />
Friday, March 19<br />
9:45 PM I Ticket Code 19S<br />
Monday, March 22<br />
2:45 PM I Ticket Code 22G<br />
The title of this ribald comedy approximates<br />
“Hurry up!” in Arabic, a phrase loaded with<br />
personal meaning for two cross-cultured pals<br />
in contemporary Sweden. Måns and Roro are<br />
best friends and public park attendants. With<br />
plenty of fresh air and goofing-off time, the<br />
world (or at least the duck pond) is their oyster<br />
until Roro, who is Lebanese, learns that<br />
his traditionalist family has promised him in<br />
hasty matrimony to Yasmin, an Arabic<br />
teenage girl he doesn’t even know, in order<br />
to satisfy her citizenship requirements (and<br />
his grandmother’s demands that he have at<br />
least four children). Meanwhile the husky,<br />
all-Nordic Måns has been suffering a crippling<br />
bout with impotence that makes him<br />
doubt his Måns-hood. He and his lover Jenny<br />
are reduced to role-playing games and<br />
strange sexual apparatuses in order to revive<br />
his ardor. As the appointed wedding day<br />
approaches, Yasmin’s domineering brother<br />
and a deranged dog-lover feuding with Måns<br />
are thrown into filmmaker Josef Fares’ hot<br />
and spicy Swedish meatball. (In Swedish<br />
with English subtitles)<br />
Producer~Anna Anthony Screenplay~Josef Fares<br />
Cinematography~Aril Wretblad Editor~Michal<br />
Laszczylowski Music~Daniel Lemma Principal Cast~<br />
Fares Fares, Torkel Petersson, Laleh Pourkarim, Tuva<br />
Novotny, Jan Fares Print Source~Swedish <strong>Film</strong> Institute<br />
About the Director~Born in Lebanon in 1977, Josef Fares<br />
moved to Sweden at the age of ten. He began shooting<br />
video shorts while a teenager and, at 21, was the youngest<br />
student ever to be accepted at the Dramatiska Institutet<br />
<strong>Film</strong> School in Stockholm. <strong>Film</strong>ography~“Jalla! Jalla”<br />
(2000), KOPS (2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Journey to Jerusalem<br />
(Patuvane kam Erusalim)<br />
Directed by Ivan Nichev<br />
BULGARIA 2003<br />
112 minutes<br />
Sunday, March 21<br />
2:<strong>15</strong> PM I Ticket Code 21H<br />
Thursday, March 25<br />
7:30 PM I Ticket Code 25R<br />
The year is 1942 and Elza and David are two<br />
German-Jewish youngsters, brother and sister,<br />
fleeing the horrors of Hitler’s Holocaust with<br />
their uncle. They get as far as Sofia, Bulgaria<br />
where their adult protector dies. Stranded,<br />
penniless and alone in a country whose language<br />
they don’t understand, the two children<br />
are “adopted” by a trio of vaudevillians who<br />
tour the small towns of the Bulgarian countryside<br />
with a threadbare magic show. It will<br />
call upon all the tricks and talents these illusionists<br />
can muster to pull off the ultimate<br />
disappearing act: get the children safely to<br />
Jerusalem. JOURNEY TO JERUSALEM shows<br />
the difference ordinary citizens can make in<br />
the face of tyranny. Director Ivan Nichev<br />
states his feature is based on a true story, and<br />
offers it in tribute to the righteous gentiles<br />
who helped save 50,000 Bulgarian Jews. (In<br />
German and Bulgarian with English subtitles)<br />
Producer~Ivan Nichev Screenplay~Yuri Dachev, Ivan<br />
Nichev Cinematography~Georgi Nikolov Editor~Tatiana<br />
Bodganova Music~Stefan Dimitrov Principal Cast~<br />
Bernd Michael Lade, Alexander Mortov, Elena Petrova,<br />
Vasil Vasilev-Zueke Print Source~Cinescope<br />
About the Director~Ivan Nichev was born in 1940 in<br />
Kazanlak, Bulgaria and studied cinema in Poland under the<br />
legendary Andrzej Wajda. He now teaches at the National<br />
Academy for Theater and <strong>Film</strong> Art in Sofia. <strong>Film</strong>ography~<br />
“Spomen” (1974), “Boomerang” (1978), “The Black Swans”<br />
(1984), “Ivan and Alexandra” (1989),<br />
“After the End of the World” (1998),<br />
JOURNEY TO JERUSALEM (2003)<br />
Sponsored by
26 FILMS A – Z [J – L] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
AMERICAN INDEPENDENTS<br />
Justice<br />
Directed by Evan Oppenheimer<br />
USA 2003<br />
80 minutes<br />
Thursday, March 25<br />
7:45 PM I Ticket Code 25N<br />
Friday, March 26<br />
5:00 PM I Ticket Code 26K<br />
After “American Splendor,” how about<br />
another funny-sad rumination on making<br />
sense of a crazy world through the comics?<br />
That would be just. In fact, that would be<br />
JUSTICE, set in a post-September 11th<br />
New York City. Drew, a comics writer who lost<br />
his best friend in the Twin Towers, tires of<br />
penning hackneyed superhero word-balloons.<br />
He envisions a new character more in step<br />
with a shaken society. No superpowers or<br />
radioactivity. Only a decent citizen (albeit<br />
cloaked), fighting mortal villains. Needing<br />
real-life inspiration for the average-avenger<br />
“Justice,” Drew strategically befriends Tre, a<br />
handsome substitute teacher he finds playing<br />
pickup basketball. The debut issue is a<br />
hit, and a Village Voice reporter/fan starts<br />
asking questions. How does Drew tell Tre<br />
he’s a hero with a secret identity so secret<br />
even he didn’t know he had it? On the edges<br />
of the narrative are Roberta, an activist<br />
lawyer fighting Mayor Giuliani’s city hall, and<br />
Mohammed, a Muslim from India selling<br />
bagels from his cart. When we realize their<br />
significance, it hits harder than the Hulk.<br />
This Marvel of a sophomore feature puts Evan<br />
Oppenheimer in a League of Extraordinary<br />
<strong>Film</strong>makers.<br />
Producers~Amy R. Baird, Amelia Dallis Screenplay~Evan<br />
Oppenheimer Cinematography~Luke Geissbuhler<br />
Editor~Allison Eve Zell Music~Nenad Bach Principal<br />
Cast~Erik Palladino, Catherine Kellner, Michael Jai White,<br />
Daphne Rubin-Vega, Ajay Naidu, Marisa Ryan, David<br />
Patrick Kelly Print Source~Evan Oppenheimer<br />
About the Director~Evan Oppenheimer graduated with a<br />
degree in English from Yale University. After editing books<br />
for Atheneum Publishers, he enrolled in<br />
film school at New York University.<br />
<strong>Film</strong>ography~“The Auteur Theory”<br />
(2000), JUSTICE (2003)<br />
WORLD TOUR<br />
Kitchen Stories<br />
(Salmer na Kjøkkenet)<br />
Directed by Bent Hamer<br />
NORWAY 2003<br />
91 minutes<br />
Friday, March 26<br />
9:30 PM I Ticket Code 26V<br />
Saturday, March 27<br />
12:<strong>15</strong> PM I Ticket Code 27B<br />
The 1950s. Stockholm’s great Dr. Ljungberg<br />
—who is experimenting with how to eliminate<br />
the average Scandinavian housewife’s<br />
unnecessary miles of walking between<br />
stove, table and cupboard—initiates a<br />
“positivisitic” study. Researchers in a fleet<br />
of identical trailers invade households just<br />
over the Norwegian border to minutely record<br />
every kitchen movement their host subjects<br />
make. Fastidious Folke Nilsson (who counts<br />
Linneaus a distant relation) ascends a tall<br />
chair to scrutinize Isak, a craggy farmer<br />
who volunteered for the survey due to a misunderstanding.<br />
Isak tries to undermine the<br />
stranger’s hovering presence, secretly cooking<br />
and eating elsewhere. Slowly, though, a<br />
friendship warms between the odd couple—<br />
even though fraternization between hosts and<br />
observers is strictly forbidden. Those who<br />
remember the deadpan humor of “Eggs”<br />
(20th CIFF, 1996) and “Water Easy Reach”<br />
(23rd CIFF, 1999) will welcome another<br />
serving of Bent Hamer’s droll absurdity.<br />
(In Swedish and Norwegian with English<br />
subtitles)<br />
Preceded by Survey<br />
Directed by Joe King, United Kingdom,<br />
6 minutes<br />
Producers~Jörgen Bergmark, Arve Figenschow, Bent Hamer<br />
Screenplay~Jörgen Bergmark, Bent Hamer<br />
Cinematography~Philip Øgaard Editor~Pål Geganbach<br />
Music~Hans Mathisen Principal Cast~Joachim Calmeyer,<br />
Tomas Norström, Bjørn Floberg, Reine Brynolfsson, Sveree<br />
Anker Ousdal Print Source~IFC <strong>Film</strong>s<br />
About the Director~Born in 1956 in Sandefjord, Sweden,<br />
Bent Hamer studied literature and film at the University of<br />
Stockholm and Stockholm <strong>Film</strong>skola, teaching as well as<br />
making his own short subjects. He started making features<br />
in 1995. <strong>Film</strong>ography~“Eggs” (1995), “Water Easy<br />
Reach” (1998), KITCHEN STORIES (2003)<br />
SOMEONE TO WATCH<br />
WORLD TOUR<br />
Kops<br />
(Kopps)<br />
Directed by Josef Fares<br />
SWEDEN 2003<br />
90 minutes<br />
Saturday, March 20<br />
12:30 PM I Ticket Code 20D<br />
Tuesday, March 23<br />
7:30 PM I Ticket Code 23Q<br />
Wednesday, March 24<br />
5:00 PM I Ticket Code 24L<br />
One-Adam 12! One-Adam 12! Dial 911<br />
emergency! We hear another Adam (Sandler)<br />
will star in an American insta-remake of this<br />
rollicking Swedish farce. See the original,<br />
before the brains behind “The Waterboy”<br />
and “The Hot Chick” commit cinematic<br />
felony on the sidesplitting source material.<br />
The village of Hogbotrask hasn’t had a<br />
single crime in ten years, and the police are<br />
atrophied slackers who don’t even know how<br />
to start a computer or file a report. Benny<br />
constantly fantasizes about “Die Hard” cop<br />
action; Lasse and Agneta are a middle-aged,<br />
squabbling couple; and Dick the K-9 is a<br />
Pomeranian frightened by its own squeeze<br />
toys. Patrolman Jacob, a single father with<br />
obsessive-compulsive disorder, finally<br />
impresses a pretty face in a bar, only to learn<br />
she’s the government hatchet-lady, here to<br />
close the entire precinct. The super troopers’<br />
last hope to justify their existence is a badly<br />
improvised hoax crime wave that careens<br />
out of control. (In Swedish with English<br />
subtitles)<br />
Producer~Anna Anthony Screenplay~Josef Fares, Mikael<br />
Håfström Vasa, Lars Johansson Cinematography~Aril<br />
Wretblad Editor~Michal Leszcylowski Music~Daniel<br />
Lemma, Bengt Nilsson Principal Cast~Fares Fares, Torkel<br />
Petersson, Göran Ragnerstam, Sissela Kyle, Eva Rose,<br />
Christian Fiedler, Erik Ahrnbom Print Source~Swedish<br />
<strong>Film</strong> Institute<br />
About the Director~Born in Lebanon in 1977, Josef Fares<br />
moved to Sweden at the age of ten. He began shooting<br />
video shorts while a teenager and, at 21, was the youngest<br />
student ever to be accepted at the Dramatiska Institutet<br />
<strong>Film</strong> School in Stockholm. <strong>Film</strong>ography~“Jalla! Jalla!”<br />
(2000), KOPS (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 27<br />
SOMEONE TO WATCH<br />
WORLD TOUR WORLD TOUR<br />
Last Life In the Universe<br />
(Ruang Rak Noi Nid Mahasan)<br />
Directed by Pen-ek Ratanaruang<br />
THAILAND, JAPAN 2003<br />
112 minutes<br />
Saturday, March 27<br />
7:45 PM I Ticket Code 27R<br />
ONE SCREENING ONLY<br />
For his latest feature, Pen-ek Ratanaruang is<br />
joined by Christopher Doyle, legendary Hong<br />
Kong cinematographer and shogunate of<br />
Japanese movie talent. LAST LIFE IN THE<br />
UNIVERSE is a culture-crossed mood piece<br />
about Kenji, a disconsolate Japanese librarian,<br />
displaced in Bangkok. Like the antihero<br />
of “Wilbur Wants to Kill Himself,” Kenji,<br />
well, wants to kill himself; he’s just looking<br />
for a sign, one way or the other. One of his<br />
attempts led to his shooting a marauding<br />
yakuza after his brother; the other made him<br />
witness to a tragedy that hooks him up with<br />
Noi, a Thai prostitute considering a relocation<br />
to Osaka for business reasons. Kenji<br />
hides out at Noi’s beach house, where her<br />
slovenly habits and poor taste offends his<br />
compulsive sense of order. In addition, he<br />
knows very little Thai and she’s just starting<br />
to learn Japanese. Yet a bond builds between<br />
them, although the fragile peace will soon be<br />
interrupted. Why should a librarian be so<br />
handy with firearms? (In English, Thai and<br />
Japanese with English subtitles)<br />
Producers~Wouter Barendrecht, Nonzee Nimibutr,<br />
Duangkamoi Lamcharoen Screenplay~Prabda Yoon,<br />
Pen-ek Ratanaruang Cinematography~Christopher Doyle<br />
Editor~Pattamanadda Yukol Music~Small Room,<br />
Hualampong Riddim Principal Cast~Tadanobu Asano,<br />
Sinitta Boonyasak, Laila Boonyasak, Yutaka Matsushige,<br />
Takeuchi Riki, Takashi Miike Print Source~Palm Pictures<br />
About the Director~Pen-ek Ratanaruang was born in 1962.<br />
He studied art at New York’s Pratt Institute, becoming a<br />
graphic designer and illustrator before working in Thailand<br />
as an art director and award-winning advertising director.<br />
<strong>Film</strong>ography~“Fun Bar Karaoke” (1997), “6ixtynin9”<br />
(2000), “Mon Rak Transistor” (2001), LAST LIFE IN THE<br />
UNIVERSE (2003)<br />
Learning to Lie<br />
(Liegen Lernen)<br />
Directed by Hendrick Handloegten<br />
GERMANY 2003<br />
90 minutes<br />
Saturday, March 27<br />
9:45 PM I Ticket Code 27S<br />
Sunday, March 28<br />
2:30 PM I Ticket Code 28E<br />
It was a Dark and Stormy Night in 1998<br />
when Helmut, lying sodden in a puddle of<br />
rainwater, suddenly stopped being a commitment-shy<br />
wimp. This is his story, covering<br />
16 years of the hero’s romantic mishaps,<br />
mismatches, breakups and unrequited longings<br />
since his high-school days when he fell<br />
hard for Britta, a golden-girl class president<br />
and anti-nuclear activist, a left-wing Lorelei<br />
with boundless concern for the world’s<br />
oppressed millions. By contrast, Britta had<br />
no problem breaking Helmut’s heart and<br />
moving on. Helmut decides that when it<br />
comes to women, honesty is never the best<br />
policy, whether the question is “Were you<br />
there when the Berlin Wall came down?” or<br />
“Do you love me?” The trouble with his lies<br />
is that the Truth is Out There, and LEARNING<br />
TO LIE hails from X <strong>Film</strong>e, a collective of<br />
cutting-edge German filmmakers responsible<br />
for such international successes as “Run<br />
Lola Run,” “Heaven” and “Goodbye Lenin.”<br />
Here they deliver a deviously entertaining<br />
Teutonic twist on “High Fidelity.” Would we<br />
lie to you? (In German with English subtitles)<br />
Preceded by The School<br />
Directed by Ezra Krybus & Matthew Miller,<br />
Canada, 12 minutes<br />
Producer~Maria Köpf Screenplay~Hendrik Handloegten<br />
(based on the novel by Frank Goosen) Cinematography~<br />
Florian Hoffmeister Editor~Elena Bromund Music~Dieter<br />
Schleip Principal Cast~Fabian Busch, Susanne Bormann,<br />
Fritzi Haberlandt, Sophie Rois, Anka Lea Sarstedt, Birgit<br />
Minichmayr, Florian Lukas Print Source~Beta Cinema<br />
About the Director~Hendrik Handloegten was born in<br />
1968 and entered the Berlin Academy for <strong>Film</strong> and<br />
Television in 1993. <strong>Film</strong>ography~“Paul is Dead” (2001),<br />
LEARNING TO LIE (2003)<br />
WORLD TOUR<br />
Life is Life<br />
(Haïm ze Haïm)<br />
Directed by Michal Bat-Adam<br />
ISRAEL 2003<br />
90 minutes<br />
Thursday, March 25<br />
9:45 PM I Ticket Code 25U<br />
Friday, March 26<br />
2:<strong>15</strong> PM I Ticket Code 26G<br />
Like Tom Lawless of “Goldfish Memory,”<br />
Macky, the novelist protagonist of LIFE IS<br />
LIFE, is a literati of prodigious sexual<br />
appetites. “I love all women. I want to go to<br />
bed with every woman I like. I want to love<br />
and be loved,” he rhapsodizes. Macky does<br />
have his pick among the starstruck students<br />
in his Tel Aviv college courses, among random<br />
women in cafés—he even maintains a hotel<br />
room on permanent reserve for...whenever.<br />
But remember, Macky is a storyteller by avocation,<br />
one who has mined his own mother’s<br />
life for fictional material. How much of what<br />
we’re seeing is genuine, how much is fantasy?<br />
The 50-ish Macky finally separates from his<br />
wife (and child) for Ayala, a mother in her<br />
30s. When Ayala’s husband leaves her,<br />
however, the mistress’s reaction is to remain<br />
distant and aloof from Macky. Without his<br />
muse, the writer casts about for new inspiration<br />
to finish his latest manuscript. Michal<br />
Bat-Adam and Moshe Mizrahi, themselves a<br />
First Couple of Israeli cinema, offer us an<br />
ironic portrait of an aging artist. (In Hebrew<br />
with English subtitles)<br />
Producers~Moshe Mizrahi, Michal Bat-Adam Screenplay~<br />
Michal Bat-Adam Cinematography~Yoav Kosh Editor~<br />
Sharon Guetta-Jacobi Music~Daniel Mizrahi Principal<br />
Cast~Moshe Ivgui, Yael Abecassis, Hari Nahmias, Igal<br />
Sadeh, Rivka Gur, Rivka Michaeli, Noa Port, Rita Shykroun,<br />
Moshe Mizrahi Print Source~Haim ze Haim Ltd.<br />
About the Director~Michal Bat-Adam attended the<br />
Academy of Music in Tel Aviv and studied acting at the<br />
Beit Zvi Drama School. She made a name for herself as<br />
an actress before becoming a prominent screenwriter and<br />
director. <strong>Film</strong>ography~“Moments” (1979), “The Thin<br />
Line” (1980), “Aya: Imagined Autobiography” (1994),<br />
LIFE IS LIFE (2003)
28 FILMS A – Z [L – M] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES<br />
The Loss of<br />
Nameless Things<br />
Directed by Bill Rose<br />
USA 2003<br />
110 minutes<br />
Friday, March 26<br />
12:00 Noon I Ticket Code 26B<br />
Saturday, March 27<br />
2:30 PM I Ticket Code 27F<br />
In 1978 Oakley Hall III was a 28-year-old<br />
playwright on the verge of national acclaim.<br />
His work had been optioned by Joseph Papp;<br />
Mandy Patinkin and William Hurt starred in<br />
staged readings of his plays; and he was the<br />
charismatic co-founder and artistic director<br />
of the Lexington Conservatory Theater in<br />
upstate New York. Then his life was violently<br />
interrupted by a fall from a bridge; he suffered<br />
major head injuries, was hospitalized<br />
for a year and remained incapacitated much<br />
longer. His career was considered over. But<br />
25 years later, a theater in Northern<br />
California bid to stage the very play Hall had<br />
been working on when he fell, and he was<br />
asked to participate as playwright and consultant.<br />
This film is the haunting story of<br />
Hall’s fall from grace and his hard-won resurrection<br />
to a creative life.<br />
Producer~Bill Rose Cinematography~Mickey Freeman,<br />
Jerry Slick, Bill Bishop Editor~Rick LeCompte Music~<br />
Barney Jones, Joan Jeanrenaud of Kronos Quartet<br />
Print Source~Nameless <strong>Film</strong>s<br />
About the Director~For over 20 years, Bill Rose has been<br />
producing and directing documentaries and short films. He<br />
is the recipient of numerous film awards. This is his first<br />
feature documentary film. <strong>Film</strong>ography~THE LOSS OF<br />
NAMELESS THINGS (2003)<br />
Sponsored<br />
by<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Loving Glances<br />
(Sjaj U Očima)<br />
Directed by Srdjan Karanović<br />
SERBIA AND MONTENEGRO 2003<br />
97 minutes<br />
Friday, March 19<br />
4:45 PM I Ticket Code 19M<br />
Tuesday, March 23<br />
4:45 PM I Ticket Code 23M<br />
Thursday, March 25<br />
2:30 PM I Ticket Code 25E<br />
Dedicated to Rene Clair, Srdjan Karanović’s<br />
comedy finds melancholy and robust humor<br />
in the aftermath of the civil war and genocide<br />
in the shattered Adriatic states. One<br />
needn’t be a refugee to be lonesome, but it<br />
helps, as Labud can attest. In Belgrade with<br />
nothing but a plastic bag of personal belongings,<br />
the young man hides his unpopular<br />
Serbian heritage (the reason he can’t get a<br />
visa to seek his beloved fiancee, long-fled<br />
to Chicago) and signs with Happy Milennium,<br />
a haphazard matchmaking service. Eventually<br />
Labud decides to pursue a romance with an<br />
upwardly-mobile Albanian named Romana,<br />
even though she seems quite beyond his<br />
reach. Our hero is lonely, but not alone; ever<br />
present in Labud’s eyes and ears are an<br />
invisible, quarrelsome host of dead or lost<br />
friends and relatives, still fighting yesterday’s<br />
battles, still determined to meddle in his<br />
affairs... and in Romana’s as well. For it<br />
turns out that she has her ghosts, too. (In<br />
Serbian with English subtitles)<br />
Producers~Milko Jodifov, Zoran Cvijanović, Mike Downey,<br />
Sam Taylor Screenplay~Srdjan Karanovic<br />
Cinematography~Radan Popović Editor~Branka Čeperac<br />
Music~Zoran Simjanović Principal Cast~Senad Alihodzˇic,<br />
Ivana Bolanča, Jelena Dokić, Gorica Popović, Milena Dravić,<br />
Boris Komnenić Print Source~<strong>Film</strong> and Music Ent. Ltd<br />
About the Director~Srdjan Karanović graduated from<br />
the Prague film academy FAMU in 1970. He is currently a<br />
full-time film instructor at Belgrade’s Faculty for Dramatic<br />
Arts. <strong>Film</strong>ography~“The Fragrance of Wild Flowers”<br />
(1978), “Something in Between” (1983), “A <strong>Film</strong> With<br />
No Name” (1988), “Virgina” (1991), LOVING GLANCES<br />
(2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Made in Estonia<br />
(Vanad Ja Kobedad Saavad Jalad Alla)<br />
Directed by Rando Pettai<br />
Estonia 2003<br />
100 minutes<br />
Friday, March 19<br />
9:45 PM I Ticket Code 19V<br />
Sunday, March 21<br />
12:00 Noon I Ticket Code 21D<br />
If an Eastern European Coen Brothers were<br />
to make a madcap goof called “Raising<br />
Estonia,” it might go something like this:<br />
Vaino finds his flat in the city of Tallinn bulldozed<br />
for construction of a NATO airbase.<br />
The government relocates the fellow to a<br />
community where cycle-riding punks take an<br />
instant dislike to newcomers. When Vaino’s<br />
overprotective sister Maie (the same actor in<br />
drag) places a lonely-hearts ad for her brother,<br />
the attention of various village females<br />
further marks Vaino as a troublemaker. One<br />
biker hires a stranger to drive off such outsiders.<br />
The paid assailant? Vaino. It may (or<br />
may not) help escalating confusion to know<br />
that you are watching a mind’s eye-view of<br />
“Made in Estonia,” an unscripted radio serial,<br />
done in the studio entirely by two actors,<br />
Norm and Mili, who crazily blend slapstick,<br />
action, ribaldry, nationalism and pop-music<br />
numbers (especially a showstopping finale).<br />
On-air snafus and their own preoccupations<br />
warp the narrative beyond absurdity, while<br />
still reflecting a basic need for a better life<br />
and a happy ending. (In Estonian and<br />
Lithuanian with English subtitles)<br />
Producers~Tõnis Haavel, Kaupo Karelson Screenplay~<br />
Peep Pedmanson Cinematography~Mait Maekivi Editor~<br />
Tambet Tasuja Music~Genialistid Principal Cast~Henrik<br />
Normann, Madis Milling, Piret Laurimaa, Robert Gutmann,<br />
Viire Valdma, Marko Matvere, Jan Uuspold, Enn Reitel,<br />
Peeter Oja Print Source~Lifesize Entertainment &<br />
Releasing<br />
About the Director~Born in 1965, Rando Pettai is a<br />
prolific director of TV commercials, music-videos and the<br />
Baltic-nations edition of “Survivor.” He makes his feature<br />
theatrical debut here. <strong>Film</strong>ography~MADE IN ESTONIA<br />
(2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 29<br />
AMERICAN INDEPENDENTS WORLD TOUR<br />
Madness and Genius<br />
Directed by Ryan Eslinger<br />
USA 2003<br />
103 minutes<br />
Friday, March 19<br />
9:30 PM I Ticket Code 19T<br />
Sunday, March 21<br />
12:00 Noon I Ticket Code 21B<br />
FOR PROGRAM UPDATES<br />
Darren Aronofsky’s “Pi” multiplied by the<br />
negative of “Good Will Hunting” yields the<br />
root for this menacing drama of beautiful<br />
and un-beautiful minds in the cloisters of an<br />
unnamed, prestigious college. Here noble<br />
principles of science are not greater<br />
than/equal to variables of the human factor.<br />
Like Stephen Hawking, brilliant undergrad<br />
Nigel suffers from degenerative ALS, making<br />
him progressively helpless. While he reaches<br />
out to Rachel, a pretty teaching assistant in<br />
concubinage to a professor-lover, Nigel’s<br />
main solace is pure mental pleasure in doing<br />
homework for roommate Jordan, who had<br />
coasted through classes on a photographic<br />
memory. Now Jordan’s failing grades reflect<br />
his lack of comprehension. An unpopular<br />
physics instructor, Frank Donovan, once a<br />
luminary of the Manhattan Project, is a muttering,<br />
withdrawn paranoiac, inventing<br />
incredible technologies and devices only on<br />
<strong>pages</strong> scattered in his cluttered office—and<br />
vulnerable to a desperate Jordan’s blackmail.<br />
You don’t have to be a rocket scientist to<br />
quantify the dark matter in Ryan Eslinger’s<br />
monochrome debut.<br />
Producer~Ryan Eslinger Screenplay~Ryan Eslinger<br />
Cinematography~Steve Huber Editor~Ryan Eslinger<br />
Music~Ryan Eslinger Principal Cast~Tom Noonan,<br />
David James Hayward, David Williams, Christine Meyers,<br />
Norm Golden, Gary Lamadore, Rick Spates, Erik Frandsen<br />
Print Source~Ryan Eslinger<br />
About the Director~Born in 1981 in Illinois to an engineer<br />
and a mathematician, Ryan Eslinger recently graduated<br />
from NYU with a degree in cinema and psychology. He<br />
started resarching and raising money for his feature debut<br />
while in 7th grade. <strong>Film</strong>ography~MADNESS AND<br />
GENIUS (2003)<br />
Magnifico<br />
Directed by Maryo J. delos Reyes<br />
PHILIPPINES 2003<br />
123 minutes<br />
Friday, March 19<br />
2:<strong>15</strong> PM I Ticket Code 19F<br />
Saturday, March 20<br />
4:<strong>15</strong> PM I Ticket Code 20J<br />
Monday, March 22<br />
9:45 PM I Ticket Code 22S<br />
The late, great Johnny Cash did that song<br />
about the character-strengthening travails<br />
of A Boy Named Sue. But the hero of this<br />
sentimental drama has the opposite problem.<br />
Despite his grandiose and pretentious name,<br />
Magnifico is seen as a disappointment by his<br />
parents, a good-hearted but slow kid, practically<br />
written off by age nine. Younger sister<br />
Helen has been stricken with cerebral palsy,<br />
so the rural family places their hope in older<br />
brother Miong, off on a scholarship in<br />
Manila. Magnifico finds other ways to live<br />
up to his great expectations, even if hardly<br />
anybody notices or appreciates it. When his<br />
beloved grandmother is diagnosed with<br />
terminal cancer, he takes it upon himself to<br />
build her coffin from scratch. He also tries to<br />
raise the money to buy Helen a wheelchair to<br />
visit the local carnival. Magnifico’s transcendent<br />
glory, it seems, is that he’s not smart<br />
enough to know when things are hopeless.<br />
For such a boy anything is possible... (In<br />
English and Tagalog with English subtitles)<br />
Producer~Violetta C. Sevilla Screenplay~Michiko<br />
Yamamoto Cinematography~Odyssey Flores Editor~<br />
Manet Dayrit Music~Lutgardo Labad Principal Cast~<br />
Lorna Tolentino, Albert Martinez, Jiro Manio, Gloria Romero,<br />
Isabella De Leon, Danilo Barrios, Tonton Gutierrez Print<br />
Source~Ignatius Entertainment/Vagrant <strong>Film</strong>s Carada<br />
About the Director~Maryo J. delos Reyes was born in<br />
Manila in 1952. A former seminarian, he graduated with a<br />
degree in mass communications from the University of the<br />
Philippines. He has directed more than 50 feature films.<br />
<strong>Film</strong>ography~“High School Circa ‘65” (1979), “Diosa”<br />
(1985), “I Love You Mama, I Love You Papa” (1987),<br />
“In Efren’s Paradise” (1999) “Red Diaries” (2001),<br />
“Laman” (2002), MAGNIFICO (2003)<br />
AMERICAN INDEPENDENTS<br />
TEN PERCENT CINEMA<br />
Mango Kiss<br />
Directed by Sascha Rice<br />
USA 2003<br />
85 minutes<br />
Saturday, March 20<br />
7:00 PM I Ticket Code 20Q<br />
Monday, March 22<br />
3:00 PM I Ticket Code 22F<br />
“Am I your primary, your secondary or just<br />
another spoke in your wheel?” asks Lou.<br />
Narrator of this gaily colored sex comedy, she<br />
chronicles her no-longer-platonic relationship<br />
with her best friend, performance-artist<br />
Sassafras, who was long uncertain about her<br />
gender preference before coming down fully<br />
on the Sapphic side. Now they’re a couple,<br />
cohabitating and working downscale jobs in a<br />
dominatrix-owned San Francisco supermarket.<br />
The community is like a sexual candy store<br />
—full of Sweet Tarts, Red Hots and<br />
Jawbreakers—and Sassafras says she’s got<br />
to taste all 21 flavors; she cruises the S&M<br />
underground, hooking up with a musical<br />
punk while assuring Lou that she comes<br />
first. Rock steady Lou, secretly chagrined,<br />
tries to please her lover by playing along—<br />
heavy emphasis on “play.” For in their<br />
pursuit of sensual happiness, these college<br />
grads adopt attitudes and argot of early<br />
childhood. But infantilism isn’t enough to<br />
sugar-coat Lou’s achy heart when she realizes<br />
fidelity is the ultimate lifestyle.<br />
Preceded by Hummer<br />
Directed by Guinevere Turner, USA, 9 minutes<br />
Producers~Erin O’Malley, Joe Mellis, Sascha Rice<br />
Screenplay~Sarah Brown, Sascha Rice (based on the play<br />
“Bermuda Triangles: A Non-Monogamy Experiment” by<br />
Sarah Brown) Cinematography~John Pirozzi Editors~<br />
Cindy Parisotto, Lauren Giorano Music~Matthew Ferraro<br />
Principal Cast~Michelle Wolff, Daniele Ferraro, Sally<br />
Kirkland, Dru Mouser, Tina Marie Murray, Shannon<br />
Rossiter, Joe Mellis, Malia Spanyol, Max Miller Print<br />
Source~Mango Me Productions<br />
About the Director~From a prominent California family<br />
(her uncle is Jerry Brown), Sascha Rice studied at UCLA-<br />
Santa Cruz, Hampshire College in Massachusetts and the<br />
American <strong>Film</strong> Institute. She helped found Santa Fe’s<br />
Frogs on Water stage troupe before moving to Los Angeles<br />
to make movies with actor husband Joe Mellis.<br />
<strong>Film</strong>ography~MANGO KISS (2003)
30 FILMS A – Z [M] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
TEN PERCENT CINEMA<br />
WORLD TOUR WORLD TOUR<br />
WORLD TOUR<br />
Merci Docteur Rey<br />
Directed by Andrew Litvack<br />
FRANCE, USA 2002<br />
91 minutes<br />
Saturday, March 27<br />
7:30 PM I Ticket Code 27P<br />
Sunday, March 28<br />
2:30 PM I Ticket Code 28G<br />
Make no mistake, MERCI DOCTEUR REY is<br />
a theatrical farce. With cameos by Jerry Hall<br />
and Vanessa Redgrave (as herself), the film<br />
careens wildly about the avenues of Paris.<br />
Dianne Wiest plays an opera diva who comes<br />
to Paris to both perform and smother her<br />
son, Thomas (Stanislas Merhar), who is just<br />
discovering his homosexuality and is answering<br />
ads in the paper. He is given money to<br />
witness an older man and a young hunk have<br />
sex, which results in the older man’s death.<br />
Thomas goes straight to his mother’s psychiatrist,<br />
Dr. Rey. But Dr. Rey is dead under the<br />
desk, and a paranoid patient (played by a<br />
real-life voice-over artist best known for<br />
dubbing famous actresses) with a phobia of<br />
divas poses as the good doctor. Meanwhile,<br />
Thomas’ father has been murdered, and<br />
Thomas somehow ends up with the young<br />
man he watched from the closet. Mistaken<br />
identities and off-the-wall encounters<br />
abound: think Agatha Christie crossed with<br />
Woody Allen.<br />
Producers~Rahila Bootwala, Nathalie Gastaldo<br />
Screenplay~Andrew Litvack Cinematography~Laurent<br />
Machuel Editor~Giles Gardner Music~Geoffrey Alexander<br />
Principal Cast~Dianne Wiest, Jane Birkin, Stanislas<br />
Merhar, Bulle Ogier, Simon Callow, Jerry Hall, Vanessa<br />
Redgrave Print Source~Regent Entertainment/here!<strong>Film</strong>s<br />
About the Director~Born in New York City in 1964,<br />
Andrew Litvack graduated from Williams College in 1987.<br />
He moved to Paris and made a living subtitling hundreds of<br />
French films into English. After working with Ismail<br />
Merchant and James Ivory, this is his feature film debut.<br />
Selected <strong>Film</strong>ography~MERCI DOCTEUR REY (2002)<br />
SOMEONE TO WATCH<br />
Mon-Rak Transistor<br />
Directed by Pen-ek Ratanaruang<br />
THAILAND 2001<br />
121 minutes<br />
Monday, March 22<br />
7:<strong>15</strong> PM I Ticket Code 22Q<br />
Wednesday, March 24<br />
12:00 Noon I Ticket Code 24C<br />
MON-RAK TRANSISTOR comes with a longdistance<br />
dedication to native crooner Surapol<br />
Sombatcharoen—murdered in 1968.<br />
Beginning with a grueling ordeal in a prison<br />
cell, it unreels in flashback the saga of the<br />
aptly named Pan. An upbeat, rustic innocent,<br />
Pan strives to make his own luck, only<br />
to see it go bad. Against the wishes of a guntoting<br />
patriarch, he wins the hand of village<br />
beauty Sadow (giving her a transistor radio<br />
as a wedding gift), aces a talent show—<br />
“From the Gutter to the Stars,” the Bangkok<br />
equivalent of “American Idol”—and becomes<br />
a singing sensation. Not bad for a guy who<br />
often faints after giving his pipes a turn at<br />
the microphone. Yet this Lost Boy also gets<br />
drafted into the army, spends years apart<br />
from his wife and child, commits an<br />
unspeakable crime, and suffers virtual<br />
slavery in the canefields. And the cherished<br />
radio falls into decay and disrepair. Pan’s<br />
Candide-like journey, according to the<br />
filmmaker, is “a sweet and tender piece of<br />
candy with a satirical poison in the middle.”<br />
(In Thai with English subtitles)<br />
Producers~Nonzee Nimibutr, Duangkamol Limcharoen<br />
Screenplay~Pen-ek Ratanaruang (based on the novel<br />
by Wat Wanlayangkoon) Cinematography~Chankit<br />
Chamniwikaipong Editor~P. D. Yukol Music~Amombhong<br />
Methakunavudh, Chatchi Pongprapapan Principal Cast~<br />
Suppakorn Kitsuwan, Siriyakorn Pukkaveas, Black<br />
Pomtong, Somlek Sakdikul, Porntip Papanai, Ampol<br />
Rattanawong Print Source~Fortissimo <strong>Film</strong> Sales<br />
About the Director~Pen-ek Ratanaruang was born in 1962.<br />
He studied art at New York’s Pratt Institute, becoming a<br />
graphic designer and illustrator before working in Thailand<br />
as an art director and award-winning advertising director.<br />
<strong>Film</strong>ography~“Fun Bar Karaoke” (1997), “6ixtynin9”<br />
(2000), MON-RAK TRANSISTOR (2001), “Last Life in<br />
the Universe” (2003)<br />
Moonlight<br />
Directed by Paula van der Oest<br />
NETHERLANDS 2003<br />
90 minutes<br />
Tuesday, March 23<br />
9:45 PM I Ticket Code 23U<br />
Wednesday, March 24<br />
12:00 Noon I Ticket Code 24A<br />
In a wooded suburb in the Benelux, Claire,<br />
an adolescent girl in an affluent but sterile<br />
household, suffers alone through her first<br />
burst of menstrual blood. Fleeing in terror to<br />
a shed, she finds another child bleeding—<br />
but from a pistol shot that was meant to kill<br />
him. The nameless boy, with vaguely Middle-<br />
Eastern features but who speaks no language<br />
known to Claire, is a drug syndicate’s<br />
expendable “mule.” His digestive tract still<br />
holds balloons of cocaine he was supposed<br />
to smuggle past customs. Claire was herself<br />
an abandoned orphan and feels more affinity<br />
for this semi-feral alien youth than for her<br />
adoptive parents. She treats and shelters him<br />
in secret, then goes on the run from his<br />
implaccable pursuers. As her world becomes<br />
larger, it also becomes threatening and terrible.<br />
An eerie, poetic and unsettling depiction<br />
of innocence lost, of the magic of childhood<br />
blending into the evil that adults do, MOON-<br />
LIGHT plays out an unforgettable nocturne.<br />
(In English and Dutch with English subtitles)<br />
Preceded by Duke of Goo<br />
Directed by Richard Matson, USA, <strong>15</strong> minutes<br />
Producer~Emjay Rechsteiner Screenplay~Carel Donck<br />
Cinematography~ Guido van Gennep Editor~Sander Vos<br />
Music~Fons Merkies Principal Cast~Laurien Van den<br />
Broeck, Hunter Bussemaker, Johan Leysen, Jemma<br />
Redgrave, Andrew Howard Print Source~Staccato <strong>Film</strong>s<br />
About the Director~Paula van der Oest was born in<br />
1965 in Laag Soeren in Holland. She graduated in 1988<br />
from the Netherlands <strong>Film</strong> and Television Academy.<br />
<strong>Film</strong>ography~“Another Mother” (1996), “De Trip van<br />
Teetje” (1998), “Zus & Zo” (2001), MOONLIGHT (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 31<br />
SOMEONE TO WATCH<br />
WORLD TOUR<br />
Mr. Wrong<br />
Directed by Gaylene Preston<br />
NEW ZEALAND 1984<br />
88 minutes<br />
Saturday, March 20<br />
12:00 Noon I Ticket Code 20C<br />
Wednesday, March 24<br />
10:00 PM I Ticket Code 24V<br />
In Gaylene Preston’s theatrical debut, she<br />
adapts a short-story source said to have once<br />
had the attention of Alfred Hitchcock. It<br />
anticipates later supernatural thrillers like<br />
“Stir of Echoes” and “What Lies Beneath.”<br />
When MR. WRONG briefly circulated in the<br />
mid-1980s (under the export title “Dark of<br />
the Night”), critics noted its sympathetic<br />
heroine and feminist sensibilities going<br />
against the tide of misogynistic slasher<br />
flicks. Meg, a timid young lady working in<br />
the city and living alone, has the “luck” to<br />
buy a bargain-priced Jaguar, a snazzy car<br />
enabling her to visit mum and get around in<br />
style. But it has unexpected accessories, like<br />
the disembodied sounds of heavy breathing<br />
and the shocking news that the vehicle’s<br />
previous owner came to an untimely end.<br />
Fueled by automotive urban legends, ghost<br />
stories and the isolation of the New Zealand<br />
roads at twilight, MR. WRONG takes Meg<br />
for the ride of her life.<br />
Producer~Robin Laing Screenplay~Gaylene Preston,<br />
Geoff Murphy, Graeme Tetley (based on the short story by<br />
Elizabeth Jane Howard) Cinematography~Thomas Burstyn<br />
Editor~Simon Reece Music~Jonathan Crayford Principal<br />
Cast~Heather Bolton, David Letch, Danny Mulheron, Gary<br />
Stalker, Michael Haigh, Kate Harcourt Print Source~New<br />
Zealand <strong>Film</strong> Commission<br />
About the Director~Born in Greymouth, New Zealand in<br />
1947, Gaylene Preston ran a drama therapy program at a<br />
British hospital before her film career began in 1977. She<br />
directed commercials, shorts and award-winning documentaries,<br />
making her feature debut in 1984. <strong>Film</strong>ography~<br />
MR. WRONG (1984), “Ruby and Rata” (1990), “Married”<br />
(1992), “War Stories” (1995), “Perfect Strangers” (2003)<br />
SEE PAGE 59<br />
? For<br />
WORLD TOUR<br />
Mutt Boy<br />
(Tong-Gae)<br />
Directed by K.T. Kwak<br />
SOUTH KOREA 2003<br />
101 minutes<br />
Members Only!<br />
Friday, March 19<br />
2:30 PM I Ticket Code 19E<br />
Saturday, March 20<br />
10:00 PM I Ticket Code 20U<br />
His Life as a Dog. Chul-min Park’s mother<br />
died in childbirth; the boy was raised offhandedly<br />
by a cop father so distracted by<br />
police duties in the city of Miryang, he didn’t<br />
mind calling his son and the family pooch by<br />
the same name: Mutt Boy. Left mostly unsupervised<br />
to roam like any stray, Mutt Boy<br />
gets into a blood feud with hoodlums from<br />
the upper classes (who don’t mind eating<br />
canine meat) and runs with a pack of schooldropout<br />
misfits called the Miryang Junior<br />
Klub. Detective Park, meanwhile, doggedly<br />
tries to take down a seemingly untouchable<br />
businessman; he has better things to do than<br />
repeatedly bail his feral kid out of trouble.<br />
Father and son are both flawed characters<br />
with strong moral codes and ideas of right<br />
and wrong. In a way, they’re fighting the<br />
same battle. K.T. Kwak’s hit mob drama<br />
“Friend” (26th CIFF, 2002) catapulted<br />
him into the forefront of Asian commercial<br />
directors, and in MUTT BOY he sires another<br />
street saga of outstanding pedigree. (In<br />
Korean with English subtitles)<br />
Producer~Joong-kyung Yang Screenplay~K.T. Kwak,<br />
Chang-woo Kim Cinematography~Ki.S Hwang Editor~<br />
Yoo-kyung Park Music~Min-hwa Yun Principal Cast~<br />
Woo-Sung Jung, Kab-Su Kim, Ji-Won Um Print Source~<br />
Cineclick Asia<br />
About the Director~Born in Pusan in 1966, K.T. Kwak<br />
studied medicine at Koshin University before turning to<br />
cinema, graduating from film studies at NYU in 1998.<br />
<strong>Film</strong>ography~“3 p.m. Paradise” (1997), “Dr. K” (1998),<br />
“Friend” (2001), “Champion” (2002), MUTT BOY (2003)<br />
Members’ Sneak Preview<br />
Wednesday, March 24<br />
7:30 PM I Ticket Code 24N<br />
WORLD TOUR<br />
My Baby<br />
(A Filha)<br />
Directed by Solveig Nordlund<br />
PORTUGAL, SWEDEN 2003, 90 minutes<br />
Sunday, March 21<br />
9:30 PM I Ticket Code 21U<br />
Monday, March 22<br />
2:30 PM I Ticket Code 22E<br />
Wednesday, March 24<br />
5:00 PM I Ticket Code 24K<br />
In a case of life imitating fiction, a wellknown<br />
Portuguese TV producer was embroiled<br />
in a pedophilia scandal shortly after Solveig<br />
Nordlund finished filming MY BABY, a taut<br />
domestic noir with a hauntingly similar<br />
premise. Ricardo Monteiro, an award-winning<br />
network producer known for his confrontational<br />
programs, dallies too long with one of<br />
his mistresses and is late (again) for the<br />
birthday of his motherless daughter Leonor.<br />
When he can’t find her, he starts asking<br />
questions—and hears accounts of the girl’s<br />
truancy from school, promiscuity and nocturnal<br />
routine of decadence and drugs. Sara,<br />
one of Leonor’s peers, exploits the father’s<br />
desperate search. She pretends to help him<br />
look for Leonor, but in fact she’s scheming to<br />
replace the runaway. Much like the starlets<br />
at Ricardo’s casting couch, Sara will do anything<br />
for fame. Then we notice the essence<br />
of Ricardo’s highly rated reality TV shows<br />
like “Quarto Escuro” (the Dark Room), the<br />
cruel psychological games they play. And<br />
we wonder who is the real victim here? (In<br />
Portuguese with English subtitles)<br />
Producer~Manuel João Ãquás Screenplay~Solveig<br />
Nordlund, Tommy Karlmark, Mario de Carvalho, Vincent<br />
Alves do Ó Cinematography~Acácio de Almeida Editor~<br />
Stefan Sundlöf Music~Johan Zachrisson Principal Cast~<br />
Nuno Melo, Joana Bárcia, Margarida Marinho, Cecilia<br />
Guimaraes Print Source~Torromfilm AB<br />
About the Director~Born in Stockholm, Solveig Nordlund<br />
divides her time between Sweden and Portugal. She has<br />
worked in live theater, television, documentaries and<br />
narrative film, often adapting the works of Harold Pinter<br />
and J.G. Ballard. <strong>Film</strong>ography~“Neither Fish Nor Fowl”<br />
(1977), “Dina and Django” (1980), “See You Tomorrow,<br />
Mario” (1992), “Comedia Infantil” (1997), “Low-Flying<br />
Aircraft” (2001), MY BABY (2003)
32 FILMS A – Z [M–N] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
My Town<br />
(Moje Miasto)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Directed by Marek Lechki<br />
POLAND 2003<br />
60 minutes<br />
Tuesday, March 23<br />
2:30 PM I Ticket Code 23H<br />
Friday, March 26<br />
12:30 PM I Ticket Code 26D<br />
Sunday, March 28<br />
5:<strong>15</strong> PM I Ticket Code 28J<br />
Growing up in a depressed industrial region<br />
in Silesia, a torpid place that seems to trap<br />
its unfortunate inhabitants like quicksand,<br />
young Gozdzik does his best to lighten things<br />
for his small circle of friends in a bleak<br />
apartment complex. After all, it’s not as<br />
though jobs are plentiful enough to give him<br />
anything else to do. Gozdzik secretly stocks<br />
a barren pond with fish so his indolent,<br />
alcoholic father will at last succeed in catching<br />
something. He contrives a lonely old<br />
neighbor’s dream date with the loveliest girl<br />
in town. He shields his family from a beloved<br />
uncle’s disgrace. And for himself... What? A<br />
future would be nice. And a future anywhere<br />
but here would be nicer. The Polish television<br />
anthology series “Generation 2000,” which<br />
last gave us the haunting “Bellissima” (27th<br />
CIFF, 2003), serves to showcase the debut<br />
work of some of Eastern Europe’s brightest<br />
emerging filmmakers, and Marek Lechki’s<br />
feature bow, a sad and funny snapshot of<br />
desperate lives, marks another auspicious<br />
entry. (In Polish with English subtitles)<br />
Preceded by A Woman and Circles<br />
Directed by Bruce Checefsky, USA, 12 minutes<br />
Producers~Telewizja Polska S.A., Agencja <strong>Film</strong>wa<br />
Screenplay~Marek Lechki Cinematography~Przemyslaw<br />
Kamiński Editor~Robert Mańkowski Music~Bartek<br />
Straburzyński Principal Cast~Radoslaw Chrzes´ciański,<br />
Agnieszka Banach, Krzysztof Stroiński, Dorota Pomykala,<br />
Andrezej Mastalerz, Krystyna Tkacz Print Source~<br />
Telewizja Polska S.A.<br />
About the Director~Marek Lechki was born in 1975 in<br />
Brzeg Dolny, Poland. In 1998 he entered the Television<br />
and Radio Department at Silesian University.<br />
<strong>Film</strong>ography~MY TOWN (2003)<br />
WORLD TOUR<br />
A Nation Without Women<br />
(Matrubhoomi)<br />
Directed by Manish Jhâ<br />
INDIA, FRANCE 2003<br />
96 minutes<br />
Saturday, March 20<br />
2:<strong>15</strong> PM I Ticket Code 20G<br />
Sunday, March 21<br />
5:00 PM I Ticket Code 21L<br />
Like Margaret Atwood’s feminist nightmare,<br />
“A Handmaid’s Tale,” A NATION WITHOUT<br />
WOMEN takes place in the future; however<br />
its tone is not futuristic but regressive.<br />
Extrapolating the barbaric custom of female<br />
infanticide, practiced in parts of India and<br />
China, to its logical, justly-Darwinian conclusion,<br />
filmmaker Manish Jhâ envisions a<br />
barren, rural community called Matrubhoomi.<br />
For ages fathers here have routinely slain their<br />
girl babies, desiring only boys to perpetuate<br />
the family name and prestige. Now women<br />
appear wholly on the brink of extinction and<br />
the coarse local youth seek solace in massviewing<br />
of porno tapes. Meanwhile, the elders<br />
—especially wealthy, high-caste Ramcharan,<br />
with six sons to consider—consult oracles<br />
and haggle with other villages to bring just<br />
one precious bride to Matrubhoomi. A naif<br />
might think that a young woman in this<br />
place would be a veritable queen, a goddess.<br />
No. She’d be prey. And when Ramcharan<br />
learns of a girl, a virgin beauty named Kalki,<br />
long protected by her peasant father, the<br />
stage is set for a societal apocalypse. (In<br />
Hindi with English subtitles)<br />
Producers~Patrick Sobelman, Nicolas Blanc, Punkej<br />
Kharabanda Screenplay~Manish Jhâ Cinematography~<br />
Venu Gopal Editors~Shrish Kunder, Ashmith Kunder<br />
Music~Salim Sulaiman Principal Cast~Tulip Joshi, Sudhir<br />
Pandey, Piyush Mishra, Pankaj Jhâ, Deepak Kumar, Sanjay<br />
Kumar Print Source~<strong>Film</strong>s Distribution<br />
About the Director~Manish Jhâ was born in 1978 in Bihar,<br />
India and studied at Ramjas College in New Dehli. He<br />
worked as assistant director for a number of television<br />
serials before making this feature debut. <strong>Film</strong>ography~<br />
A NATION WITHOUT WOMEN (2003)<br />
PARTNERSHIP PRESENTATION<br />
AMERICAN INDEPENDENTS, DOCUMENTARIES<br />
Naked World<br />
Directed by Arlene Donnely Nelson<br />
USA 2003, 77 minutes<br />
Tuesday, March 23<br />
7:00 PM I Ticket Code 23P<br />
ONE SCREENING ONLY<br />
Spencer Tunick has worked with more naked<br />
people than many a lensman for Hugh<br />
Hefner or Larry Flynt. But don’t lose your<br />
shirt; Tunick is an artist (currently exhibiting<br />
at MOCA <strong>Cleveland</strong>) who creates temporary<br />
site-related installations of nudes recruited<br />
from ordinary, common men and women,<br />
alone, in groups...and in super-sized quantities:<br />
unclad masses, scattered and draped<br />
among streets, monuments and pavements<br />
that Tunick has chosen instead of a studio.<br />
In her follow-up to her first Spencer Tunick<br />
chronicle, “Naked States,” Arlene Donnelly<br />
Nelson follows the indefatigable Tunick on<br />
his most ambitious (and revealing) project: to<br />
document with photography and video installations<br />
public nudes on all seven continents,<br />
in Ireland, England, Japan, Russia, Brazil...<br />
“Something about Paris, they want to attack<br />
the naked people,” mutters the artist, finding<br />
the City of Light surprisingly intolerant.<br />
Australia’s press denounces Tunick, yet his<br />
installation proves therapeutic for an HIVpositive<br />
volunteer. A South African subject<br />
with painful memories of Apartheid philosophizes<br />
about Tunick revealing the commonality<br />
of humanity, and we realize his aesthetic<br />
has truly gotten under peoples’ skin. NAKED<br />
WORLD is the most fun you can have at the<br />
CIFF with your clothes on. Um, contains<br />
nudity. (In English with French, Portuguese,<br />
Japanese and Russian)<br />
Producers~Arlene Donnelly Nelson, Helen Hood Scheer<br />
Cinematography~David Linstrom, Arlene Donnelly Nelson<br />
Editor~Tom Donahue Music~Leigh Roberts, Chris Hajian<br />
Print Source~Juntos <strong>Film</strong>s<br />
About the Director~Arlene Donnelly Nelson studied philosophy<br />
and fine-art photography prior to embarking on a<br />
career as a cinematographer and documentary filmmaker.<br />
<strong>Film</strong>ography~“Naked States” (2001), NAKED WORLD<br />
(2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 33<br />
Sponsored by<br />
This film is presented<br />
with the generous support<br />
of TOBY DEVAN LEWIS<br />
For more information on the exhibition<br />
“Spencer Tunick: Manmade<br />
and Natural” (now on view at<br />
MOCA through April 25, 2004),<br />
visit www.mocacleveland.org<br />
or call 216.421.8671.<br />
Special guests Spencer Tunick and<br />
Arlene Donnely Nelson will join us<br />
for a post-film discussion.<br />
Sponsored by<br />
For more information and<br />
a complete schedule of<br />
events for the Tri-C Jazz<br />
Fest, which runs April<br />
14-25, 2004, visit<br />
www.tricjazzfest.com<br />
or call 216.986.4400.<br />
PARTNERSHIP PRESENTATION<br />
DOCUMENTARIES WORLD TOUR<br />
Nina Simone,<br />
Love Sorceress<br />
Directed by Rene Letzgus<br />
FRANCE 1998<br />
65 minutes<br />
Saturday, March 20<br />
4:30 PM I Ticket Code 20K<br />
ONE SCREENING ONLY<br />
In celebration of the life of Nina Simone<br />
(1933-2003) the CIFF is proud to host this<br />
partnership presentation in honor of the<br />
25th Anniversary of the Tri-C Jazz Fest.<br />
NINA SIMONE, LOVE SORCERESS is an<br />
extraordinary, rarely seen document of a<br />
1976 Paris concert. Simone’s artistry defies<br />
classification. From the 1950s until her<br />
passing away last spring, she continually<br />
collapsed musical boundaries, roaming<br />
across classical, jazz, blues, folk, pop and<br />
soul music. The unique perspectives and<br />
social protests in her songs have inspired<br />
generations. And of course there is her voice<br />
—a potent instrument unmatched in soulful<br />
emotion and deep texture. The many musical<br />
moods of this legendary songstress are captured<br />
in this riveting performance. Join us in<br />
celebrating the often unpredictable and<br />
always breathtaking High Priestess of Soul.<br />
—Peter Lucas’ Sound Unseen<br />
Print Source~Star Production<br />
“This isn’t so much a concert as a work of<br />
performance art, one of the best I’ve seen<br />
since ‘Richard Pryor: Live In Concert’”<br />
—Jonathan Rosenbaum, Chicago Reader<br />
No Rest for the Brave<br />
(Pas De Repos Pour Les Braves)<br />
Directed by Alain Guiraudie<br />
FRANCE, AUSTRIA 2003<br />
107 minutes<br />
Saturday, March 20<br />
10:00 PM I Ticket Code 20S<br />
Sunday, March 21<br />
12:<strong>15</strong> PM I Ticket Code 21C<br />
Having distinct ties to surrealism (the director<br />
prefers to call his film neo-surrealist)<br />
NO REST FOR THE BRAVE introduces us to<br />
Basile, an adolescent hero who is endowed<br />
with a certain maturity. Basile leaves his<br />
innocence behind the night he has a vision<br />
of Faftao-Laoupao who, as Basile understands<br />
it, is the angel of death. Basile realizes that<br />
if he sees Faftao-Laoupao again, he certainly<br />
will perish. He departs from his home only to<br />
realize that he may have committed a massmurder<br />
in a neighboring village, but in this<br />
exercise in dream versus reality, nothing can<br />
be for certain. Keeping with the surrealist<br />
feel of the film, the actor who plays Basile<br />
also plays Hector, a guy shuttling between a<br />
lively town and "Deadsville." Then there's<br />
Johnny Got, an adventurer ostensibly on<br />
Basile's trail (or vice-versa) and embroiled in<br />
a deal with gangsters over ten kilos of Little<br />
Red Balls. With seemingly random scenes,<br />
sub-plots and other strange characters<br />
thrown in, the vibrant and colorful NO REST<br />
FOR THE BRAVE will keep viewers equally<br />
confounded and entertained. (In French with<br />
English subtitles)<br />
Producers~Natalie Eybrard, Jean-Philippe Labadie<br />
Screenplay~Alain Guiraudie Cinematography~Antoine<br />
Heberlé Editor~Pierre Molin Music~Bruno Izam, Jaques<br />
Mestres Principal Cast~Thomas Suire, Thomas Blanchard,<br />
Laurent Soffiati, Vincent Martin, Pierre-Maurice Nouvel<br />
Print Source~The Coproduction Office<br />
About the Director~Self-taught Alain Guiraudie says he<br />
“almost” applied to the French film school IDHEC. He<br />
started doing shorts while working as a night watchman,<br />
and his first feature played the Director’s Fortnight at<br />
Cannes. <strong>Film</strong>ography~“Sunshine for the Scoundrels”<br />
(2000), “That Old Dream That Moves” (2001), NO REST<br />
FOR THE BRAVE (2003)
34 FILMS A – Z [O] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
On the Sunny Side<br />
(Na Planincah)<br />
Directed by Miha Hočevar<br />
SLOVENIA 2003<br />
92 minutes<br />
Saturday, March 20<br />
4:45 PM I Ticket Code 20M<br />
Monday, March 22<br />
2:30 PM I Ticket Code 22H<br />
Thursday, March 25<br />
5:<strong>15</strong> PM I Ticket Code 25M<br />
Ado and Suni, two self-sufficient Bosnian<br />
brothers, are spending summer the usual<br />
way: visiting Slovenia, staying at the highrise<br />
of their jovial, childless uncle and his<br />
wife. Younger, pubescent Suni isn’t as enthusiastic<br />
about the change of scenery as Ado,<br />
who is learning Slovenian for his new girlfriend.<br />
But Suni soon joins a gang of rascals<br />
his own age; he plays ball, trespasses, gets<br />
into scrapes and tries to look up girls’ skirts.<br />
While an earthy, universal coming-of-age<br />
story during a life-changing summer vacation,<br />
ON THE SUNNY SIDE also reminds us that<br />
many kids lost their parents in battle over<br />
the past several years. This is a different<br />
Balkans than the minefield locale of<br />
“Summer in the Golden Valley.” This is a<br />
healing land. Infernoes of war have burned<br />
themselves out, mortar-guns are at last<br />
silent, and an unscarred generation from all<br />
racial affiliations and faiths can just be kids<br />
again, sporting and roughhousing and falling<br />
in love without fear. (In Slovenian and<br />
Bosnian with English subtitles)<br />
Producer~Jurij Kosˇak Screenplay~Ozren Kebo, Hocevar<br />
Miha Cinematography~Slobodan Trninic Editor~Olga Toni<br />
Music~Mitja Vrhovnik Smrekar Principal Cast~Filip Duric,<br />
Sasˇa Tabakovic, Milena Zupancic, Mustafa Nadarevic,<br />
Sabina Kogovsˇek, Kavcic Masˇa Print Source~Slovenian<br />
<strong>Film</strong> Fund<br />
About the Director~Miha Hočevar was born in 1963 in<br />
Ljubljana, Slovenia and studied cinema at the University of<br />
Ljubljana, graduating in 1989. His debut feature was a<br />
domestic box-office hit. <strong>Film</strong>ography~“Jebiga” (2000),<br />
ON THE SUNNY SIDE (2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
One Hand Can’t Clap<br />
(Jedna Ruka Netleska)<br />
Directed by David Ondrˇíček<br />
CZECH REPUBLIC 2003<br />
102 minutes<br />
Monday, March 22<br />
9:30 PM I Ticket Code 22V<br />
Saturday, March 27<br />
2:45 PM I Ticket Code 27H<br />
Hard-luck Stanislav is framed for smuggling<br />
endangered eagles across the border from<br />
Slovakia. Released from prison after 18<br />
months, he ignores a tramp’s advice to<br />
seek revenge and instead pays a friendly<br />
call to his former boss Zack, a “respectable”<br />
businessman running a health-conscious,<br />
meatless restaurant and living in a palatial<br />
house with his eco-correct wife Sandra and<br />
two beautiful, if somewhat sheltered, children.<br />
Stan figures that since he kept his mouth<br />
shut and took the fall, Zack will reward him<br />
with a considerable sum of money, maybe<br />
enough for the ex-con to go traveling, perhaps<br />
to see Mexico and visit the Mayan pyramids.<br />
But Stanislav makes the mistake of first<br />
telling Andrew, a former security guard who<br />
got fired after Stan tried to help him catch a<br />
thief. And folks who are vegetarian can still<br />
be carnivores... An absurdist dark comedy,<br />
ONE HAND CAN’T CLAP will get a thumb(s)<br />
up from viewers looking for a taste of rare<br />
bird. (In Czech with English subtitles)<br />
Producer~David Ondrˇíček Screenplay~David Ondrˇíček,<br />
Jirˇí Macháček Cinematography~Richard Rˇ erˇicha<br />
Editor~Michal Lánsky Music~Jan P. Muchow Principal<br />
Cast~Jirˇí Macháček, Ivan Trojan, Marek Taclík, Isabela<br />
Bercová, Kristina Lukesˇová Print Source~Lucky Man <strong>Film</strong>s<br />
About the Director~The son of great cinematographer<br />
Miroslav Ondrˇíček, David Ondrˇíček was born in 1969 and<br />
made his feature directorial bow in 1996. <strong>Film</strong>ography~<br />
“Whispers” (1996), “Loners” (2000), ONE HAND CAN’T<br />
CLAP (2003)<br />
AMERICAN INDEPENDENTS<br />
One Point O<br />
Directed by Jeff Renfroe,<br />
Marteinn Thorsson<br />
USA, GERMANY, ROMANIA 2003<br />
95 minutes<br />
Friday, March 19<br />
2:45 PM I Ticket Code 19G<br />
Saturday, March 20<br />
7:<strong>15</strong> PM I Ticket Code 20P<br />
Fans of Kafka, be on notice. It’s the nearfuture,<br />
nanotechnology rules and our hero, of<br />
course, is a computer programmer named<br />
Simon (Jeremy Sisto). One day Simon wakes<br />
to find a plain brown package in his apartment.<br />
Curiously, the bag is empty. Though he<br />
tries to secure his apartment, Simon keeps<br />
receiving strangely empty packages. Simon’s<br />
paranoia about the tenants in his apartment<br />
building is warranted: security cameras follow<br />
his every move. When one tenant turns up<br />
dead, Simon goes over the edge, hallucinates<br />
and believes that mysterious forces are taking<br />
over his life. Though he goes off the grid,<br />
Simon thinks that perhaps “Nanomites”<br />
have been placed in his brain and, try as<br />
he might, he can’t ignore their messages.<br />
Ultimately a film about corporate control, it<br />
also stars Lance Henriksen, Deborah Unger<br />
and Udo Kier.<br />
Producers~Kyle Gates, Thomas Mai, RD Robb<br />
Screenplay~Jeff Renfroe, Marteinn Thorsson<br />
Cinematography~Chris Soos Editor~Troy Takaki, Daniel<br />
Sadler Music~Terry Michael Huud Principal Cast~<br />
Jeremy Sisto, Deborah Unger, Udo Kier, Lance Henriksen<br />
Print Source~Armada Pictures<br />
About the Director~Jeff Renfroe was born and raised in<br />
Seattle and Marteinn Thorsson in Reykjavik, Iceland. They<br />
met at Ryerson Polytechnic University in Toronto and both<br />
graduated in 1993. Since then they have directed music<br />
videos and commercials; this is their first feature film.<br />
<strong>Film</strong>ography~ONE POINT O (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM CALENDAR 35<br />
SCHEDULE<br />
PAGES 35-38<br />
A<br />
FILMS<br />
TO<br />
Z<br />
CONTINUED ON<br />
PAGE 39<br />
FOR PROGRAM UPDATES<br />
THURSDAY, MARCH MARCH 18 18 FRIDAY, MARCH 19<br />
OPENING<br />
NIGHT GALA<br />
Sponsored by<br />
7:00 PM<br />
DANDELION*<br />
94 min<br />
p 12<br />
Code 18A<br />
MARCH 2004<br />
S M T W T F S<br />
1 2 3 4 5 6<br />
7 8 9 10 11 12 13<br />
14 <strong>15</strong> 16 17 18 19 20<br />
21 22 23 24 25 26 27<br />
28 29 30 31<br />
CALENDAR NOTES:<br />
Calendar running times include<br />
pre-feature short subjects<br />
For ticket information and order<br />
form see <strong>pages</strong> 60 – 61<br />
* One screening only<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:<strong>15</strong> PM<br />
DISTANT<br />
LIGHTS<br />
105 min<br />
p 19<br />
Code 19A<br />
2:30 PM<br />
MUTT BOY<br />
101 min<br />
p 31<br />
Code 19E<br />
4:45 PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM I*<br />
103 min<br />
p 47<br />
Code 19J<br />
7:<strong>15</strong> PM<br />
BUDDY<br />
111 min<br />
p 17<br />
Code 19N<br />
9:45 PM<br />
JALLA!<br />
JALLA!<br />
88 min<br />
p 25<br />
Code 19S<br />
12:<strong>15</strong> PM<br />
WORLD’S<br />
BEST COM-<br />
MERCIALS<br />
80 min<br />
p 46<br />
Code 19B<br />
2:<strong>15</strong> PM<br />
MAGNIFICO<br />
123 min<br />
p 29<br />
Code 19F<br />
5:00 PM<br />
1<br />
89 min<br />
p 14<br />
Code 19K<br />
7:00 PM<br />
BOOK OF<br />
LOVE<br />
83 min<br />
p 16<br />
Code 19P<br />
9:30 PM<br />
MADNESS<br />
AND<br />
GENIUS<br />
103 min<br />
p 29<br />
Code 19T<br />
12:00 noon<br />
6IXTYNIN9<br />
114 min<br />
p <strong>15</strong><br />
Code 19C<br />
2:45 PM<br />
ONE<br />
POINT O<br />
95 min<br />
p 34<br />
Code 19G<br />
5:00 PM<br />
I ALWAYS<br />
WANTED TO<br />
BE A SAINT<br />
92 min<br />
p 24<br />
Code 19L<br />
7:00 PM<br />
TRUTH AND<br />
LIES<br />
95 min<br />
p 45<br />
Code 19Q<br />
9:30 PM<br />
BULGARIAN<br />
LOVERS<br />
90 min<br />
p 17<br />
Code 19U<br />
12:00 noon<br />
SUMMER<br />
IN THE<br />
GOLDEN<br />
VALLEY<br />
104 min<br />
p 43<br />
Code 19D<br />
2:30 PM<br />
REMAKE<br />
108 min<br />
p 41<br />
Code 19H<br />
4:45 PM<br />
LOVING<br />
GLANCES<br />
97 min<br />
p 28<br />
Code 19M<br />
6:45 PM<br />
CARANDIRU*<br />
145 min<br />
p 18<br />
Code 19R<br />
9:45 PM<br />
MADE IN<br />
ESTONIA<br />
100 min<br />
p 28<br />
Code 19V<br />
Noon<br />
1:00<br />
2:00<br />
3:00<br />
4:00<br />
5:00<br />
6:00<br />
7:00<br />
8:00<br />
9:00<br />
10:00<br />
11:00<br />
12:00
36 CALENDAR The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Noon<br />
1:00<br />
2:00<br />
3:00<br />
4:00<br />
5:00<br />
6:00<br />
7:00<br />
8:00<br />
9:00<br />
10:00<br />
11:00<br />
12:00<br />
12:<strong>15</strong> PM<br />
FAMILY<br />
SHORTS<br />
PROGRAM<br />
90 min<br />
p 47<br />
Code 20A<br />
2:<strong>15</strong> PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM II*<br />
104 min<br />
p 48<br />
Code 20E<br />
4:<strong>15</strong> PM<br />
MAGNIFICO<br />
123 min<br />
p 29<br />
Code 20J<br />
7:30 PM<br />
FAITHLESS<br />
GAMES<br />
93 min<br />
p 20<br />
Code 20N<br />
SATURDAY, MARCH 20<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
10:00 PM<br />
NO REST<br />
FOR THE<br />
BRAVE<br />
107 min<br />
p 33<br />
Code 20S<br />
12:00 noon<br />
DIRTY<br />
WORK /<br />
RED LIGHT<br />
GO<br />
121 min<br />
p 19 / 41<br />
Code 20B<br />
2:30 PM<br />
THE HEAT’S<br />
ON<br />
96 min<br />
p 24<br />
Code 20F<br />
4:30 PM<br />
NINA SIMONE:<br />
LOVE<br />
SORCERESS*<br />
65 min<br />
p 33<br />
Code 20K<br />
7:<strong>15</strong> PM<br />
ONE<br />
POINT O<br />
95 min<br />
p 34<br />
Code 20P<br />
9:30 PM<br />
WORLD’S<br />
BEST COM-<br />
MERCIALS<br />
80 min<br />
p 46<br />
Code 20T<br />
12:00 noon<br />
MR. WRONG<br />
88 min<br />
p 31<br />
Code 20C<br />
2:<strong>15</strong> PM<br />
A NATION<br />
WITHOUT<br />
WOMEN<br />
96 min<br />
p 32<br />
Code 20G<br />
4:30 PM<br />
BUDDY<br />
111 min<br />
p 17<br />
Code 20L<br />
7:00 PM<br />
MANGO<br />
KISS<br />
94 min<br />
p 29<br />
Code 20Q<br />
10:00 PM<br />
MUTT BOY<br />
101 min<br />
p 31<br />
Code 20U<br />
12:30 PM<br />
KOPS<br />
90 min<br />
p 26<br />
Code 20D<br />
2:30 PM<br />
THE<br />
STROLL<br />
94 min<br />
p 43<br />
Code 20H<br />
4:45 PM<br />
ON THE<br />
SUNNY<br />
SIDE<br />
92 min<br />
p 34<br />
Code 20M<br />
7:<strong>15</strong> PM<br />
YOUNG<br />
ADAM*<br />
93 min<br />
p 46<br />
Code 20R<br />
9:45 PM<br />
DISTANT<br />
LIGHTS<br />
105 min<br />
p 19<br />
Code 20V<br />
12:<strong>15</strong> PM<br />
SUMMER<br />
WITH THE<br />
GHOSTS<br />
85 min<br />
p 43<br />
Code 21A<br />
2:30 PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM III*<br />
101 min<br />
p 48<br />
Code 21E<br />
4:30 PM<br />
DREAM<br />
CUISINE<br />
134 min<br />
p 20<br />
Code 21J<br />
7:30 PM<br />
SEXUAL<br />
DEPENDENCY<br />
105 min<br />
p 41<br />
Code 21N<br />
9:45 PM<br />
THE HEAT’S<br />
ON<br />
96 min<br />
p 24<br />
Code 21S<br />
SUNDAY, MARCH 21<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:00 noon<br />
MADNESS<br />
AND<br />
GENIUS<br />
103 min<br />
p 29<br />
Code 21B<br />
2:<strong>15</strong> PM<br />
DISTANT<br />
LIGHTS<br />
105 min<br />
p 19<br />
Code 21F<br />
5:<strong>15</strong> PM<br />
THE OPPOSITE<br />
SEX: JAMIE’S<br />
STORY<br />
75 min<br />
p 39<br />
Code 21K<br />
7:00 PM<br />
THE OPPOSITE<br />
SEX: RENE’S<br />
STORY<br />
75 min<br />
p 39<br />
Code 21P<br />
9:45 PM<br />
FAITHLESS<br />
GAMES<br />
93 min<br />
p 20<br />
Code 21T<br />
12:<strong>15</strong> PM<br />
NO REST<br />
FOR THE<br />
BRAVE<br />
107 min<br />
p 33<br />
Code 21C<br />
2:30 PM<br />
TRUTH AND<br />
LIES<br />
95 min<br />
p 45<br />
Code 21G<br />
5:00 PM<br />
A NATION<br />
WITHOUT<br />
WOMEN<br />
96 min<br />
p 32<br />
Code 21L<br />
7:00 PM<br />
HARD<br />
GOODBYES:<br />
MY FATHER<br />
108 min<br />
p 23<br />
Code 21Q<br />
9:30 PM<br />
MY BABY<br />
90 min<br />
p 31<br />
Code 21U<br />
12:00 noon<br />
MADE IN<br />
ESTONIA<br />
100 min<br />
p 28<br />
Code 21D<br />
2:<strong>15</strong> PM<br />
JOURNEY<br />
TO<br />
JERUSALEM<br />
112 min<br />
p 25<br />
Code 21H<br />
5:00 PM<br />
GRANNY<br />
98 min<br />
p 22<br />
Code 21M<br />
7:<strong>15</strong> PM<br />
THE<br />
STROLL<br />
94 min<br />
p 43<br />
Code 21R<br />
9:30 PM<br />
REMAKE<br />
108 min<br />
p 41<br />
Code 21V<br />
12:<strong>15</strong> PM<br />
1<br />
89 min<br />
p 14<br />
Code 22A<br />
2:30 PM<br />
MY BABY<br />
90 min<br />
p 31<br />
Code 22E<br />
5:00 PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM IV*<br />
109 min<br />
p 48<br />
Code 22J<br />
7:45 PM<br />
THUNDER<br />
IN GUYANA<br />
74 min<br />
p 44<br />
Code 22N<br />
9:45 PM<br />
MAGNIFICO<br />
123 min<br />
p 29<br />
Code 22S<br />
MONDAY, MARCH 22<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:30 PM<br />
BOOK OF<br />
LOVE<br />
83 min<br />
p 16<br />
Code 22B<br />
3:00 PM<br />
MANGO<br />
KISS<br />
94 min<br />
p 29<br />
Code 22F<br />
5:<strong>15</strong> PM<br />
BUDDY<br />
111 min<br />
p 17<br />
Code 22K<br />
7:<strong>15</strong> PM<br />
5 SIDES OF<br />
A COIN<br />
w/<strong>Film</strong>Forum<br />
1<strong>15</strong> min<br />
p <strong>15</strong><br />
Code 22P<br />
10:00 PM<br />
THE<br />
OVEREATER<br />
92 min<br />
p 39<br />
Code 22T<br />
12:00 noon<br />
THE HEAT’S<br />
ON<br />
96 min<br />
p 24<br />
Code 22C<br />
2:45 PM<br />
JALLA!<br />
JALLA!<br />
88 min<br />
p 25<br />
Code 22G<br />
5:00 PM<br />
BULGARIAN<br />
LOVERS<br />
90 min<br />
p 17<br />
Code 22L<br />
7:<strong>15</strong> PM<br />
MON-RAK<br />
TRANSISTOR<br />
121 min<br />
p 30<br />
Code 22Q<br />
9:45 PM<br />
THE<br />
TICKING<br />
MAN<br />
85 min<br />
p 44<br />
Code 22U<br />
12:00 noon<br />
SEXUAL<br />
DEPENDENCY<br />
105 min<br />
p 41<br />
Code 22D<br />
2:30 PM<br />
ON THE<br />
SUNNY<br />
SIDE<br />
92 min<br />
p 34<br />
Code 22H<br />
5:30 PM<br />
SUMMER<br />
WITH THE<br />
GHOSTS<br />
85 min<br />
p 43<br />
Code 22M<br />
7:30 PM<br />
COLOR OF<br />
HAPPINESS<br />
86 min<br />
p 18<br />
Code 22R<br />
9:30 PM<br />
ONE HAND<br />
CAN’T CLAP<br />
102 min<br />
p 34<br />
Code 22V
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM CALENDAR 37<br />
12:30 PM<br />
THE OPPOSITE<br />
SEX: RENE’S<br />
STORY<br />
75 min<br />
p 39<br />
Code 23A<br />
2:<strong>15</strong> PM<br />
THE OPPOSITE<br />
SEX: JAMIE’S<br />
STORY<br />
75 min<br />
p 39<br />
Code 23E<br />
4:45 PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM V*<br />
104 min<br />
p 48<br />
Code 23J<br />
7:30 PM<br />
THE<br />
OVEREATER<br />
92 min<br />
p 39<br />
Code 23N<br />
9:30 PM<br />
6IXTYNIN9<br />
114 min<br />
p <strong>15</strong><br />
Code 23S<br />
TUESDAY, MARCH 23<br />
12:<strong>15</strong> PM<br />
THUNDER<br />
IN GUYANA<br />
74 min<br />
p 44<br />
Code 23B<br />
2:<strong>15</strong> PM<br />
THE<br />
FOURTH<br />
WORLD WAR<br />
88 min<br />
p 21<br />
Code 23F<br />
5:<strong>15</strong> PM<br />
BOOK OF<br />
LOVE<br />
83 min<br />
p 16<br />
Code 23K<br />
7:00 PM<br />
NAKED<br />
WORLD*<br />
77 min<br />
p 32<br />
Code 23P<br />
10:00 PM<br />
5 SIDES OF<br />
A COIN<br />
70 min<br />
p <strong>15</strong><br />
Code 23T<br />
12:00 noon<br />
CUBA LIBRE<br />
110 min<br />
p 18<br />
Code 23C<br />
2:30 PM<br />
4th FLOOR<br />
96 min<br />
p <strong>15</strong><br />
Code 23G<br />
5:00 PM<br />
PERFECT<br />
STRANGERS<br />
110 min<br />
p 40<br />
Code 23L<br />
7:30 PM<br />
KOPS<br />
90 min<br />
p 26<br />
Code 23Q<br />
9:45 PM<br />
MOONLIGHT<br />
105 min<br />
p 30<br />
Code 23U<br />
FOR PROGRAM UPDATES<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:00 noon<br />
THE TICKING<br />
MAN<br />
85 min<br />
p 44<br />
Code 23D<br />
2:30 PM<br />
MY TOWN<br />
<strong>72</strong> min<br />
p 32<br />
Code 23H<br />
4:45 PM<br />
LOVING<br />
GLANCES<br />
97 min<br />
p 28<br />
Code 23M<br />
7:<strong>15</strong> PM<br />
SUMMER IN<br />
THE GOLDEN<br />
VALLEY<br />
104 min<br />
p 43<br />
Code 23R<br />
9:30 PM<br />
I ALWAYS<br />
WANTED TO<br />
BE A SAINT<br />
92 min<br />
p 24<br />
Code 23V<br />
WEDNESDAY, MARCH 24<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:00 noon<br />
MOONLIGHT<br />
105 min<br />
p 30<br />
Code 24A<br />
2:<strong>15</strong> PM<br />
DREAM<br />
CUISINE<br />
134 min<br />
p 20<br />
Code 24E<br />
5:<strong>15</strong> PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM VI*<br />
106 min<br />
p 48<br />
Code 24J<br />
7:30 PM<br />
MEMBER’S<br />
SNEAK<br />
PREVIEW*<br />
110 min<br />
p 59<br />
Code 24N<br />
9:45 PM<br />
THE<br />
FOURTH<br />
WORLD WAR<br />
88 min<br />
p 21<br />
Code 24S<br />
12:30 PM<br />
A PANTHER<br />
IN AFRICA<br />
93 min<br />
p 40<br />
Code 24B<br />
2:<strong>15</strong> PM<br />
DIRTY WORK /<br />
RED LIGHT<br />
GO<br />
121 min<br />
p 19 / 41<br />
Code 24F<br />
5:00 PM<br />
MY BABY<br />
90 min<br />
p 31<br />
Code 24K<br />
7:<strong>15</strong> PM<br />
IN THE<br />
REALMS<br />
OF THE<br />
UNREAL<br />
81 min<br />
p 25<br />
Code 24P<br />
10:00 PM<br />
1<br />
89 min<br />
p 14<br />
Code 24T<br />
12:00 noon<br />
MON-RAK<br />
TRANSISTOR<br />
121 min<br />
p 30<br />
Code 24C<br />
2:30 PM<br />
HARD<br />
GOODBYES:<br />
MY FATHER<br />
108 min<br />
p 23<br />
Code 24G<br />
5:00 PM<br />
KOPS<br />
90 min<br />
p 26<br />
Code 24L<br />
7:<strong>15</strong> PM<br />
4th FLOOR<br />
96 min<br />
p <strong>15</strong><br />
Code 24Q<br />
9:45 PM<br />
THE<br />
FOREST<br />
93 min<br />
p 21<br />
Code 24U<br />
12:<strong>15</strong> PM<br />
REMAKE<br />
108 min<br />
p 41<br />
Code 24D<br />
3:00 PM<br />
SOLDIERS<br />
OF THE<br />
ROCK<br />
94 min<br />
p 42<br />
Code 24H<br />
5:<strong>15</strong> PM<br />
TBA<br />
Code 24M<br />
7:30 PM<br />
PERFECT<br />
STRANGERS<br />
110 min<br />
p 40<br />
Code 24R<br />
10:00 PM<br />
MR. WRONG<br />
88 min<br />
p 31<br />
Code 24V<br />
THURSDAY, MARCH 25<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:00 noon<br />
GRANNY<br />
98 min<br />
p 22<br />
Code 25A<br />
2:30 PM<br />
LOVING<br />
GLANCES<br />
97 min<br />
p 28<br />
Code 25E<br />
5:00 PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM VII*<br />
110 min<br />
p 49<br />
Code 25J<br />
7:45 PM<br />
JUSTICE<br />
80 min<br />
p 26<br />
Code 25N<br />
10:00 PM<br />
A PANTHER<br />
IN AFRICA<br />
93 min<br />
p 40<br />
Code 25S<br />
12:30 PM<br />
DOUBLE<br />
DARE<br />
81 min<br />
p 20<br />
Code 25B<br />
2:30 PM<br />
WORLD’S<br />
BEST COM-<br />
MERCIALS<br />
80 min<br />
p 46<br />
Code 25F<br />
4:30 PM<br />
GARDEN<br />
130 min<br />
p 22<br />
Code 25K<br />
7:<strong>15</strong> PM<br />
HOME OF<br />
THE BRAVE<br />
w/<strong>Film</strong>Forum<br />
120 min<br />
p 24<br />
Code 25P<br />
10:00 PM<br />
PATERNAL<br />
INSTINCT<br />
74 min<br />
p 40<br />
Code 25T<br />
12:<strong>15</strong> PM<br />
GOLDFISH<br />
MEMORY<br />
85 min<br />
p 22<br />
Code 25C<br />
2:<strong>15</strong> PM<br />
THE BIG<br />
EMPTY<br />
103 min<br />
p 16<br />
Code 25G<br />
5:<strong>15</strong> PM<br />
THE TENTH<br />
SUMMER<br />
98 min<br />
p 44<br />
Code 25L<br />
7:30 PM<br />
CUBA LIBRE<br />
110 min<br />
p 18<br />
Code 25Q<br />
9:45 PM<br />
LIFE IS LIFE<br />
90 min<br />
p 27<br />
Code 25U<br />
12:00 noon<br />
DEEP<br />
BREATH<br />
82 min<br />
p 19<br />
Code 25D<br />
2:30 PM<br />
THE<br />
FOREST<br />
93 min<br />
p 21<br />
Code 25H<br />
5:<strong>15</strong> PM<br />
ON THE<br />
SUNNY<br />
SIDE<br />
92 min<br />
p 34<br />
Code 25M<br />
7:30 PM<br />
JOURNEY<br />
TO<br />
JERUSALEM<br />
112 min<br />
p 25<br />
Code 25R<br />
9:45 PM<br />
THE STORY<br />
OF THE<br />
WEEPING<br />
CAMEL<br />
90 min<br />
p 42<br />
Code 25V<br />
Noon<br />
1:00<br />
2:00<br />
3:00<br />
4:00<br />
5:00<br />
6:00<br />
7:00<br />
8:00<br />
9:00<br />
10:00<br />
11:00<br />
12:00
38 CALENDAR The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Noon<br />
1:00<br />
2:00<br />
3:00<br />
4:00<br />
5:00<br />
6:00<br />
7:00<br />
8:00<br />
9:00<br />
10:00<br />
11:00<br />
12:00<br />
12:<strong>15</strong> PM<br />
THE FIRST<br />
NIGHT<br />
90 min<br />
p 21<br />
Code 26A<br />
2:30 PM<br />
SOLDIERS<br />
OF THE<br />
ROCK<br />
94 min<br />
p 42<br />
Code 26E<br />
5:00 PM<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM VIII*<br />
103 min<br />
p 49<br />
Code 26J<br />
7:<strong>15</strong> PM<br />
THE<br />
HANDCUFF<br />
KING<br />
90 min<br />
p 23<br />
Code 26N<br />
10:00 PM<br />
WILBUR<br />
WANTS<br />
TO KILL<br />
HIMSELF<br />
109 min<br />
p 45<br />
Code 26S<br />
FRIDAY, MARCH 26<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:00 noon<br />
THE<br />
LOSS OF<br />
NAMELESS<br />
THINGS<br />
110 min<br />
p 28<br />
Code 26B<br />
3:00 PM<br />
HOME OF<br />
THE BRAVE<br />
75 min<br />
p 24<br />
Code 26F<br />
5:00 PM<br />
JUSTICE<br />
80 min<br />
p 26<br />
Code 26K<br />
7:00 PM<br />
DOUBLE<br />
DARE<br />
81 min<br />
p 20<br />
Code 26P<br />
9:30 PM<br />
IN THE<br />
REALMS<br />
OF THE<br />
UNREAL<br />
81 min<br />
p 25<br />
Code 26T<br />
12:00 noon<br />
THE STORY<br />
OF THE<br />
WEEPING<br />
CAMEL<br />
90 min<br />
p 42<br />
Code 26C<br />
2:<strong>15</strong> PM<br />
LIFE IS LIFE<br />
90 min<br />
p 27<br />
Code 26G<br />
4:45 PM<br />
THE<br />
AGRONOMIST<br />
91 min<br />
p 16<br />
Code 26L<br />
7:30 PM<br />
HAPPY<br />
HOUR<br />
104 min<br />
p 23<br />
Code 26Q<br />
9:45 PM<br />
GOLDFISH<br />
MEMORY<br />
85 min<br />
p 22<br />
Code 26U<br />
12:30 PM<br />
MY TOWN<br />
<strong>72</strong> min<br />
p 32<br />
Code 26D<br />
2:30 PM<br />
COLOR OF<br />
HAPPINESS<br />
86 min<br />
p 18<br />
Code 26H<br />
4:45 PM<br />
FAITHLESS<br />
GAMES<br />
93 min<br />
p 20<br />
Code 26M<br />
7:<strong>15</strong> PM<br />
SPRING,<br />
SUMMER,<br />
FALL, WIN-<br />
TER… AND<br />
SPRING*<br />
103 min<br />
p 42<br />
Code 26R<br />
9:30 PM<br />
KITCHEN<br />
STORIES<br />
97 min<br />
p 26<br />
Code 26V<br />
12:00 noon<br />
INDEPENDENT<br />
SHORTS<br />
PROGRAM IX*<br />
103 min<br />
p 49<br />
Code 27A<br />
2:45 PM<br />
FAMILY<br />
SHORTS<br />
PROGRAM<br />
90 min<br />
p 47<br />
Code 27E<br />
SATURDAY, MARCH 27<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
5:<strong>15</strong> PM<br />
DEEP<br />
BREATH<br />
82 min<br />
p 19<br />
Code 27J<br />
7:30 PM<br />
THE<br />
BOOKSHOP*<br />
100 min<br />
p 17<br />
Code 27N<br />
9:45 PM<br />
LEARNING<br />
TO LIE<br />
102 min<br />
p 27<br />
Code 27S<br />
12:<strong>15</strong> PM<br />
KITCHEN<br />
STORIES<br />
97 min<br />
p 26<br />
Code 27B<br />
2:30 PM<br />
THE<br />
LOSS OF<br />
NAMELESS<br />
THINGS<br />
110 min<br />
p 28<br />
Code 27F<br />
5:00 PM<br />
PATERNAL<br />
INSTINCT<br />
w/<strong>Film</strong>Forum<br />
119 min<br />
p 40<br />
Code 27K<br />
7:30 PM<br />
MERCI<br />
DOCTEUR<br />
REY<br />
91 min<br />
p 30<br />
Code 27P<br />
9:45 PM<br />
THE<br />
AGRONOMIST<br />
91 min<br />
p 16<br />
Code 27T<br />
12:<strong>15</strong> PM<br />
THE TENTH<br />
SUMMER<br />
98 min<br />
p 44<br />
Code 27C<br />
2:30 PM<br />
WILBUR<br />
WANTS<br />
TO KILL<br />
HIMSELF<br />
109 min<br />
p 45<br />
Code 27G<br />
5:00 PM<br />
THE FIRST<br />
NIGHT<br />
90 min<br />
p 21<br />
Code 27L<br />
7:<strong>15</strong> PM<br />
THE BIG<br />
EMPTY<br />
103 min<br />
p 16<br />
Code 27Q<br />
10:00 PM<br />
YES NURSE,<br />
NO NURSE<br />
104 min<br />
p 46<br />
Code 27U<br />
12:00 noon<br />
TBA<br />
Code 27D<br />
2:45 PM<br />
ONE HAND<br />
CAN’T CLAP<br />
102 min<br />
p 34<br />
Code 27H<br />
5:30 PM<br />
THE<br />
COLOR OF<br />
HAPPINESS<br />
86 min<br />
p 18<br />
Code 27M<br />
7:45 PM<br />
LAST LIFE<br />
IN THE<br />
UNIVERSE*<br />
112 min<br />
p 27<br />
Code 27R<br />
10:<strong>15</strong> PM<br />
TWO DAYS<br />
87 min<br />
p 45<br />
Code 27V<br />
12:00 noon<br />
TBA<br />
Code 28A<br />
2:30 PM<br />
LEARNING<br />
TO LIE<br />
102 min<br />
p 27<br />
Code 28E<br />
5:<strong>15</strong> PM<br />
MY TOWN<br />
<strong>72</strong> min<br />
p 32<br />
Code 28J<br />
7:00 PM<br />
GARDEN<br />
130 min<br />
p 22<br />
Code 28N<br />
SUNDAY, MARCH 28<br />
THEATER THEATER THEATER THEATER<br />
1 2 3 4<br />
12:<strong>15</strong> PM<br />
BEST OF THE<br />
PRE-FEATURE<br />
SHORTS*<br />
90 min<br />
p 47<br />
Code 28B<br />
3:00 PM<br />
INDEPENDENT<br />
SHORTS<br />
AWARD<br />
WINNERS*<br />
100 min<br />
(approx)<br />
p 50<br />
Code 28F<br />
5:<strong>15</strong> PM<br />
YES NURSE,<br />
NO NURSE<br />
104 min<br />
p 46<br />
Code 28K<br />
7:30 PM<br />
BRIGHT<br />
YOUNG<br />
THINGS*<br />
105 min<br />
p 13<br />
Code 28P<br />
Sponsored by<br />
12:00 noon<br />
TWO DAYS<br />
87 min<br />
p 45<br />
Code 28C<br />
2:30 PM<br />
MERCI<br />
DOCTEUR<br />
REY<br />
91 min<br />
p 30<br />
Code 28G<br />
5:<strong>15</strong> PM<br />
HAPPY<br />
HOUR<br />
104 min<br />
p 23<br />
Code 28L<br />
7:30 PM<br />
BRIGHT<br />
YOUNG<br />
THINGS*<br />
105 min<br />
p 13<br />
Code 28P<br />
12:00 noon<br />
THE<br />
HANDCUFF<br />
KING<br />
90 min<br />
p 23<br />
Code 28D<br />
3:00 PM<br />
TBA<br />
Code 28H<br />
5:<strong>15</strong> PM<br />
TBA<br />
Code 28M<br />
7:00 PM<br />
TBA<br />
Code 28Q<br />
CLOSING NIGHT
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM [O] FILMS A – Z 39<br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES, TEN PERCENT CINEMA<br />
The Opposite Sex:<br />
Jamie’s Story<br />
Directed by Josh Aronson<br />
USA 2003<br />
75 minutes<br />
Sunday, March 21<br />
5:<strong>15</strong> PM I Ticket Code 21K<br />
Tuesday, March 23<br />
2:<strong>15</strong> PM I Ticket Code 23E<br />
Josh Aronson’s “Sound and Fury” (24th<br />
CIFF, 2000), about the lives of deaf people<br />
transformed by advanced medical implants,<br />
gained an Oscar nomination. Now, in dual<br />
documentaries, he examines the lives of<br />
transgendered people in America. Jim was<br />
a 47-year-old husband and father from<br />
Grand Rapids, Michigan who, after years of<br />
suffering, underwent a sex change operation<br />
with the help of modern-day science and a<br />
Beverly Hills doctor. THE OPPOSITE SEX:<br />
JAMIE’S STORY follows Jim, now Jamie, and<br />
her family after Jim comes out. Despite the<br />
protests of her parents, Jamie’s wife Brenda<br />
stays and finds it in her heart to understand<br />
Jamie’s pain. The documentary not only<br />
focuses on Jamie, but also on the universal<br />
issues of gender, sexuality and identity—<br />
issues that define the journey we all must<br />
take, each in our own way.<br />
Producers~Linda York, Francine Berman, Josh Aronson,<br />
Jack Farrell Cinematography~Brett Wiley Editor~Janet<br />
Swanson Music~Michael Rohaytn Print Source~<br />
Aronsonfilms<br />
About the Director~Formerly a prolific freelance still photographer,<br />
NYC-based Josh Aronson turned to music-videos,<br />
TV assignments and documentary filmmaking for such<br />
clients as MTV and Nickelodeon. <strong>Film</strong>ography~“Sound<br />
and Fury” (1999), “Feelin’ No Pain” (2003), THE<br />
OPPOSITE SEX: JAMIE’S STORY (2003), “The Opposite<br />
Sex: Rene’s Story” (2003)<br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES, TEN PERCENT CINEMA<br />
The Opposite Sex:<br />
Rene’s Story<br />
Directed by Josh Aronson<br />
USA 2003<br />
75 minutes<br />
Sunday, March 21<br />
7:00 PM I Ticket Code 21P<br />
Tuesday, March 23<br />
12:30 PM I Ticket Code 23A<br />
The second of Josh Aronson’s dual<br />
documentaries continues to examine the<br />
metamorphosis of transgendered people—<br />
and this one focuses on a female-to-male<br />
transition. Anaheim resident Rene Pene is a<br />
31-year-old diminutive barrel of machismo<br />
with body-building athleticism who has a<br />
working-class profession. From as early as<br />
age three, Rene began assertively identifying<br />
as a male, dressing and acting the part.<br />
Rene began a relationship with demure<br />
Wona, whom Rene married at 18. Rene<br />
and Wona kept Rene’s gender identity a<br />
secret for years, until they were outted.<br />
THE OPPOSITE SEX: RENE’S STORY follows<br />
the journey of Rene and his family as he<br />
undergoes a portion of his surgical transition;<br />
but the strongest drama emerges from his<br />
dissolving marriage.<br />
Producers~Linda York, Francine Berman, Josh Aronson,<br />
Jack Farrell Cinematography~Brett Wiley, Kip Bogdahn<br />
Editor~Kate Hirson Music~Michael Rohaytn Print<br />
Source~Aronsonfilms<br />
About the Director~Formerly a prolific freelance still photographer,<br />
NYC-based Josh Aronson turned to music-videos,<br />
TV assignments and documentary filmmaking for such<br />
clients as MTV and Nickelodeon. Selected <strong>Film</strong>ography~<br />
“Sound and Fury” (1999), “Feelin’ No Pain.” (2003),<br />
The Opposite Sex: Jamie’s Story” (2003), THE OPPOSITE<br />
SEX: RENE’S STORY (2003)<br />
WORLD TOUR<br />
The Overeater<br />
(L’Outremangeur)<br />
Directed by Thierry Binisti<br />
FRANCE 2003<br />
88 minutes<br />
Monday, March 22<br />
10:00 PM I Ticket Code 22T<br />
Tuesday, March 23<br />
7:30 PM I Ticket Code 23N<br />
A sophisticated, complex Beauty and the<br />
Beast, THE OVEREATER revolves around a<br />
very strange relationship. Commissioner<br />
Selena is both powerful (he oversees the<br />
police in Marseilles) and enormous. He eats<br />
to fill the emptiness inside him. He eats for<br />
pleasure, in anger and out of great need. At<br />
some point his gluttony finds a perverse purpose:<br />
he meets Elsa, a lovely young woman<br />
accused of murdering her uncle. Instead of<br />
putting her in jail, the Commish strikes a<br />
deal: he will not indict her as long as she<br />
comes to his house every evening for a year<br />
to “share” a meal. His solitary gluttony now<br />
has a nightly witness, at first unbearable for<br />
both of them. But over time Elsa relaxes in<br />
his presence and begins to tell her story. A<br />
strange kind of comfort settles in between<br />
the two and a fragile relationship develops.<br />
Meanwhile, the police investigate the strange<br />
arrangement and start closing in. (In French<br />
with English subtitles)<br />
Preceded by Moo(n)<br />
Directed by Leigh Hodgkinson, United Kingdom,<br />
4 minutes<br />
Producers~Jean-Louis Livi Screenplay~Thierry Binisti,<br />
Tonino Benacquista, Xavier Maurel Cinematography~<br />
Dominique Bouilleret Editor~Jean-Paul Husson<br />
Music~Nicolas Errera Principal Cast~Eric Cantona,<br />
Rachida Brakni Print Source~TF1 <strong>International</strong><br />
About the Director~Thierry Binisti started his career in film<br />
as an assistant to Régis Wargnier on “Indochine” (1992).<br />
He then directed several short films. This is his feature<br />
debut. <strong>Film</strong>ography~THE OVEREATER (2003)
40 FILMS A – Z [P – S] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES, PAN-AFRICAN<br />
A Panther in Africa<br />
Directed by Aaron Matthews<br />
USA 2003<br />
70 minutes<br />
Wednesday, March 24<br />
12:30 PM I Ticket Code 24B<br />
Thursday, March 25<br />
10:00 PM I Ticket Code 25S<br />
A PANTHER IN AFRICA explores the legacy<br />
of the 1960s through the eyes of former<br />
Black Panther Pete O’Neal, exiled in<br />
Tanzania for over 30 years. O’Neal and his<br />
wife Charlotte Hill O’Neal were both members<br />
of the Kansas City Chapter of the Black<br />
Panther party. After arriving in Tanzania they<br />
co-founded the United African American<br />
Community Center in 1991, which offers<br />
computer literacy classes, English language<br />
training and HIV/AIDS education. The film<br />
tells the story of how a 1960s radical who<br />
advocated violence on the streets of Kansas<br />
City ended up a global activist who advocates<br />
community service in the impoverished<br />
countryside of Tanzania. A PANTHER IN<br />
AFRICA takes viewers on a dramatic journey<br />
with a modern-day global citizen—a man<br />
whose activist work and exile status tell a<br />
compelling story about America’s past and<br />
present.<br />
Preceded by African American<br />
Directed by Askia Holloway & Johnny Ramos,<br />
USA, 23 minutes<br />
Producers~Aaron Matthews, Jennifer Mittelstadt<br />
Cinematography~Wayne de la Roche Editor~Aaron<br />
Matthews Print Source~Aaron Matthews<br />
About the Director~For over 20 years Aaron Matthews has<br />
been making award-winning documentary films and videos.<br />
His most recent documentary, “My American Girls: A<br />
Dominican Story,” was broadcast on the PBS series P.O.V.<br />
in 2001. <strong>Film</strong>ography~“My American Girls: A Dominican<br />
Story” (2001), A PANTHER IN AFRICA (2003)<br />
AMERICAN CENTRAL/EASTERN INDEPENDENTSEUROPEAN<br />
FILM COMPETITION<br />
DOCUMENTARIES, TEN PERCENT CINEMA<br />
Paternal Instinct<br />
Directed by Murray Nossel<br />
USA 2003<br />
74 minutes<br />
Thursday, March 25<br />
10:00 PM I Ticket Code 25T<br />
Saturday, March 27 w/<strong>Film</strong>Forum<br />
5:00 PM I Ticket Code 27K<br />
A documentary with more drama and love<br />
would be difficult to conceive. Mark and<br />
Erik, an upscale pair in a committed relationship,<br />
have placed an internet notice:<br />
NYC GAY COUPLE SEEKING SURROGATE.<br />
Erik feels baby fever more than Mark does,<br />
but the duo agree to the challenge and<br />
decide to level the emotional playing field<br />
by ideally fathering two children, via the<br />
same mother, with each man’s sperm. But<br />
who will carry the babies? They receive a<br />
very positive response to their posting from<br />
Wen, a follower of the Wicca religion (“She’s<br />
a witch!”), dwelling in Maine with a broadminded<br />
husband and a healthy set of kids.<br />
She invokes powers of nature during the<br />
inseminations, but the process turns out to<br />
be longer and more arduous than expected.<br />
While pundits debate the meaning of family,<br />
PARENTAL INSTINCT shows it, from the<br />
etiquette about asking a neighbor to help<br />
with semen, to the strain on the trio’s bonds<br />
when fertilization fails, to the faith-based<br />
community upholding and fortifying these<br />
parents-to-be.<br />
Producers~Craig Harwood, Murray Nossel<br />
Cinematography~Edward Marritz Editor~Susanne<br />
Rostock Music~Hahn Rowe Print Source~Two Spirit<br />
Productions LLC<br />
About the Director~Murray Nossel emigrated from South<br />
Africa to the United States in 1990 and trained as an<br />
ethnographer and therapist with the Columbia University<br />
School of Social Work. <strong>Film</strong>ography~ “A Brooklyn Family<br />
Tale” (2001), PARENTAL INSTINCT (2003)<br />
<strong>Film</strong>Forum Topic<br />
Second Parent Adoption<br />
For more information, visit<br />
www.clevelandfilm.org<br />
SOMEONE TO WATCH<br />
WORLD TOUR<br />
Perfect Strangers<br />
Directed by Gaylene Preston<br />
NEW ZEALAND 2003<br />
95 minutes<br />
Tuesday, March 23<br />
5:00 PM I Ticket Code 23L<br />
Wednesday, March 24<br />
7:30 PM I Ticket Code 24R<br />
Once again Puccini’s “Madame Butterfly”<br />
aria sends shudders up the spine in a<br />
suspense tale of fatal attraction. Burned<br />
before in romance, Melanie jadedly cruises<br />
the bar scene for male companionship. One<br />
night she’s charmed off of dry land by a<br />
nameless and poetic stranger (Sam Neill)<br />
and onto his boat. When she awakens they’re<br />
on their way to his shanty-like “castle” on<br />
a deserted island somewhere off New<br />
Zealand’s western coast. Soon the man’s<br />
affections grow more ominous, even openly<br />
violent. And this, Melanie knows, is the bush<br />
where people often walk in and never walk<br />
out. Remember, however, that in many<br />
animal species the female is the deadlier.<br />
Those who recall Gaylene Preston’s crowdpleasing<br />
comedy “Ruby and Rata” (<strong>15</strong>th<br />
CIFF, 1991) and her intimate documentary<br />
“War Stories” (20th CIFF, 1996) will once<br />
again be swept away by her change of pace<br />
in a tale of obsession, possession, isolation,<br />
survival and, yes, love reminiscent of Roman<br />
Polanski’s finest psychothrillers.<br />
Preceded by Water<br />
Directed by Chris Graham, New Zealand,<br />
<strong>15</strong> minutes<br />
Producers~Robin Laing, Gaylene Preston Screenplay~<br />
Gaylene Preston Cinematography~Alun Bollinger Editor~<br />
John Gilbert Music~Plan 9 Principal Cast~Sam Neill,<br />
Rachael Blake, Joel Tobeck, Robyn Malcolm, Madeleine<br />
Sami Print Source~First Look/Overseas <strong>Film</strong> Group<br />
About the Director~Born in Greymouth, New Zealand in<br />
1947, Gaylene Preston ran a drama therapy program at<br />
a British hospital before her film career began in 1977.<br />
She directed commercials, shorts and award-winning<br />
documentaries, making her feature debut in 1984.<br />
<strong>Film</strong>ography~“Mr. Wrong” (1984), “Ruby and Rata”<br />
(1990), “Married” (1992), “War Stories” (1995),<br />
PERFECT STRANGERS (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 41<br />
AMERICAN INDEPENDENTS<br />
DOCUMENTARIES<br />
Red Light Go<br />
Directed by Manny Kivowitz<br />
USA 2003<br />
52 minutes<br />
SCREENING WITH DIRTY WORK; see p.19<br />
Saturday, March 20<br />
12:00 Noon I Ticket Code 20B<br />
Wednesday, March 24<br />
2:<strong>15</strong> PM I Ticket Code 24F<br />
Like “The Fast and the Furious”? As they’d<br />
say in New York, we got your Fast and your<br />
Furious RIGHT HERE!!! Dodging trucks,<br />
angering taxi-drivers and scattering pedestrians<br />
like pigeons, the bicycle messengers of<br />
Manhattan and the Five Boroughs are a<br />
unique breed. Openly scorned even by the<br />
deskbound execs whose precious cargo they<br />
zip from one office skyscraper to another,<br />
bike couriers are a massive service industry<br />
who count themselves wage-slaves to no one,<br />
more athlete than employee-drone. In a<br />
high-speed verite portrait you meet Amy,<br />
Yac, Squid, Mike, Carlos and Tone, on the<br />
job and off. And off the clock they ride even<br />
harder —against each other in “alley cat<br />
races,”coordinated by “Evil E,” a shadowy<br />
alpha-messenger who tries not to let the<br />
inconvenience of being locked up in prison<br />
stop him from overseeing the annual<br />
Halloween race. Someday, he predicts, this<br />
will all be legend. Thanks to this documentary<br />
that day has arrived, signed, sealed<br />
and delivered.<br />
Producers~Ben Barraud, Toby Barraud, Manny Kivowitz<br />
Cinematography~Evan Fairbanks Editors~Steve Thornton,<br />
Laurens Van Charante Music~Various Artists Print<br />
Source~KSK Studios<br />
About the Director~Manny Kivowitz founded the<br />
multimedia production house, KSK Studios of New York,<br />
in 1988. <strong>Film</strong>ography~RED LIGHT GO (2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Remake<br />
Directed by Dino Mustafić<br />
BOSNIA AND HERZEGOVINA, FRANCE,<br />
TURKEY 2003<br />
108 minutes<br />
Friday, March 19<br />
2:30 PM I Ticket Code 19H<br />
Sunday, March 21<br />
9:30 PM I Ticket Code 21V<br />
Wednesday, March 24<br />
12:<strong>15</strong> PM I Ticket Code 24D<br />
Never say “never again” in the Balkans,<br />
where the cycle of ethnic war, concentration<br />
camps, guilt and recrimination repeats for<br />
two generations with a precise, diabolical<br />
cruelty. Writer Zlatko Topčić says his<br />
scenario is based on actual events. It is the<br />
early 1990s. Screenwriter Tarik Karaga<br />
sends a screenplay to a contest in France.<br />
It dramatizes the WWII ordeal of his father<br />
Ahmed, a journalist seized by the chetniks<br />
over his signature on an anti-Nazi petition<br />
in defense of Jewish and Serbian Muslim<br />
communities. Then, like a character in his<br />
own film, Tarik is himself arrested by Serb<br />
militiamen because of his manuscript. In a<br />
parallel story, half a century earlier, Ahmed<br />
Karaga, after physical and mental torture,<br />
was swapped for fascists in a prisoner<br />
exchange. Now, during the siege of Sarajevo,<br />
Tarik’s film-producer contact in Paris works<br />
with the UN to see if his son can be similarly<br />
released. But the story does not end there.<br />
How many more “remakes” does humanity<br />
need before rewriting the plotline of bloodhatred<br />
and vengeance? (In Bosnian with<br />
English subtitles)<br />
Producer~Enes Cviko Screenplay~Zlatko Topčić<br />
Cinematography~Mustafa Mustafić Editor~Andrija<br />
Zafranović Music~Adi Lukova Principal Cast~Ermin<br />
Brovo, Aleksander Seksan, Ermin Sijamija, Dejan Aćimovíc,<br />
Lucija Sˇ erbedzˇija Print Source~Forum Sarajevo<br />
About the Director~Dino Mustafić was born in Sarajevo in<br />
1969. A director of stage, screen and opera, he graduated<br />
from that city’s Academy of Theatrical Arts and Faculty<br />
of Philosophy, where he now teaches. <strong>Film</strong>ography~<br />
REMAKE (2003)<br />
WORLD TOUR<br />
Sexual Dependency<br />
(Dependencia Sexual)<br />
Directed by Rodrigo Bellott<br />
BOLIVIA, USA 2003<br />
105 minutes<br />
Sunday, March 21<br />
7:30 PM I Ticket Code 21N<br />
Monday, March 22<br />
12:00 Noon I Ticket Code 22D<br />
2003 saw the scandal of the Abercrombie<br />
& Fitch catalog, when underaged-looking<br />
models, eroticized as Madison Avenue marketing<br />
tools, crossed the line. The scenario<br />
was anticipated by Rodrigo Bellott’s art<br />
installation in Bolivia in 2001—a billboard<br />
and website campaign touting a fictitious<br />
underwear brand with scantily-clad youth.<br />
Clothes companies eagerly inquired about<br />
manufacturing rights, so dead-on was the<br />
put-on. Bellott’s billboards also appear in<br />
SEXUAL DEPENDENCY, a provocative<br />
portmanteau that set domestic box-office<br />
records despite its highly experimental<br />
nature. The five-part feature is improvised<br />
by non-pro actors and based on interviews<br />
with hundreds of kids growing up confused,<br />
abused, tantalized, lusting and hurting in<br />
the modern era’s oversexed milieu. Shooting<br />
digitally and almost entirely in split-screen,<br />
Bellott gives us daring, dual angles of the<br />
same circumstances, granting us the intimacy<br />
his young adult characters yearn for. (In<br />
Spanish with English subtitles)<br />
Producers~Ara Katz, Rodrigo Bellott Screenplay~<br />
Rodrigo Bellott, Lenelle N. Moise Cinematography~<br />
Rodrigo Bellott, Daryn Deluco Editor~Adriana Pacheco<br />
Music~John Dobry, Jeremiah Vancans Principal<br />
Cast~Alexandra Aponte, Roberto Urbina, Jorge Antonio<br />
Saavedra, Ronica V. Reddick, Matthew Guida, Matt<br />
Cavenaugh Print Source~ Cinema Vault<br />
About the Director~Rodrigo Bellott was born in Santa Cruz,<br />
Bolivia and studied cinema at Ithaca College in New York.<br />
He became the youngest member of CONACINE, the<br />
Bolivian filmmakers’ guild, and makes his feature debut<br />
here. <strong>Film</strong>ography~SEXUAL DEPENDENCY (2003)
42 FILMS A – Z [S] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
PAN-AFRICAN<br />
WORLD TOUR<br />
Soldiers of the Rock<br />
Directed by Norman Maake<br />
SOUTH AFRICA 2003<br />
94 minutes<br />
Wednesday, March 24<br />
3:00 PM I Ticket Code 24H<br />
Friday, March 26<br />
2:30 PM I Ticket Code 26E<br />
South Africa’s prosperity runs in veins deep<br />
within the earth, in the diamond deposits<br />
and gold seams left as though by the gods<br />
as a dual blessing and curse. SOLDIERS OF<br />
THE ROCK is a dynamic, blockbuster drama<br />
of the proud men who work the mines.<br />
Laborers from Botswana, Mozambique,<br />
Swaziland and the Transvaal. Here, miles<br />
underground, the dim light levels out skin<br />
tones and tribal affiliations; township roughnecks<br />
with Tupac Shakur tattoos work next<br />
to Boers working next to Zulus. Still, Vuyo<br />
is an exception. He is a business student<br />
whose miner-father died in a rockfall so his<br />
son never would. Nonetheless, Vuyo has forsaken<br />
school to descend to this netherworld.<br />
“Here people accept you for what you are.<br />
Here they force you to be yourself.” Vuyo is<br />
approached by miner Suto with an audacious<br />
proposal: gold here is almost tapped out.<br />
Soon the pit will close. But if all the men<br />
pool their redundancy pay, they can buy their<br />
own mine and take destiny into their own<br />
calloused hands. But Suto is also an ex-con.<br />
And the dangerous, spirit-haunted tunnels<br />
have claimed many lives. Can either be<br />
trusted? (In English and Afrikaans with<br />
English subtitles)<br />
Producer~Darren Gordon Screenplay~Norman Maake,<br />
Bata Passchier Cinematography~Natalie Haarhof Editor~<br />
Bata Passchier Music~Benjamin Willen Principal Cast~<br />
Vuyo Dabula, Lebo Maathosa, Glen Gabela, Sibusiso<br />
Mhlangu, Michael Dlamini Print Source~AFDA<br />
About the Director~Norman Maake attended AFDA, the<br />
South Africa School of Motion-Picture Medium and Live<br />
Performance. He started SOLDIERS OF THE ROCK as<br />
his graduation project. <strong>Film</strong>ography~SOLDIERS OF<br />
THE ROCK (2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
WORLD TOUR<br />
Spring, Summer, Fall,<br />
Winter...and Spring<br />
(Bom Yeorum Gaeul Gyeoul Geurigo….Bom)<br />
Directed by Kim Ki-duk<br />
SOUTH KOREA, GERMANY 2003<br />
103 minutes<br />
Friday, March 26<br />
7:<strong>15</strong> PM I Ticket Code 26R<br />
ONE SCREENING ONLY<br />
In a tour-de-force behind and before the<br />
camera, self-taught filmmaker Kim Ki-duk<br />
unfolds the life of a man in five ages, five<br />
chapters...four seasons. The lyrical setting<br />
is a small, houseboat/monastery floating<br />
atop tranquil Jusan Pond in the majestic<br />
mountain territory of South Korea’s North<br />
Kyungsang Province. Only two Buddhist contemplatives<br />
dwell here, surrounded by nature<br />
—an old monk and a boy novice. This is the<br />
boy’s spiritual pilgrimage from childhood to<br />
youth. And this is a summer infatuation that<br />
lures him away from his mentor, and, seemingly,<br />
off the path to enlightenment. Years<br />
pass before the autumn in which the young<br />
monk returns to the monastery, a fugitive<br />
from justice. But, as the Buddha teaches,<br />
to understand everything is to forgive everything,<br />
and even as the prodigal seems<br />
hopelessly lost, the wheel of his life is about<br />
to turn yet again. (In Korean with English<br />
Subtitles)<br />
Producer~Lee Seung-jae Screenplay~Kim Ki-duk<br />
Cinematography~Baek Dong-hyun Editor~Kim Ki-duk<br />
Music~Bark Ji-woong Principal Cast~Kim Ki-duk, Oh<br />
Young-soo, Kim Young-min, Seo Jae-Kyung, Ha Yeo-jin,<br />
Kim Jung-ho Print Source~Sony Pictures Classics<br />
About the Director~Born in 1960, Kim Ki-duk served in<br />
the South Korean Army and worked factory jobs before<br />
turning screenwriter, actor and director in the mid-90s,<br />
winning numerous awards. He is now at work on his tenth<br />
feature. <strong>Film</strong>ography~“Crocodile” (1996), “Birdcage Inn”<br />
(1996), “The Isle” (1999), “Real Fiction” (2000),<br />
“Address Unknown” (2001), SPRING, SUMMER, FALL,<br />
WINTER...AND SPRING (2003)<br />
DOCUMENTARIES<br />
WORLD TOUR<br />
The Story of the<br />
Weeping Camel<br />
(Die Geschichte vom Weinenden Kamel)<br />
Directed by Byambasuren Davaa,<br />
Luigi Falorni<br />
GERMANY, MONGOLIA 2003<br />
90 minutes<br />
Thursday, March 25<br />
9:45 PM I Ticket Code 25V<br />
Friday, March 26<br />
12:00 Noon I Ticket Code 26C<br />
On a nomadic farmstead in Mongolia, a rare<br />
white bactrian camel is born—a difficult<br />
birth that leaves the mother animal aloof,<br />
even hostile to her colt (her first offspring),<br />
denying the newborn the milk it needs to<br />
thrive. Elders decide a “hoos” ritual is<br />
required, with a traditional fiddle player. Two<br />
boys in the family, Ugna and Dude, set off for<br />
the nearest mass-settlement where such a<br />
musician (and batteries for the grandfather’s<br />
radio) can be found. As they ride miles for<br />
their camel, we enter the 21st century, a<br />
society of power lines, satellite TVs and video<br />
games. We realize these desert people, with<br />
their ornate costumes and ceremonies, are<br />
just as fragile as the camel, tempted by the<br />
“glass images” and technology of encroaching<br />
modern culture. An age from which Earth<br />
spirits seem to have fled in disdain. But<br />
maybe some magic can be coaxed back...<br />
THE STORY OF THE WEEPING CAMEL is<br />
both a mesmerizing ethnography and a tale<br />
as gentle and warm as wool, suitable for all<br />
ages. (In Mongolian with English subtitles)<br />
Producer~Natalie Lambsdorff Writers~Byambasuren<br />
Davaa, Luigi Falorni Cinematography~Luigi Falorni<br />
Editor~Anja Pohl Music~Marcel Leniz Print<br />
Source~Think<strong>Film</strong><br />
About the Directors~Born in Mongolia, Byambasuren<br />
Davaa studied law and cinema and worked at Mongolian<br />
Public television before enrolling at Germany’s Munich <strong>Film</strong><br />
School. Born in Florence, Italy, Luigi Falorni also enrolled<br />
at the Munich <strong>Film</strong> School. THE STORY OF THE WEEPING<br />
CAMEL is a graduation piece for the co-directors.<br />
<strong>Film</strong>ography for Byambasuren Davaa~“Wunsch” (2001),<br />
THE STORY OF THE WEEPING CAMEL (2003)<br />
<strong>Film</strong>ography for Luigi Falorni~“Fools and Heroes” (1997),<br />
THE STORY OF THE WEEPING CAMEL (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 43<br />
The Stroll<br />
(Progulka)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Directed by Alexei Uchitel<br />
RUSSIA 2003<br />
90 minutes<br />
Saturday, March 20<br />
2:30 PM I Ticket Code 20H<br />
Sunday, March 21<br />
7:<strong>15</strong> PM I Ticket Code 21R<br />
One of the major events of recent world<br />
cinema was “Russian Ark,” a 96-minute,<br />
continuous camera-take touring the Winter<br />
Palace of the Czar in St. Petersburg, where<br />
costumed and choreographed re-enactors<br />
replayed episodes from Russian history. THE<br />
STROLL, made by members of the rising<br />
Petr Fomenko Workshop theater troupe, can<br />
be considered a sunny riposte. Here is also<br />
St. Petersburg, not ghost-haunted but young<br />
and carefree, forward-looking, day-lit and<br />
buoyant, with a real-time, 90-minute narrative<br />
composed of long, hand-held digital<br />
sequences. It’s a boy-meets-girl story, quite<br />
literally, as the shapely 22-year-old Olya<br />
disembarks from a car at the bridge over the<br />
Heba River and takes a walk. Straightaway<br />
she catches the eye of Alyosha, who starts<br />
chatting and proposes marriage within about<br />
<strong>15</strong> minutes. His buddy Petya, who joins<br />
them, is a little more guarded about the<br />
whole situation. Who is Olya and what’s she<br />
really up to? Wear some comfortable shoes,<br />
comrades! (In Russian with English subtitles)<br />
Preceded by The M Word<br />
Directed by Rocky Morten, USA, 4 minutes<br />
Producer~Alexei Uchitel Screenplay~Dunya Smirnova<br />
Cinematography~Yuri Klimenko, Pavel Kostomarov<br />
Editor~ Yelena Andreeva Principal Cast~Irina Pegova,<br />
Pavel Barshak, Yevgeny Tsyganov, Yevgeny Grishkovets<br />
Print Source~Studio Rock<br />
About the Director~Alexei Uchitel was born in 1951 in<br />
Leningrad, the son of documentarian Yefim Uchitel. He<br />
graduated in 1975 from the state film school VGIK and<br />
worked at the Leningrad Documentary <strong>Film</strong> Institute.<br />
<strong>Film</strong>ography~“Giselle’s Mania” (1995), “His Wife’s Diary”<br />
(2000), THE STROLL (2003)<br />
CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
Summer in the<br />
Golden Valley<br />
(Ljeto u Zlatnoj Dolini)<br />
Directed by Srdjan Vuletić<br />
BOSNIA AND HERZEGOVINIA, FRANCE,<br />
UNITED KINGDOM 2003, 104 minutes<br />
Friday, March 19<br />
12:00 Noon I Ticket Code 19D<br />
Tuesday, March 23<br />
7:<strong>15</strong> PM I Ticket Code 23R<br />
Fikret, 16, enjoys rap music and the thought<br />
of escaping the drug-ridden, war-ravaged<br />
capital city with his girlfriend. Then Fikret’s<br />
father suddenly dies. As part of the traditional<br />
Muslim funeral ceremonies, the community<br />
is asked to publicly forgive the father’s<br />
sins. Astoundingly, one mourner does not:<br />
Hamid, a man whom half of Sarajevo knows,<br />
but nobody seems to know what he does for<br />
a living. Hamid claims the dead man secretly<br />
owed him 50,000 marks, an unexplained<br />
debt his family is obligated to pay to make<br />
everything halal. This is the ultimate humiliation,<br />
and Fikret determines to redeem his<br />
family’s disgrace and satisfy Hamid, a course<br />
of action that puts the youth in the path of a<br />
kidnapped girl and two dangerously corrupt<br />
cops. “I am part of a generation of sons<br />
whose fathers left them nothing but a legacy<br />
of destroyed cities, fallen principles and the<br />
chaos of a broken society,” declares writerdirector<br />
Srdjan Vuletić. His kinetic debut<br />
dramatizes the dilemma of sons who become<br />
hostages of bad decisions made in the past.<br />
(In Bosnian with English subtitles)<br />
Producer~Admir Kenović Screenplay~Srdjan Vuletić<br />
Cinematography~Slobodan Trninić Editor~Catherine<br />
Kelber Music~Simon Boswell Principal Cast~Haris<br />
Sijaríc, Kemal Čebo, Zana Marjanović, Svetozar Cvetković,<br />
Aleksander Seksan, Emir Hadzˇihafizbegović Print Source~<br />
Refresh Productions<br />
About the Director~Srdjan Vuletić was born in 1971 in<br />
Bijeljina. He studied directing at the Academy of Performing<br />
Arts in Sarajevo and worked as a medical technician prior<br />
to creating a series of award-winning short subjects.<br />
<strong>Film</strong>ography~SUMMER IN THE GOLDEN VALLEY (2003)<br />
FAMILY FILMS<br />
WORLD TOUR<br />
Summer with the Ghosts<br />
(Sommer mit den Burggespemstern)<br />
Directed by Bernd Neuburger<br />
CANADA, AUSTRIA 2003<br />
85 minutes<br />
Sunday, March 21<br />
12:<strong>15</strong> PM I Ticket Code 21A<br />
Monday, March 22<br />
5:30 PM I Ticket Code 22M<br />
A haunted palace... A series of spooky accidents...<br />
A couple of “meddling kids” and a<br />
rather cowardly dog intent on saving the<br />
day... But it’s not what you think. Scooby<br />
Snacks to all those who recognize the name<br />
of Rock Demers. Often compared to Walt<br />
Disney himself, this French-Canadian producer<br />
is known throughout the world for his<br />
high-quality family features, including<br />
“Tommy Tricker and the Stamp Traveller”<br />
(13th CIFF, 1989), “Vincent and Me” (<strong>15</strong>th<br />
CIFF, 1991) and “The Flying Sneaker” (17th<br />
CIFF, 1993). His latest is a clever fantasy<br />
about 10-year-old Caroline, visiting her director-father<br />
shooting on location at an ancient<br />
Austrian castle. Having a film crew around<br />
can disrupt anybody’s daily routine—just<br />
ask. But it proves especially irksome to the<br />
estate’s normally-invisible population of<br />
medieval-era ghosts, with centuries-old<br />
habits and strict schedules. With the help of<br />
local boy Jakob and Otto the special effects<br />
man, Caroline tries to work out compromises<br />
between the moviemakers and the spectres,<br />
in situations they just don’t prepare you for<br />
in film school.<br />
Producers~Rock Demers, Chantal Lafleur, Bernd<br />
Neuburger, Lukas Stepanik Screenplay~Nadja Seelich<br />
Cinematography~Thomas Vamos Editor~Matthieu Roy-<br />
Decarie Music~Zdenek Merta Principal Cast~Sarah-Jeanne<br />
Labrosse, Nikola Culka, Ron Lea, Karl Merkatz, Richard<br />
Jutras, Konstanze Breitebner Print Source~La Fête<br />
About the Director~Bernd Neuburger served as a<br />
cinematographer before turning to directing himself. He<br />
has done both narrative features and documentaries in<br />
collaboration with screenwriter Nadja Seelich. <strong>Film</strong>ography~<br />
“Jonathana and the Sorceress” (1986), “Vacation with<br />
Sylvester” (1990), “Lisa and the Sabre-Toothed Tiger”<br />
(1995), SUMMER WITH THE GHOSTS (2003)
44 FILMS A – Z [T – W] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
FAMILY FILMS<br />
WORLD TOUR<br />
The Tenth Summer<br />
(Der Zehnte Sommer)<br />
Directed by Jörg Grünler<br />
GERMANY 2003<br />
98 minutes<br />
Thursday, March 25<br />
5:<strong>15</strong> PM I Ticket Code 25L<br />
Saturday, March 27<br />
12:<strong>15</strong> PM I Ticket Code 27C<br />
From its opening moments, you will joyfully<br />
submit to the reign of THE TENTH SUMMER<br />
—a deft, sweet-spirited and instantly disarming<br />
evocation of a child’s magical ability to<br />
perceive and color the world as a wonderful<br />
place. After all, what boy should not be<br />
allowed to be king on his 10th birthday? For<br />
Kalli, growing up in West Germany in 1960,<br />
the town is his regal realm, its citizens his<br />
royal subjects (whether they appreciate it<br />
or not) and Franzi, the girl next door, his<br />
princess (if her mother doesn’t catch them).<br />
It’s the summer. School is impossibly<br />
distant, and Kalli and his friends/squires<br />
have all the time they want to convert the<br />
basement of their apartment complex into<br />
a menagerie—mostly of bugs, but there are<br />
awestruck rumors that a pheasant and even<br />
a monkey can be obtained for their zoo.<br />
Meanwhile, the grown-ups go about their<br />
business with their banal worries about jobs,<br />
arguments about too much time spent in<br />
bars and gossip about the suspect activities<br />
of the disreputable Mrs. Hilfers and her two<br />
fatherless daughters. King Kalli knows what’s<br />
important: how to get that monkey! (In<br />
German with English subtitles)<br />
Producer~Elke Reid Screenplay~Deiter Bongartz (based<br />
on his novel) Cinematography~Daneil Koppelkamm<br />
Editor~Jorg Baumeister Music~Mick Baumeister<br />
Principal Cast~Martin Stührk, Kai Wiesinger, Katherina<br />
Böhm, Pina Servino-Geyser, David Kotter Print Source~<br />
Media Luna Entertainment<br />
About the Director~Jörg Grünler has directed extensively<br />
for German television. <strong>Film</strong>ography~“Krücke” (1993),<br />
THE TENTH SUMMER (2003)<br />
DOCUMENTARIES CENTRAL/EASTERN EUROPEAN<br />
FILM COMPETITION<br />
WORLD TOUR<br />
Thunder in Guyana<br />
Directed by Suzanne Wasserman<br />
USA, GUYANA 2003,<br />
50 minutes<br />
Monday, March 22<br />
7:45 PM I Ticket Code 22N<br />
Tuesday, March 23<br />
12:<strong>15</strong> PM I Ticket Code 23B<br />
What do radicals do after they fall in love<br />
and get married? For Chicago-born Janet<br />
Rosenberg and Cheddi Jagan, a native of<br />
Guyana, they travel to the South American<br />
British colony and start a socialist revolution.<br />
This was in 1943. Soon enough the Jagans<br />
became the most important political figures<br />
in Guyana. But they also faced opposition<br />
from world leaders such as Winston Churchill<br />
and John F. Kennedy. Cheddi was elected<br />
prime minister within ten years, and adventurous<br />
Janet—a world-class swimmer who<br />
took flying lessons and didn’t give a damn<br />
what anyone thought of her—was elected<br />
deputy speaker of Parliament. In 1997<br />
Cheddi died, and Janet, still popular with the<br />
people who had attained independence from<br />
Britain, was elected president—the first<br />
white Jewish woman to lead a potpourri of<br />
dark-skinned Hindus, Muslims and<br />
Christians. Janet’s younger cousin, the film’s<br />
director, weaves in documentary footage of<br />
Janet as a young woman, still photos and<br />
interviews. Now in her 80s, Janet is a font of<br />
history and a true independent spirit.<br />
Preceded by When the Storm Came<br />
Shilpi Gupta, USA, 24 minutes<br />
Producer~Suzanne Wasserman Writer~Suzanne Wasserman<br />
Cinematography~Debra Granik Editor~ Amanda Zinoman<br />
Music~Basya Schechter (with original score by Steve<br />
Sandberg) Print Source~Women Make Movies<br />
About the Director~Suzanne Wasserman is a graduate of<br />
NYU with a Ph.D in American history. She is currently<br />
Associate Director of the Gotham Center for New York City<br />
at CUNY. This is her first feature film. <strong>Film</strong>ography~<br />
THUNDER IN GUYANA (2003)<br />
This film is presented with the<br />
generous support of<br />
DONNA and STEWART KOHL<br />
WORLD TOUR<br />
The Ticking Man<br />
Directed by Steven Lewis Simpson<br />
UNITED KINGDOM 2003<br />
85 minutes<br />
Monday, March 22<br />
9:45 PM I Ticket Code 22U<br />
Tuesday, March 23<br />
12:00 Noon I Ticket Code 23D<br />
Lensed as crisp and lethal as the crosshairs<br />
in a sniper’s scope, THE TICKING MAN is a<br />
nail-biting thriller set on Scotland’s western<br />
seacoast. A multi-million-pound drug deal,<br />
away from prying eyes, has gone wrong and<br />
one of the parties is summarily eliminated.<br />
Despite the remote locale, two unidentified<br />
residents (actually a squabbling pair of<br />
estranged lovers) witness the murder from a<br />
distance. The jailed crime kingpin decides<br />
on the harshest solution imaginable. It’s a<br />
tiny community. With careful scrutiny and<br />
logic, the list of people who might be called<br />
to testify can be pared down to a handful.<br />
A “manageable” handful. “A wee bit of collateral<br />
damage,” he says. So the order goes<br />
out to an icy, black-clad assassin, armed<br />
with crossbow bolts, bullets, grenades and a<br />
stopwatch: kill them all. With a deadly pace<br />
and knife-edged use of split screen, Steven<br />
Lewis Simpson’s feature clocks in as the<br />
CIFF’s most lethal weapon.<br />
Producer~Steven Lewis Simpson Screenplay~Steven<br />
Lewis Simpson Cinematography~Ian Dodds Editor~<br />
Steven Lewis Simpson Music~Steven Lewis Simpson,<br />
V-Twin Principal Cast~Alan McCafferty, Aaron McCusker,<br />
Ian Hanmore, Harriet Hunter, Gavin Marshall, Charli<br />
Wilson, Robert Rennie Print Source~Cinema Vault<br />
About the Director~Once the youngest fully qualified<br />
stockbroker in Britain, Steven Lewis Simpson turned to<br />
filmmaking in his early 20s, working for Roger Corman in<br />
Los Angeles. He returned to the UK and made his feature<br />
debut in 1993. <strong>Film</strong>ography~“The Ties” (1993), THE<br />
TICKING MAN (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM FILMS A – Z 45<br />
WORLD TOUR AMERICAN INDEPENDENTS<br />
Truth and Lies<br />
(La Forza del passato)<br />
Directed by Piergiorgio Gay<br />
ITALY 2002<br />
95 minutes<br />
Friday, March 19<br />
7:00 PM I Ticket Code 19Q<br />
Sunday, March 21<br />
2:30 PM I Ticket Code 21G<br />
In the city of Trieste, a man named Gianni<br />
receives an unexpected visitor: an unkempt,<br />
armed stranger calling himself Bogliasco<br />
(played by Bruno Ganz). He claims to be a<br />
veteran spy, now ready to spill old secrets<br />
that shake Gianni’s life to its core.<br />
Throughout adulthood Gianni despised and<br />
rejected his late, ultra-conservative, armygeneral<br />
father as a neo-fascist and a bigot.<br />
Bogliasco claims the dead man was instead<br />
a KGB collaborator, employed by the Soviets’<br />
counter-intelligence unit in Moscow since the<br />
end of WWII. Along with these revelations,<br />
Gianni also discovers his wife’s infidelity<br />
and, with the foundation of his life in ruins,<br />
is unable to trust the people closest to him.<br />
He grapples with the shocking allegations of<br />
Bogliasco, a man of a thousand aliases and<br />
an unknown nationality who may not be lying<br />
but may not be telling the real story either.<br />
Let the mindgames begin. (In Italian with<br />
English subtitles)<br />
Producer~Lionello Cerri Screenplay~Lara Frembder,<br />
Piergiorgio Gay (based on the novel by Sandro Veronesi)<br />
Cinematography~Luca Bigazzi Editor~Carlotta Cristiani<br />
Music~Quintorigo Principal Cast~Sergio Rubini, Bruno<br />
Ganz, Sandra Ceccarelli, Mariangela D’Abbraccio, Valeria<br />
Moriconi, Aleksander Krosl Print Source~Adriana Chiesa<br />
FOR PROGRAM UPDATES<br />
About the Director~Piergiorgio Gay was born in Turin in<br />
1959 and entered the film industry in 1982, working his<br />
way up from assistant director. <strong>Film</strong>ography~“Tre Storie”<br />
(1998), “Guarda il Cielo” (2000), TRUTH AND LIES<br />
(2002)<br />
Two Days<br />
Directed by Sean McGinly<br />
USA 2002<br />
87 minutes<br />
Saturday, March 27<br />
10:<strong>15</strong> PM I Ticket Code 27V<br />
Sunday, March 28<br />
12:00 Noon I Ticket Code 28C<br />
A comedy with a black heart, TWO DAYS is<br />
about Paul Miller (Paul Rudd) who decides<br />
to make a documentary about the last two<br />
days of his life before he commits suicide.<br />
He makes the rounds of last goodbyes, seeing<br />
friends like Stephen (Mackenzie Astin)<br />
and Nancy (Stacey Travis), who thinks Paul<br />
will embrace life again if he has sex with her.<br />
Meanwhile, Paul’s conflicting crew, including<br />
Stu (Adam Scott) who wants to turn the film<br />
into a life-affirming saga, and Charlie (Karl<br />
Wiedergott) who wants to maintain the<br />
“integrity” of the project, even if it ends in<br />
suicide, battle for Paul’s attention. Stu meddles<br />
in Paul’s nonchalant family and enlists<br />
the girlfriend who dumped Paul the year<br />
before. Stu becomes more and more involved<br />
in saving Paul, leading to a stunning climax<br />
where Paul decides if he should kill himself,<br />
or just move to the west side. The film was<br />
shot from three points of view, one indicated<br />
by film, the other two by video. Donal Logue<br />
and Joshua Leonard also star.<br />
Producer~Mohit Ramchandani Screenplay~Sean McGinly<br />
Cinematography~Jens Stürup Editor~Tripp Reed Music~<br />
Alan Ari Lazar Principal Cast~Paul Rudd, Donal Logue,<br />
Mackenzie Astin, Adam Scott, Joshua Leonard, Marguerite<br />
Moreau Print Source~Sean McGinly<br />
About the Director~Born in Philadelphia, Sean McGinly<br />
graduated with a degree in philosophy from Villanova<br />
University and received his MFA in film from USC. After<br />
making a few student films, he produced, wrote and directed<br />
his first feature. <strong>Film</strong>ography~“The Truth About Juliet”<br />
(1998), TWO DAYS (2002)<br />
WORLD TOUR<br />
Wilbur Wants to Kill Himself<br />
(Wilbur Begår Selvmord)<br />
Directed by Lone Scherfig<br />
DENMARK, UNITED KINGDOM 2003<br />
109 minutes<br />
Friday, March 26<br />
10:00 PM I Ticket Code 26S<br />
Saturday, March 27<br />
2:30 PM I Ticket Code 27G<br />
If anyone could be considered a serial<br />
suicide, it’s Wilbur, hero of this exquisitely<br />
tender tragicomedy. Wilbur does indeed want<br />
to kill himself. He tries numerous times. He<br />
eventually wears out the patience of the antihari-kari<br />
support group at the hospital where<br />
Wilbur often ends up as an emergency room<br />
admission. Wilbur’s therapists send him back<br />
to live with his brother Harper, manager of<br />
the gloomy secondhand bookshop passed<br />
down from their late father, who might have<br />
intended Wilbur to have the place instead,<br />
but only left the guy with an inheritance of<br />
pain and horrible memories. As irresistible<br />
as the impulse towards oblivion seems to<br />
Wilbur, so he is to the ladies, and the latest<br />
lass to be thoroughly attracted by Wilbur’s<br />
tactless, biting, self-destructive personality is<br />
a fired hospital aide who once rescued him.<br />
She also happens to be Harper’s wife...Lone<br />
Scherfig, director of the hit Dogme95 comedy<br />
“Italian for Beginners,” here creates her own<br />
filmmaking style, Doleful03, where pain,<br />
love, humor and healing come bundled<br />
together in one sad sack.<br />
Producer~Sisse Graum Olsen Screenplay~Anders Thomas<br />
Jensen, Lone Scherfig Cinematography~Jørgen Johansson<br />
Editor~Gerd Tjur Music~Joakim Holbeck Principal Cast~<br />
Jamie Sives, Adian Rawlins, Shirley Henderson, Lisa<br />
McKinlay, Mads Mikkelsen, Julia Davis, Susan Vidler<br />
Print Source~Think<strong>Film</strong><br />
About the Director~Niece of writer Hans Scherfig, Lone<br />
Scherfig was born in 1959 in Copenhagen. She graduated<br />
from the Danish <strong>Film</strong> Academy in 1984 and has worked<br />
in radio, live theater, shorts and features. <strong>Film</strong>ography~<br />
“Kaj’s Fødselsdag” (1990), “Når Mor Kommer Hjem”<br />
(1998), “Italian for Beginners” (2000), WILBUR WANTS<br />
TO KILL HIMSELF (2003)
46 FILMS A – Z [W – Y] The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
WORLD TOUR WORLD TOUR<br />
World’s Best Commercials<br />
INTERNATIONAL 2003<br />
80 minutes<br />
Friday, March 19<br />
12:<strong>15</strong> PM I Ticket Code 19B<br />
Saturday, March 20<br />
9:30 PM I Ticket Code 20T<br />
Thursday, March 25<br />
2:30 PM I Ticket Code 25F<br />
Time was, people went to the movies to<br />
escape advertising, but no more. Even if<br />
you’re lucky enough to arrive at the cinema<br />
late and miss a bunch of Sierra Mist and<br />
Fandango ads just before the trailers,<br />
Hollywood glommed onto the idea of “product<br />
placement” long ago, so you’ll see brand<br />
labels flashed at the camera by James Bond<br />
or Charlie’s Angels at every opportunity<br />
(though we were pleasantly surprised to see<br />
that nobody in “Pirates of the Caribbean”<br />
wielding a Macintosh computer). Well, at this<br />
CIFF tradition we guarantee you’ll see ads.<br />
Nothing but ads. These are the finalists in<br />
the <strong>International</strong> Advertising Awards, the<br />
annual Cannes Lions (celebrating its 50th<br />
anniversary), which bring submissions from<br />
all over the globe. These commercials display<br />
astonishing wit, simplicity, complexity and<br />
ingenuity, and – unlike the American networks<br />
– we present them in their original<br />
form, uncut and not interrupted by commercial<br />
breaks or by superfluous chatter from<br />
Dick Clark or the “whaaasuuup!” guys. Buy<br />
your tickets early, because this CIFF program<br />
invariably sells out.<br />
Print Source~<strong>International</strong> Advertising <strong>Festival</strong> Ltd.<br />
c/o USA Today<br />
Sponsored by<br />
Yes Nurse! No Nurse!<br />
Ja Zuster, Nee Zuster)<br />
Directed by Pieter Kramer<br />
NETHERLANDS 2002<br />
104 minutes<br />
Saturday, March 27<br />
10:00 PM I Ticket Code 27U<br />
Sunday, March 28<br />
5:<strong>15</strong> PM I Ticket Code 28K<br />
This may be the most unusual film in the<br />
festival: a musical comedy that opens with<br />
white-garbed nurses performing a Busby<br />
Berkeley homage, followed by a barrage of<br />
other cinematic recollections. There is a<br />
story between the songs, however, and it<br />
concerns Nurse Klivia (who runs a curious<br />
rest home full of eccentrics), her virginal<br />
daughter Jet and the rest home’s landlord<br />
and neighbor named Boordevol, who is trying<br />
to evict them. Other people move in and out<br />
(a drama queen hairdresser, a burglarizing<br />
lesbian lusting after Jet) all with specific<br />
agendas and damning secrets. But right on<br />
schedule there’s a musical moment of dancing<br />
nurses that brightens the proceedings.<br />
The sets mix realistic design with soft pastels,<br />
and the period look and costumes are<br />
spot on. (In Dutch with English subtitles)<br />
Producer~Burny Bros, Michiel de Rooij, Sabine<br />
Veenendaal Screenplay~Frank Houtappels, Pieter Kramer<br />
(based on the TV-series by Annie M.G. Schmidt & Harry<br />
Bannink) Cinematography~Piotr Kukla Editor~Elja de<br />
Lange Music~Raymund van Santen, Ferdinand Boland<br />
Principal Cast~Loes Luca, Paul R. Kooij, Paul de Leeuw,<br />
Tjitske Reidinga, Waldemar Torenstra, Lennart Vader<br />
Print Source~Regent Entertainment/here!<strong>Film</strong>s<br />
About the Director~Born in Utrecht, Netherlands in 1952,<br />
Pieter Kramer graduated from the Amsterdam Drama<br />
Academy and has since directed countless stage plays.<br />
He started directing television in the 1980s and made<br />
his feature film debut in 1989. Selected <strong>Film</strong>ography~<br />
“Theo en Thea en de Ontmaske—Ring van het Tenenkaas<br />
—Imperium” (1989), YES NURSE! NO NURSE! (2002)<br />
WORLD TOUR<br />
Young Adam<br />
Directed by David Mackenzie<br />
UNITED KINGDOM, FRANCE 2003<br />
93 minutes<br />
Saturday, March 20<br />
7:<strong>15</strong> PM I Ticket Code 20R<br />
ONE SCREENING ONLY<br />
The controversial prose of the late cult<br />
author/Beat-Generation poet/heroin casualty<br />
Alexander Trocchi inspired this foreboding,<br />
“amoral moral tale” in the grey cityscapes<br />
and waterways of early 1950s Scotland. The<br />
discovery of a young woman’s corpse in the<br />
River Clyde enmeshes Ella (Tilda Swinton)<br />
and Les (Peter Mullan), an unhappily married<br />
couple, along with Joe (Ewan McGregor), the<br />
drifter who’s lately been working for them<br />
and living on their barge that ferries between<br />
Glasgow and Edinburgh. At first the gruesome<br />
find serves as a morbid diversion from the<br />
work routine—but perhaps it’s a warning, as<br />
well, of things to come. Despite his friendship<br />
with Les, Joe seduces Ella, and, later<br />
on, her sister Gwen. The interloper’s sexual<br />
magnetism and irresistibility is a jolt of<br />
live-wire electricity in the dismal, repressive<br />
climate of the day. But too much voltage<br />
can be fatal. Just ask Cathie—the dead girl.<br />
Watch for Ian Hanmore, the killer from “The<br />
Ticking Man,” as a freight inspector.<br />
Producer~Jeremy Thomas Screenplay~David Mackenzie<br />
Cinematography~Giles Nuttgens Editor~Colin Monie<br />
Music~David Byrne Principal Cast~Ewan McGregor, Tilda<br />
Swinton, Peter Mullan, Emily Mortimer, Jack McElhone,<br />
Therese Bradley, Ewan Stewart, Stuart McQuarrie, Pauline<br />
Turner, Alan Cooke, Rory McCann Print Source~Sony<br />
Pictures Classics<br />
About the Director~David Mackenzie has directed a number<br />
of award-winning shorts for British television. He made<br />
his feature debut in 2002. <strong>Film</strong>ography~“The Last Great<br />
Wilderness” (2002), YOUNG ADAM (2003)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM INDEPENDENT SHORTS 47<br />
Trip to the Dentist<br />
Family Shorts<br />
Program<br />
SHORTS PROGRAMS<br />
Saturday, March 20<br />
12:<strong>15</strong> PM I Ticket Code 20A<br />
90 minutes<br />
Saturday, March 27<br />
2:45 PM I Ticket Code 27E<br />
90 minutes<br />
Trip to the Dentist<br />
Gavrilo Gnatovich, USA, 3 min<br />
Gretchen Brettschneider Skirts Thirty<br />
Corey Blake, USA, <strong>15</strong> min<br />
The Old Man, the Zither, and the Dragon<br />
Paul Wei, USA, 7 min<br />
I Want a Dog<br />
Sheldon Cohen, Canada, 10 min<br />
A Work in Progress<br />
Wes Ball, USA, 8 min<br />
Tristella’s Tears<br />
Emy Craciunescu, USA, 10 min<br />
Moo(n)<br />
Leigh Hodgkinson, United Kingdom, 3 min<br />
Spidermen<br />
Harry Kellerman, USA, 8 min<br />
Still Life<br />
Andre Lyon, USA, 4 min<br />
Masterpiece Monday<br />
Glenn Forbes, Canada, 22 min<br />
Best of the<br />
Pre-Feature Shorts<br />
Sunday, March 28<br />
12:<strong>15</strong> PM I Ticket Code 28B<br />
Approximately 90 minutes<br />
ONE SCREENING ONLY<br />
Every year select feature films in<br />
the festival are preceded by a short<br />
film, which introduces the feature.<br />
These short films are always some<br />
of the most talked-about films at<br />
the festival. For film lovers who do<br />
not have the time to see all the<br />
films throughout the festival, we<br />
select some of the funniest, most<br />
intriguing and most compelling of<br />
these shorts and screen them all<br />
together on the last day of the<br />
festival. In this program the audience<br />
will have the chance to see<br />
DAVID MAMET’S GILDED STONES<br />
from the USA, WATER from New<br />
Zealand, and many more surprises.<br />
Make sure you buy your tickets<br />
early; this program is usually the<br />
first to go on Stand By.<br />
A wacky, fun-filled, animated music video deals with the anxieties present in any TRIP TO<br />
THE DENTIST • Gretchen is determined to avoid turning 30 in the quirky and colorful<br />
GRETCHEN BRETTSCHNEIDER SKIRTS THIRTY • A father tries to save his daughter from<br />
a jealous dragon in the animated THE OLD MAN, THE ZITHER, AND THE DRAGON • Young<br />
May wants a dog more than anything else in the world and she’ll do whatever it takes to get<br />
one in I WANT A DOG • A lonely girl finds that sometimes imagination and friendship go<br />
hand-in-hand in A WORK IN PROGRESS • TRISTELLA’S TEARS is the animated story of<br />
a young girl and a fish who together discover that even when all hope appears to be lost,<br />
love may still prevail over evil • A young girl befriends a cow in the animated MOO(N) •<br />
In SPIDERMEN a young would-be-superhero attempts to reclaim his confiscated Halloween<br />
candy, but he’s in for a bit of a surprise • A painter is repeatedly confounded by his<br />
mischievous STILL LIFE subjects • 6 People. 3 Stories. 1 Monday. A story filled with a<br />
fun and fateful sense of humor is featured in MASTERPIECE MONDAY.<br />
War Song<br />
INDEPENDENT SHORTS<br />
PROGRAM I<br />
Friday, March 19<br />
4:45 PM I Ticket Code 19J<br />
103 min, ONE SCREENING ONLY<br />
War Song<br />
Fairai Richmond, USA, 16 min<br />
Still Life<br />
Andre Lyon, USA, 4 min<br />
Bedford<br />
Andres Sanz, USA, <strong>15</strong> min<br />
Downpour Resurfacing<br />
Frances Nkara, USA, 28 min<br />
Loving the In-Laws<br />
Glen Mcdonald, Canada, 24 min<br />
Within The Wall<br />
Paula Neiman, USA, 16 min<br />
U.S. airmen crash land in<br />
Japanese-ruled China and have<br />
to find their way home in WAR<br />
SONG • A painter is repeatedly<br />
confounded by his mischievous<br />
STILL LIFE subjects • Leaving<br />
New York City, Harry BEDFORD<br />
discovers that his shadow<br />
is missing • DOWNPOUR<br />
RESURFACING is an experimental<br />
rekindling of Robert Hall’s<br />
personal struggle to cope with a<br />
history of sexual and physical<br />
abuse • Failing to get the<br />
message, Jason finds himself<br />
home alone LOVING THE<br />
IN-LAWS from hell • Poetry...<br />
drugs ...and family intertwine to<br />
spiral 12-year-old Eddie into<br />
“The Hole” WITHIN THE WALL.<br />
Independent Shorts continued<br />
on page 48
48 INDEPENDENT SHORTS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Passing Hearts<br />
PROGRAM II<br />
Saturday, March 20<br />
2:<strong>15</strong> PM I Ticket Code 20E<br />
104 min, ONE SCREENING ONLY<br />
The Rubi Girls<br />
Jonathan E. McNeal, USA, 28 min<br />
The Fine Art of Poisoning<br />
Bill Domonkos, USA, 6 min<br />
Seventy Two Faced Liar<br />
Mark Waites, United Kingdom,<br />
<strong>15</strong> min<br />
Andante Cantabile<br />
Yue Liu, USA, 24 min<br />
Deep Silence<br />
Gustavo Loza, Mexico, 16 min<br />
Passing Hearts<br />
Johan Brisinger, Sweden, <strong>15</strong> min<br />
An incredible group of gay<br />
friends from the Midwest find<br />
that raising funds for HIV/AIDS<br />
can be “kind of a drag” in the<br />
funny and heartwarming<br />
documentary THE RUBI GIRLS<br />
• Deceit, secret plots and<br />
delicious revenge are all served<br />
up in THE FINE ART OF<br />
POISONING • Terry finds he is<br />
a man of many faces or masks<br />
in the comedic SEVENTY TWO<br />
FACED LIAR • An accomplished<br />
Chinese musician faces a cruel<br />
twist of fate in ANDANTE<br />
CANTABILE • A planned adventure<br />
goes terribly wrong for two<br />
young boys in DEEP SILENCE •<br />
PASSING HEARTS shows the<br />
unexpected meeting between a<br />
young man and the family whose<br />
late son saved his life.<br />
PROGRAM III<br />
Sunday, March 21<br />
2:30 PM I Ticket Code 21E<br />
101 min, ONE SCREENING ONLY<br />
The School<br />
Ezra Krybus & Matthew Miller,<br />
Canada, 12 min<br />
Left or Right for Love?<br />
Magali Charrier, United Kingdom,<br />
6 min<br />
Retirement Rehearsal<br />
Anisha Pattanaik, USA, 24 min<br />
Objects in the Mirror are<br />
Further Than They Appear<br />
Gorman Bechard, USA, <strong>15</strong> min<br />
3AM<br />
Stewart Hopewell, USA, 22 min<br />
Masterpiece Monday<br />
Glenn Forbes, Canada, 22 min<br />
In THE SCHOOL we learn that<br />
grade two is for laughing, playing<br />
and burying the dead • Float in<br />
the moat of your milky thoughts.<br />
Puzzle it out and dreams may<br />
sprout in the experimental<br />
short film LEFT OR RIGHT<br />
FOR LOVE? • RETIREMENT<br />
REHEARSAL follows a couple<br />
adjusting to a new phase of life<br />
together • Things go horribly<br />
wrong for an inexperienced<br />
escort in OBJECTS IN THE<br />
MIRROR ARE FURTHER THAN<br />
THEY APPEAR • It’s 3AM at the<br />
crematorium. It is time • 6<br />
People, 3 Stories, 1 Monday<br />
and a lot of fun are featured in<br />
MASTERPIECE MONDAY<br />
PROGRAM IV<br />
Monday, March 22<br />
5:00 PM I Ticket Code 22J<br />
109 min, ONE SCREENING ONLY<br />
Thespian X<br />
Gerald McMorrow, United Kingdom,<br />
13 min<br />
Iota<br />
Simon Dennis, United Kingdom,<br />
10 min<br />
A Second Opinion<br />
Hadas Ragolsky, USA, 25 min<br />
Suddenly It Rained<br />
Tim Wilkerson, USA / Egypt, 12 min<br />
Superfag<br />
Kurt Koehler, USA, 23 min<br />
Bazaar<br />
Mahboubeh Khoshrou, Iran / USA,<br />
11 min<br />
The School Iota<br />
In the Bar<br />
Cleiton Stringhini &<br />
Paulo de Tarso Mendonca,<br />
Brazil, 8 min<br />
Level <strong>15</strong><br />
Sally Anne Kerr, Australia, 7 min<br />
An unemployed actor in the<br />
not-too-distant-future finds a<br />
surprise awaits him at the state<br />
benefits office in THESPIAN X •<br />
Reminiscent of the silent era,<br />
IOTA is the powerful story of loss<br />
and rediscovered communication<br />
within a remote and voiceless<br />
family • The struggles and fears<br />
of Physicians for Human Rights<br />
Israel who travel to the West<br />
Bank every Saturday to provide<br />
medical care to Palestinians are<br />
documented in A SECOND<br />
OPINION • He says black, she<br />
says white. She says it will rain,<br />
he says it won’t, in SUDDENLY<br />
IT RAINED • Join our Superhero<br />
SUPERFAG and his Super Duper<br />
friends as they rid the world of<br />
homophobia and bad hair days •<br />
BAZAAR details the journey of a<br />
beautiful Persian rug from maker<br />
to market • A federal law in<br />
Brazil that requires manufacturers<br />
to print illustrated messages<br />
on cigarette packages leads to<br />
controversy IN THE BAR •<br />
LEVEL <strong>15</strong> takes an ironic look at<br />
the “art of film funding” and<br />
filmmaking set in “the ministry<br />
of artistic integrity.”<br />
PROGRAM V<br />
Tuesday, March 23<br />
4:45 PM I Ticket Code 23J<br />
104 min, ONE SCREENING ONLY<br />
Life, Liberty and the<br />
Pursuit of Happiness<br />
Tiffany Shlain, USA, 14 min<br />
Blue<br />
Christopher Mullins, USA, 23 min<br />
A Blue Christmas<br />
A Blue Christmas<br />
Phil Brody, USA, <strong>15</strong> min<br />
The Call<br />
Princess Monique, USA, 24 min<br />
Misdemeanor<br />
Jonathan LeMond, USA, 13 min<br />
Dies Iræ<br />
Alexandre Astier, France, <strong>15</strong> min<br />
A 50s style school documentary<br />
playfully offers up political and<br />
social satire on the state of<br />
reproductive rights in LIFE,<br />
LIBERTY AND THE PURSUIT OF<br />
HAPPINESS • Slick computer<br />
animation is used to tell the<br />
adventurous tale of a small robot<br />
in BLUE • A BLUE CHRISTMAS<br />
follows a young girl’s quest to<br />
deliver holiday cheer in a rather<br />
unusual way • The past threatens<br />
to haunt a young woman and<br />
her boyfriend in THE CALL<br />
• A young pickpocket rediscovers<br />
her conscience in the delightful<br />
MISDEMEANOR • Arthur and<br />
the knights of the round table<br />
meet to discuss their current<br />
agenda in the very funny<br />
DIES IRÆ.<br />
PROGRAM VI<br />
Wednesday, March 24<br />
5:<strong>15</strong> PM I Ticket Code 24J<br />
106 min, ONE SCREENING ONLY<br />
Sometimes the Neighbor<br />
Adam Salky, USA, 22 min<br />
Everloving<br />
Steve Johnson & Jason Hamer,<br />
USA, 4 min
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM INDEPENDENT SHORTS 49<br />
One Way Ticket<br />
The Martyr<br />
John Dolan, USA, 12 min<br />
A Work in Progress<br />
Wes Ball, USA, 8 min<br />
When the Storm Came<br />
Shilpi Gupta, USA, 24 min<br />
Spidermen<br />
Harry Kellerman, USA, 8 min<br />
One Way Ticket<br />
Marie-Pierre Huster, France, 28 min<br />
A teenaged boy becomes infatuated<br />
with his artistic neighbor<br />
and soon finds himself caught<br />
up in the secret details of her<br />
shadowy past in SOMETIMES<br />
THE NEIGHBOR • EVERLOVING<br />
is mesmerizing animation<br />
inspired by the paintings of<br />
Beksinksi and the music of Moby<br />
• A would-be suicide bomber<br />
faces a deep moral conflict in<br />
THE MARTYR • A lonely girl<br />
discovers that sometimes<br />
imagination and friendship go<br />
hand-in-hand in the delightful<br />
A WORK IN PROGRESS •<br />
WHEN THE STORM CAME<br />
documents the long-lingering<br />
affects of a mass rape by Indian<br />
security forces in a small village<br />
in Kashmir • In SPIDERMEN<br />
a young would-be superhero<br />
attempts to reclaim his confiscated<br />
Halloween candy, but finds<br />
he’s in for a surprise • Set in<br />
Paris, ONE WAY TICKET is a tale<br />
of “Love at First Sight” and the<br />
ever-changing twists of fate.<br />
PROGRAM VII<br />
Thursday, March 25<br />
5:00 PM I Ticket Code 25J<br />
110 min, ONE SCREENING ONLY<br />
In/Out<br />
Daryll Woon, USA, 11 min<br />
Firepussy<br />
Laurel Almerinda, USA, 19 min<br />
Eternal Gaze<br />
Sam Chen, USA, 16 min<br />
The Promethean Why the Anderson Children Didn’t Come to Dinner<br />
You’re Gonna Wake Up<br />
One Morning...<br />
Mark Jay, United Kingdom, 28 min<br />
Tango Octogenario<br />
David Licata, USA, 7 min<br />
Say You Love Me<br />
Adam Feinstein, USA, 16 min<br />
The Promethean<br />
D. Kohl Glass, USA, 13 min<br />
Struggling to get in step with<br />
society, a man begins to ponder<br />
the question of the man behind<br />
the glass in the provocative<br />
IN/OUT • FIREPUSSY invites us<br />
to “get lit” as we follow the erotically<br />
dangerous journey of a<br />
volatile pyromaniac Latina poet •<br />
Inspired by the life and torment<br />
of one of the greatest artists of<br />
the twentieth century—Alberto<br />
Giacometti—ETERNAL GAZE is<br />
a poignant story about an artist,<br />
his art and reciprocated love •<br />
Scoring drugs and overhearing a<br />
plot for robbery and murder are<br />
just some of the misadventures<br />
of two teens on a blind date in<br />
the romantic comedy YOU’RE<br />
GONNA WAKE UP ONE<br />
MORNING... • An argumentative<br />
elderly couple find a unique way<br />
of both reconnecting and turning<br />
back the clock in TANGO<br />
OCTOGENARIO • SAY YOU<br />
LOVE ME documents the relationship<br />
between a woman with<br />
AIDS and her healthy younger<br />
groom in the months and days<br />
leading up to their wedding<br />
• The nature of justice and the<br />
role of fate are questioned in<br />
THE PROMETHEAN.<br />
PROGRAM VIII<br />
Friday, March 26<br />
5:00 PM I Ticket Code 26J<br />
103 min, ONE SCREENING ONLY<br />
The Anniversary<br />
Ham Tran, USA / Vietnam, 28 min<br />
2 + 2<br />
Benita Raphan & Clayton Hemmert,<br />
USA, 11 min<br />
Rent-a-Person<br />
Last Stand<br />
Gabe Torres, USA, 23 min<br />
Clean Flicks<br />
Jennifer Van Eenenaam, USA,<br />
14 min<br />
Tides<br />
James Pellerito, Italy / USA, <strong>15</strong> min<br />
Rent-a-Person<br />
Kurt Kuenne, USA, 12 min<br />
A Buddhist monk is haunted by<br />
his memories of war and betrayal<br />
on THE ANNIVERSARY of his<br />
brother’s death • 2 + 2 is an<br />
experimental, animated documentary<br />
about Nobel Laureate,<br />
Dr. John F. Nash Jr • A 12-yearold<br />
Lakota boy comes upon the<br />
last surviving soldier of The<br />
Battle of the Little Big Horn in<br />
LAST STAND • CLEAN FLICKS<br />
documents the ongoing legal<br />
battle over the editing and<br />
censoring of Hollywood films<br />
by a chain of “family friendly”<br />
video rental stores • A father in<br />
war-torn Macedonia is forced to<br />
make a difficult decision as he<br />
tries to save the life of his only<br />
son in TIDES • RENT-A-PERSON<br />
is a romantic musical comedy<br />
about a men’s room attendant<br />
who stumbles upon an idea that<br />
just may revolutionize rush hour<br />
traffic and his life.<br />
PROGRAM IX<br />
Saturday, March 27<br />
12:00 Noon I Ticket Code 27A<br />
103 min, ONE SCREENING ONLY<br />
Night Dawn Day<br />
Marc Pilvinsky, USA, 10 min<br />
The Spirit of Gravity<br />
Victor Bellomo & David Pace, USA,<br />
6 min<br />
Mimmo & Paulie<br />
Domenic Silipo, USA, 28 min<br />
Why the Anderson<br />
Children Didn’t Come<br />
to Dinner<br />
Jamie Travis, Canada, 16 min<br />
Passage<br />
Jimmy Nabi, USA, 20 min<br />
African American<br />
Askia Holloway & Johnny Ramos,<br />
USA, 23 min<br />
In NIGHT DAWN DAY a woman<br />
wishes the world would go away.<br />
One day, it does. Is it the end<br />
of the world, or the beginning?<br />
• THE SPIRIT OF GRAVITY<br />
is a flight of fancy inspired by<br />
Nietzsche’s “Thus Spoke<br />
Zarathustra” • Two lifelong<br />
friends discover they don’t know<br />
each other as well as they may<br />
have thought in the powerful<br />
MIMMO & PAULIE • Three<br />
seven-year-olds endure the<br />
culinary abuses of their mother<br />
in the dark tale WHY THE<br />
ANDERSON CHILDREN DIDN’T<br />
COME TO DINNER • A man<br />
who has been overcome with<br />
grief discovers new hope when<br />
he tries to help another man<br />
express his love for a young<br />
woman in the touching<br />
PASSAGE • The harsh conflicts<br />
between Black Americans and<br />
Africans from the continent<br />
of Africa are explored in the<br />
documentary AFRICAN<br />
AMERICAN.<br />
Independent Shorts continued<br />
on page 50
50 INDEPENDENT SHORTS<br />
Independent Shorts Award Winners<br />
Sunday, March 28<br />
3:00 PM I Ticket Code 28F<br />
Approximately 100 minutes<br />
ONE SCREENING ONLY<br />
After reviewing all nine programs of independent shorts, our<br />
panel of three judges (listed below) selects winners in different<br />
artistic categories. The winning shorts are screened and the<br />
winning filmmakers are recognized during this special program.<br />
A $500 cash prize is awarded to each winner.*<br />
Best Animated Short <strong>Film</strong><br />
sponsored by SpaldJack, Inc.<br />
Best Documentary Short <strong>Film</strong><br />
sponsored by Jules and Fran Belkin<br />
Best Live Action Short <strong>Film</strong><br />
sponsored by Anna Vedouras and Jack Ramsey<br />
Best Ohio Short <strong>Film</strong>*<br />
sponsored by Kodak and <strong>Film</strong> Craft Lab<br />
Best Student Short <strong>Film</strong><br />
sponsored by The William Worth Wardwell Scholarship Fund<br />
Best Women’s Short <strong>Film</strong><br />
sponsored by Jinny and John Johnson<br />
Humanitarian Award<br />
anonymously sponsored<br />
The Process Award for Visual Excellence<br />
sponsored by John Williams and Process Creative Studios<br />
*The winner of the Best Ohio Short <strong>Film</strong> receives $1,000 worth of Kodak<br />
film stock and a $500 gift certificate from <strong>Film</strong> Craft Lab for processing.<br />
About the Judges<br />
David Bergholz recently retired as Executive Director of The<br />
George Gund Foundation following 14 years of service. Before<br />
coming to <strong>Cleveland</strong> in 1989, Mr. Bergholz served as Assistant<br />
Executive Director of the Allegheny Conference on Community<br />
Development in Pittsburgh. Mr. Bergholz currently serves on<br />
the boards of Charity Lobbying in the Public Interest and<br />
Angle Magazine.<br />
Joe Gunderman is the Production Coordinator at WKSU 89.7 FM.<br />
He also works freelance doing voices for commercials and narrations.<br />
Occasionally he acts on stage, most recently in “Of<br />
Mice And Men” at Beck Center. He’s a 20-year veteran of the<br />
NE Ohio media market and a vocational photographer.<br />
Lori McClung has been involved in youth policy and advocacy<br />
for nearly ten years. She is currently a fellow for education and<br />
youth development at the Federation for Community Planning.<br />
She previously was Director of Government Affairs for the<br />
<strong>Cleveland</strong> Municipal School District. Ms. McClung serves<br />
on the boards for the Greater <strong>Cleveland</strong> Media Development<br />
Corporation, the Coalition for <strong>Cleveland</strong>’s Children, the<br />
<strong>Cleveland</strong> Rape Crisis Center and Parents for Public Schools.<br />
<strong>Film</strong> Index<br />
FILM TITLE CATEGORY PAGE<br />
1 . . . . . . . . . . . . . . . . . . . . . . . American Independents, Documentaries, Local Heroes 14<br />
2+2 . . . . . . . . . . . . . . . . . . . . . Shorts Program VIII . . . . . . . . . . . . . . . . . . . . . . 49<br />
3AM . . . . . . . . . . . . . . . . . . . . Shorts Program III . . . . . . . . . . . . . . . . . . . . . . . 48<br />
4TH FLOOR . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . <strong>15</strong><br />
5 SIDES OF A COIN . . . . . . . . . . Documentaries, Pan-African, World Tour . . . . . . . . <strong>15</strong><br />
6IXTYNIN9 . . . . . . . . . . . . . . . . Someone to Watch, World Tour . . . . . . . . . . . . . . <strong>15</strong><br />
African American . . . . . . . . . . . . Pre-Feature Shorts, Shorts Program IX . . . 11, 40, 49<br />
THE AGRONOMIST . . . . . . . . . . Documentaries, World Tour . . . . . . . . . . . . . . . . . 16<br />
Andante Cantabile . . . . . . . . . . . Shorts Program II . . . . . . . . . . . . . . . . . . . . . . . 48<br />
The Anniversary . . . . . . . . . . . . . Shorts Program VIII . . . . . . . . . . . . . . . . . . . . . . 49<br />
Bazaar . . . . . . . . . . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Bedford . . . . . . . . . . . . . . . . . . Shorts Program I . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
BEST OF THE<br />
PRE-FEATURE SHORTS . . . . . . .Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
THE BIG EMPTY . . . . . . . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 16<br />
Blue. . . . . . . . . . . . . . . . . . . . . Shorts Program V . . . . . . . . . . . . . . . . . . . . . . . 48<br />
A Blue Christmas . . . . . . . . . . . . Shorts Program V . . . . . . . . . . . . . . . . . . . . . . . 48<br />
BOOK OF LOVE . . . . . . . . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 16<br />
THE BOOKSHOP . . . . . . . . . . . . Pan-African, World Tour . . . . . . . . . . . . . . . . . . . 17<br />
BRIGHT YOUNG THINGS . . . . . . Closing Night, World Tour . . . . . . . . . . . . . . . . . . 13<br />
BUDDY. . . . . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17<br />
BULGARIAN LOVERS . . . . . . . . . Ten Percent Cinema, World Tour . . . . . . . . . . . . . 17<br />
The Call . . . . . . . . . . . . . . . . . . Shorts Program V . . . . . . . . . . . . . . . . . . . . . . . 48<br />
CARANDIRU . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18<br />
Clean Flicks . . . . . . . . . . . . . . . Shorts Program VIII . . . . . . . . . . . . . . . . . . . . . . 49<br />
THE COLOR OF HAPPINESS . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 18<br />
CUBA LIBRE. . . . . . . . . . . . . . . American Independents, World Tour . . . . . . . . . . . 18<br />
DANDELION . . . . . . . . . . . . . . . American Independents, Opening Night . . . . . . . . 12<br />
David Mamet’s Gilded Stones. . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 16<br />
DEEP BREATH . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19<br />
Deep Silence. . . . . . . . . . . . . . . Shorts Program II . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Dies Iræ . . . . . . . . . . . . . . . . . . Shorts Program V . . . . . . . . . . . . . . . . . . . . . . . 48<br />
DIRTY WORK . . . . . . . . . . . . . . American Independents, Documentaries,<br />
Local Heroes . . . . . . . . . . . . . . . . . . . . . . . . . . 19<br />
DISTANT LIGHTS. . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19<br />
DOUBLE DARE . . . . . . . . . . . . . American Independents, Documentaries . . . . . . . . 20<br />
Downpour Resurfacing . . . . . . . . Shorts Program I . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
DREAM CUISINE . . . . . . . . . . . . Documentaries, World Tour . . . . . . . . . . . . . . . . . 20<br />
Duke of Goo . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 30<br />
Eternal Gaze . . . . . . . . . . . . . . . Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
Everloving . . . . . . . . . . . . . . . . . Shorts Program VI . . . . . . . . . . . . . . . . . . . . . . . 48<br />
FAITHLESS GAMES . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 20<br />
FAMILY SHORTS PROGRAM . . . . Family <strong>Film</strong>s, Shorts Programs . . . . . . . . . . . . . . 47<br />
The Fine Art of Poisoning . . . . . . Shorts Program II . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Firepussy . . . . . . . . . . . . . . . . . Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
THE FIRST NIGHT . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21<br />
THE FOREST. . . . . . . . . . . . . . . Pan-African, World Tour . . . . . . . . . . . . . . . . . . . 21<br />
THE FOURTH WORLD WAR. . . . . Documentaries, World Tour . . . . . . . . . . . . . . . . . 21<br />
GARDEN. . . . . . . . . . . . . . . . . . Documentaries, Ten Percent Cinema, World Tour . . 22<br />
GOLDFISH MEMORY . . . . . . . . . Ten Percent Cinema, World Tour . . . . . . . . . . . . . 22<br />
GRANNY. . . . . . . . . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 22<br />
Gretchen Brettschneider<br />
Skirts Thirty . . . . . . . . . . . . . . .Family Shorts . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
THE HANDCUFF KING . . . . . . . . Family <strong>Film</strong>s, World Tour . . . . . . . . . . . . . . . . . . 23<br />
HAPPY HOUR . . . . . . . . . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 23<br />
HARD GOODBYES: MY FATHER . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23<br />
THE HEAT’S ON . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24<br />
HOME OF THE BRAVE . . . . . . . . American Independents, Documentaries, Local Heroes 24<br />
Hummer . . . . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 29<br />
I ALWAYS WANTED TO<br />
BE A SAINT . . . . . . . . . . . . . . .World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24<br />
I Want A Dog. . . . . . . . . . . . . . . Family Shorts . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
INDEPENDENT SHORTS I. . . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
INDEPENDENT SHORTS II . . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 48<br />
INDEPENDENT SHORTS III . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 48
FILL YOUR SHOPPING The 28th CART <strong>Cleveland</strong> > www.clevelandfilm.org <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> < BUY YOUR TICKETS > Call 866.865.FILM<br />
INDEX NOTES:<br />
Feature <strong>Film</strong>s are in ALL CAPS<br />
Central/Eastern European <strong>Film</strong> Competition<br />
The complete 28th CIFF <strong>Festival</strong> Calendar is on <strong>pages</strong> 35-38<br />
FILM FILMS INDEX A – Z 33 51<br />
FILM TITLE CATEGORY PAGE FILM TITLE CATEGORY PAGE<br />
INDEPENDENT SHORTS IV. . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 48<br />
INDEPENDENT SHORTS V . . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 48<br />
INDEPENDENT SHORTS VI. . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 48<br />
INDEPENDENT SHORTS VII . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 49<br />
INDEPENDENT SHORTS VIII. . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 49<br />
INDEPENDENT SHORTS IX. . . . . Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 49<br />
INDEPENDENT SHORTS<br />
AWARD WINNERS . . . . . . . . . . .Shorts Programs . . . . . . . . . . . . . . . . . . . . . . . . 50<br />
In/Out . . . . . . . . . . . . . . . . . . . Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
In the Bar . . . . . . . . . . . . . . . . . Pre-Feature Shorts, Shorts Program IV . . . 11, 24, 48<br />
IN THE REALMS OF American Independents, Documentaries,<br />
THE UNREAL . . . . . . . . . . . . . .Partnership Presentations . . . . . . . . . . . . . . . . . . 25<br />
Iota . . . . . . . . . . . . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
JALLA! JALLA! . . . . . . . . . . . . . Someone to Watch, World Tour . . . . . . . . . . . . . . 25<br />
JOURNEY TO JERUSALEM . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 25<br />
JUSTICE. . . . . . . . . . . . . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 26<br />
KITCHEN STORIES . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26<br />
KOPS . . . . . . . . . . . . . . . . . . . . Someone to Watch, World Tour . . . . . . . . . . . . . . 26<br />
LAST LIFE IN THE UNIVERSE. . . Someone to Watch, World Tour . . . . . . . . . . . . . . 26<br />
Last Stand . . . . . . . . . . . . . . . . Shorts Program VIII . . . . . . . . . . . . . . . . . . . . . . 49<br />
LEARNING TO LIE . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27<br />
Left or Right for Love? . . . . . . . . Shorts Program III . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Level <strong>15</strong> . . . . . . . . . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
LIFE IS LIFE . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27<br />
Life, Liberty and the<br />
Pursuit of Happiness . . . . . . . . .Shorts Program V . . . . . . . . . . . . . . . . . . . . . . . 48<br />
THE LOSS OF<br />
NAMELESS THINGS . . . . . . . . .American Independents, Documentaries . . . . . . . . 28<br />
LOVING GLANCES . . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 28<br />
Loving the In-Laws . . . . . . . . . . . Shorts Program I . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
The M Word . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 43<br />
MADE IN ESTONIA . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 28<br />
MADNESS AND GENIUS. . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 29<br />
MAGNIFICO . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29<br />
MANGO KISS . . . . . . . . . . . . . . American Independents, Ten Percent Cinema . . . . 29<br />
The Martyr . . . . . . . . . . . . . . . . Pre-Feature Shorts, Shorts Program VI . . . 11, 21, 49<br />
Masterpiece Monday. . . . . . . . . . Family Shorts, Shorts Program III . . . . . . . . . 47, 48<br />
MERCI DOCTEUR REY . . . . . . . . Ten Percent Cinema, World Tour . . . . . . . . . . . . . 30<br />
Mimmo & Paulie . . . . . . . . . . . . Shorts Program IX . . . . . . . . . . . . . . . . . . . . . . . 49<br />
Misdemeanor. . . . . . . . . . . . . . . Shorts Program V . . . . . . . . . . . . . . . . . . . . . . . 48<br />
MON-RAK TRANSISTOR . . . . . . . Someone to Watch, World Tour . . . . . . . . . . . . . . 30<br />
Moo(n) . . . . . . . . . . . . . . . . . . . Family Shorts, Pre Feature Shorts . . . . . . 11, 39, 47<br />
MOONLIGHT . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30<br />
MR. WRONG . . . . . . . . . . . . . . . Someone To Watch, World Tour . . . . . . . . . . . . . . 31<br />
MUTT BOY . . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31<br />
MY BABY . . . . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31<br />
MY TOWN. . . . . . . . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 32<br />
NAKED WORLD . . . . . . . . . . . . . American Independents, Documentaries,<br />
Partnership Presentations . . . . . . . . . . . . . . . . . . 32<br />
A NATION WITHOUT WOMEN . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 32<br />
Night Dawn Day. . . . . . . . . . . . . Shorts Program IX . . . . . . . . . . . . . . . . . . . . . . . 49<br />
NINA SIMONE:<br />
LOVE SORCERESS . . . . . . . . . . .Documentaries, Partnership Presentations. . . . . . . 33<br />
NO REST FOR THE BRAVE . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33<br />
Objects in the Mirror are<br />
Further Than They Appear . . . . . .Shorts Program III . . . . . . . . . . . . . . . . . . . . . . . 48<br />
The Old Man, the Zither, and<br />
the Dragon . . . . . . . . . . . . . . . .Family Shorts . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
ON THE SUNNY SIDE . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 34<br />
ONE HAND CAN’T CLAP . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 34<br />
ONE POINT O . . . . . . . . . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 34<br />
One Way Ticket . . . . . . . . . . . . . Shorts Program VI . . . . . . . . . . . . . . . . . . . . . . . 49<br />
THE OPPOSITE SEX: American Independents, Documentaries,<br />
JAMIE’S STORY . . . . . . . . . . . . .Ten Percent Cinema. . . . . . . . . . . . . . . . . . . . . . 39<br />
THE OPPOSITE SEX: American Independents, Documentaries,<br />
RENE’S STORY . . . . . . . . . . . . .Ten Percent Cinema. . . . . . . . . . . . . . . . . . . . . . 39<br />
THE OVEREATER . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39<br />
A PANTHER IN AFRICA . . . . . . . American Independents, Documentaries, Pan-African 40<br />
Passage . . . . . . . . . . . . . . . . . . Shorts Program IX . . . . . . . . . . . . . . . . . . . . . . . 49<br />
Passing Hearts. . . . . . . . . . . . . . Shorts Program II . . . . . . . . . . . . . . . . . . . . . . . 48<br />
PATERNAL INSTINCT . . . . . . . . . American Independents, Documentaries,<br />
Ten Percent Cinema. . . . . . . . . . . . . . . . . . . . . . 40<br />
PERFECT STRANGERS. . . . . . . . Someone to Watch, World Tour . . . . . . . . . . . . . . 40<br />
The Promethean. . . . . . . . . . . . . Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
RED LIGHT GO . . . . . . . . . . . . . American Independents, Documentaries . . . . . . . . 41<br />
REMAKE . . . . . . . . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 41<br />
Rent-a-Person . . . . . . . . . . . . . . Shorts Program VIII . . . . . . . . . . . . . . . . . . . . . . 49<br />
Retirement Rehearsal . . . . . . . . . Shorts Program III . . . . . . . . . . . . . . . . . . . . . . . 48<br />
The Rubi Girls . . . . . . . . . . . . . . Shorts Program II . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Say You Love Me . . . . . . . . . . . . Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
The School . . . . . . . . . . . . . . . . Pre-Feature Shorts, Shorts Program III . . . 11, 27, 48<br />
Scoub 2 . . . . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 17<br />
A Second Opinion . . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Send Me An Angel . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 22<br />
Seventy Two Faced Liar. . . . . . . . Shorts Program II . . . . . . . . . . . . . . . . . . . . . . . 48<br />
SEXUAL DEPENDENCY . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41<br />
SOLDIERS OF THE ROCK . . . . . . Pan-African, World Tour . . . . . . . . . . . . . . . . . . . 42<br />
Sometimes the Neighbor . . . . . . . Shorts Program VI . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Spidermen . . . . . . . . . . . . . . . . Family Shorts, Shorts Program VI. . . . . . . . . . 47, 49<br />
The Spirit of Gravity . . . . . . . . . . Shorts Program IX . . . . . . . . . . . . . . . . . . . . . . . 49<br />
SPRING, SUMMER, FALL,<br />
WINTER…AND SPRING . . . . . . .World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42<br />
Still Life . . . . . . . . . . . . . . . . . . Family Shorts, Shorts Program I . . . . . . . . . . . . . 47<br />
THE STORY OF THE<br />
WEEPING CAMEL . . . . . . . . . . .Documentaries, World Tour . . . . . . . . . . . . . . . . . 42<br />
THE STROLL. . . . . . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 43<br />
Suddenly It Rained. . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
SUMMER IN THE<br />
GOLDEN VALLEY . . . . . . . . . . . . Competition . . . . . . . . . . . . . . . . . . . . . . . . . . . 43<br />
SUMMER WITH THE GHOSTS . . . Family <strong>Film</strong>s, World Tour . . . . . . . . . . . . . . . . . . 43<br />
Superfag. . . . . . . . . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
Survey . . . . . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 26<br />
Tango Octogenario . . . . . . . . . . . Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
THE TENTH SUMMER . . . . . . . . Family <strong>Film</strong>s, World Tour . . . . . . . . . . . . . . . . . . 44<br />
Thespian X . . . . . . . . . . . . . . . . Shorts Program IV . . . . . . . . . . . . . . . . . . . . . . . 48<br />
THUNDER IN GUYANA . . . . . . . . Documentaries, World Tour . . . . . . . . . . . . . . . . . 44<br />
THE TICKING MAN . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44<br />
Tides . . . . . . . . . . . . . . . . . . . . Shorts Program VIII . . . . . . . . . . . . . . . . . . . . . . 49<br />
Trip to the Dentist . . . . . . . . . . . Family Shorts . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
Tristella’s Tears . . . . . . . . . . . . . Family Shorts . . . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
TRUTH AND LIES . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45<br />
TWO DAYS . . . . . . . . . . . . . . . . American Independents . . . . . . . . . . . . . . . . . . . 45<br />
Walkentalk . . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 23<br />
War Song . . . . . . . . . . . . . . . . . Shorts Program I . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
Water . . . . . . . . . . . . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 40<br />
When the Storm Came . . . . . . . . Pre-Feature Shorts, Shorts Program VI . . . 11, 44, 49<br />
Why the Anderson Children<br />
Didn’t Come to Dinner . . . . . . . .Shorts Program IX . . . . . . . . . . . . . . . . . . . . . . . 49<br />
WILBUR WANTS TO KILL<br />
HIMSELF . . . . . . . . . . . . . . . . .World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45<br />
Within the Wall . . . . . . . . . . . . . Shorts Program I . . . . . . . . . . . . . . . . . . . . . . . . 47<br />
A Woman and Circles . . . . . . . . . Pre-Feature Shorts. . . . . . . . . . . . . . . . . . . . 11, 32<br />
A Work in Progress . . . . . . . . . . . Family Shorts, Shorts Program VI. . . . . . . . . . 47, 49<br />
WORLD’S BEST COMMERCIALS . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46<br />
YES NURSE, NO NURSE . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46<br />
YOUNG ADAM . . . . . . . . . . . . . . World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46<br />
You’re Gonna Wake Up<br />
One Morning . . . . . . . . . . . . . . .Shorts Program VII . . . . . . . . . . . . . . . . . . . . . . 49<br />
The 28th CIFF Preview Guide is published by the <strong>Cleveland</strong> <strong>Film</strong> Society<br />
Design: Pam Cerio Design Cover Design: Adcom Communications Cover Concept: Glazen Creative Studios<br />
Printing: Freeport Press Inc.
52 SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
<strong>Cleveland</strong><br />
Cinemas salutes<br />
the 28th <strong>Cleveland</strong><br />
<strong>International</strong> <strong>Film</strong><br />
<strong>Festival</strong>!<br />
PARMATOWN<br />
C I N E M A S<br />
MOVIES<br />
PARMA<br />
C I N
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM COUNTRY LIST 53<br />
Country List<br />
A, B<br />
Australia<br />
In the Shadow of Eden<br />
Level <strong>15</strong><br />
Austria<br />
NO REST FOR THE BRAVE<br />
SUMMER WITH THE GHOSTS<br />
Belgium<br />
I ALWAYS WANTED TO BE A SAINT<br />
Bolivia<br />
SEXUAL DEPENDENCY<br />
Bosnia and Herzegovina<br />
REMAKE<br />
SUMMER IN THE GOLDEN VALLEY<br />
Brazil<br />
In the Bar<br />
CARANDIRU<br />
Bulgaria<br />
JOURNEY TO JERUSALEM<br />
C, D<br />
Canada<br />
5 SIDES OF A COIN<br />
I Want a Dog<br />
Loving the In-Laws<br />
Masterpiece Monday<br />
The School<br />
SUMMER WITH THE GHOSTS<br />
Why the Anderson Children<br />
Didn’t Come to Dinner<br />
Colombia<br />
THE FIRST NIGHT<br />
Czech Republic<br />
FAITHLESS GAMES<br />
ONE HAND CAN’T CLAP<br />
Denmark<br />
WILBUR WANTS TO KILL HIMSELF<br />
Dominican Republic<br />
CUBA LIBRE<br />
Egypt<br />
Suddenly It Rained<br />
E, F<br />
Estonia<br />
MADE IN ESTONIA<br />
Finland<br />
THE HANDCUFF KING<br />
France<br />
THE BOOKSHOP<br />
Dies Iræ<br />
THE FOREST<br />
GRANNY<br />
THE HEAT’S ON<br />
MERCI DOCTEUR REY<br />
A NATION WITHOUT WOMEN<br />
NINA SIMONE: LOVE SORCERESS<br />
NO REST FOR THE BRAVE<br />
One Way Ticket<br />
THE OVEREATER<br />
REMAKE<br />
Scoub 2<br />
SUMMER IN THE GOLDEN VALLEY<br />
YOUNG ADAM<br />
FOR PROGRAM UPDATES<br />
Gabon<br />
THE FOREST<br />
G, H<br />
Germany<br />
DISTANT LIGHTS<br />
HARD GOODBYES: MY FATHER<br />
LEARNING TO LIE<br />
ONE POINT O<br />
SPRING, SUMMER, FALL, WINTER...<br />
AND SPRING<br />
THE STORY OF THE WEEPING CAMEL<br />
THE TENTH SUMMER<br />
Greece<br />
HARD GOODBYES: MY FATHER<br />
Guyana<br />
THUNDER IN GUYANA<br />
Haiti<br />
THE AGRONOMIST<br />
Hungary<br />
THE COLOR OF HAPPINESS<br />
I, J, K<br />
India<br />
A NATION WITHOUT WOMEN<br />
<strong>International</strong><br />
WORLD’S BEST COMMERCIALS<br />
Iran<br />
Bazaar<br />
DEEP BREATH<br />
Ireland<br />
GOLDFISH MEMORY<br />
Israel<br />
GARDEN<br />
LIFE IS LIFE<br />
Send Me An Angel<br />
Italy<br />
Tides<br />
TRUTH AND LIES<br />
Japan<br />
DREAM CUISINE<br />
LAST LIFE IN THE UNIVERSE<br />
L, M, N<br />
Luxembourg<br />
I ALWAYS WANTED TO BE A SAINT<br />
Mexico<br />
Deep Silence<br />
Mongolia<br />
THE STORY OF THE WEEPING CAMEL<br />
Morocco<br />
THE BOOKSHOP<br />
Netherlands<br />
MOONLIGHT<br />
YES NURSE, NO NURSE<br />
New Zealand<br />
MR. WRONG<br />
PERFECT STRANGERS<br />
Water<br />
Norway<br />
BUDDY<br />
KITCHEN STORIES<br />
Philippines<br />
MAGNIFICO<br />
Poland<br />
MY TOWN<br />
Portugal<br />
MY BABY<br />
O, P, Q, R<br />
Republic of Central Africa<br />
THE FOREST<br />
Romania<br />
ONE POINT O<br />
Russia<br />
GRANNY<br />
THE STROLL<br />
S, T<br />
Serbia and Montenegro<br />
LOVING GLANCES<br />
Slovakia<br />
FAITHLESS GAMES<br />
Slovenia<br />
ON THE SUNNY SIDE<br />
South Africa<br />
SOLDIERS OF THE ROCK<br />
South Korea<br />
MUTT BOY<br />
SPRING, SUMMER, FALL,<br />
WINTER… AND SPRING<br />
Spain<br />
4TH FLOOR<br />
BULGARIAN LOVERS<br />
Sweden<br />
JALLA! JALLA!<br />
KOPS<br />
MY BABY<br />
Passing Hearts<br />
Tanzania<br />
A PANTHER IN AFRICA<br />
Thailand<br />
6IXTYNIN9<br />
LAST LIFE IN THE UNIVERSE<br />
MON-RAK TRANSISTOR<br />
Tunisia<br />
THE BOOKSHOP<br />
Turkey<br />
REMAKE<br />
U, V<br />
United Kingdom<br />
BRIGHT YOUNG THINGS<br />
Iota<br />
Left or Right for Love?<br />
Moo(n)<br />
Seventy Two Faced Liar<br />
SUMMER IN THE GOLDEN VALLEY<br />
Survey<br />
Thespian X<br />
THE TICKING MAN<br />
WILBUR WANTS TO KILL HIMSELF<br />
YOUNG ADAM<br />
You’re Gonna Wake Up One Morning…<br />
USA<br />
1<br />
2 + 2<br />
3am<br />
Adante Cantabile<br />
African American<br />
THE AGRONOMIST<br />
The Anniversary<br />
Bazaar<br />
NOTES:<br />
Feature <strong>Film</strong>s are in ALL CAPS<br />
Bedford<br />
THE BIG EMPTY<br />
Blue<br />
A Blue Christmas<br />
BOOK OF LOVE<br />
The Call<br />
Clean Flicks<br />
CUBA LIBRE<br />
DANDELION<br />
David Mamet’s Gilded Stones<br />
DIRTY WORK<br />
DOUBLE DARE<br />
Downpour Resurfacing<br />
Duke of Goo<br />
Eternal Gaze<br />
Everloving<br />
The Fine Art of Poisoning<br />
Firepussy<br />
THE FOURTH WORLD WAR<br />
Gretchen Brettschneider Skirts Thirty<br />
HAPPY HOUR<br />
HOME OF THE BRAVE<br />
Hummer<br />
In/Out<br />
IN THE REALMS OF THE UNREAL<br />
JUSTICE<br />
Last Stand<br />
Life, Liberty and the Pursuit<br />
of Happiness<br />
THE LOSS OF NAMELESS THINGS<br />
The M Word<br />
MADNESS AND GENIUS<br />
MANGO KISS<br />
The Martyr<br />
MERCI DOCTEUR REY<br />
Mimmo & Paulie<br />
Misdemeanor<br />
NAKED WORLD<br />
Night Dawn Day<br />
Objects in the Mirror are Further<br />
Than They Appear<br />
The Old Man, the Zither,<br />
and the Dragon<br />
THE OPPOSITE SEX: JAMIE’S STORY<br />
THE OPPOSITE SEX: RENE’S STORY<br />
A PANTHER IN AFRICA<br />
Passage<br />
PATERNAL INSTINCT<br />
The Promethean<br />
RED LIGHT GO<br />
Rent-A-Person<br />
Retirement Rehearsal<br />
The Rubi Girls<br />
Say You Love Me<br />
A Second Opinion<br />
SEXUAL DEPENDENCY<br />
Sometimes the Neighbor<br />
Spidermen<br />
The Spirit of Gravity<br />
Still Life<br />
Suddenly It Rained<br />
Superfag<br />
Tango Octogenario<br />
THUNDER IN GUYANA<br />
Tides<br />
A Trip to the Dentist<br />
Tristella’s Tears<br />
TWO DAYS<br />
Walkentalk<br />
War Song<br />
When the Storm Came<br />
Within the Wall<br />
A Woman and Circles<br />
A Work in Progress<br />
Vietnam<br />
The Anniversary
54 PRINT SOURCES The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Print Sources<br />
A<br />
Adriana Chiesa Enterprises<br />
Via Barnaba Oriani 24/A<br />
00197 Rome<br />
ITALY<br />
Tel: (39 06) 8086 052<br />
Fax: (39 06) 8068 7855<br />
AFDA<br />
18 Lower Scott St.<br />
Observatory<br />
7925 Cape Town<br />
SOUTH AFRICA<br />
Tel (27 21) 448 7600<br />
Fax: (27 21) 448 7610<br />
garth@filmdramaschool.co.za<br />
Armada Pictures <strong>International</strong><br />
9<strong>72</strong>0 Wilshire Blvd, 5th Floor<br />
Beverly Hills, CA 90212<br />
Tel: (310) 205 9600<br />
Fax: (310) 205 9610<br />
ydanielak@armada-pictures.com<br />
www.armada-pictures.com<br />
Aronson <strong>Film</strong>s<br />
35 E. 20th, 2nd Floor<br />
New York, NY 10003<br />
Tel: (212) 253 6941<br />
Fax: (212)253 88 63<br />
josharon@aol.com<br />
www.aronsonfilms.com<br />
B<br />
Ballistic Media<br />
1237 1/4 Haverhurst Dr.<br />
Los Angeles, CA 90046<br />
mmayeux@ballistic-media.com<br />
Bavaria <strong>Film</strong> <strong>International</strong><br />
Bavariafilmplatz<br />
82031 Geiselgasteig<br />
GERMANY<br />
Tel: (49 89) 6499 2686<br />
Fax: (49 89) 6499 3<strong>72</strong>0<br />
bavaria.international@bavaria-film.de<br />
www.bavaria-film-international.de<br />
Behnegar<br />
78 Eastt Motahari Ave.<br />
<strong>15</strong>667 Tehran<br />
IRAN<br />
Tel: (98 21) 841 0585<br />
Fax: (98 21) 206 1137<br />
festivals@behnegar.com<br />
www.behnegar.com<br />
Beta Cinema<br />
Robert-Buerkle-Strasse 3<br />
85737 Ismaning<br />
GERMANY<br />
Tel. (49 89) 9956 2707<br />
Fax (49 89) 9956 2703<br />
ipalluaud@betacinema.com<br />
www.betacinema.com<br />
Big Noise<br />
56 Walker Street, 4th Floor<br />
New York, NY 10013<br />
Tel: (646) 641 4454<br />
Fax: (646) 349 4200<br />
rick@bignoisefilms.com<br />
http://www.bignoisetactical.org<br />
Bloody Mary Productions<br />
78 av. Champs-Elyées<br />
75008 Paris<br />
FRANCE<br />
Tel: (33 1) 4256 1070<br />
Fax: (33 1) 4256 1071<br />
bloodymaryprod@yahoo.fr<br />
BocaBoca Producciones<br />
Claudio Coello 17 bis<br />
28001 Madrid<br />
SPAIN<br />
Tel: (34 91) 566 <strong>15</strong>00<br />
Fax: (34 91) 566 <strong>15</strong><strong>15</strong><br />
sales@bocaboca.com<br />
www.bocaboca.com<br />
C<br />
Centro <strong>Film</strong>s<br />
131 Varick Street Suite 1010<br />
New York, NY 10013<br />
Tel: (212) 367 9075<br />
Fax: (212) 367 9078<br />
rodrigo@centrofilms.com<br />
Cineclick Asia<br />
3F. Incline B/D<br />
891-37 Daechi-dong<br />
Gangnam-gu<br />
135-280 Seoul<br />
SOUTH KOREA<br />
Tel: (82 2) 538 0211<br />
Fax: (82 2) 538 0479<br />
yoojink@cinclickasia.com<br />
www.cinclickasia.com<br />
Cinema Vault<br />
434 Queen Street East<br />
Toronto, Ontario M5A 1T5<br />
CANADA<br />
Tel: (416) 363 6060<br />
Fax: (416) 363 2305<br />
nickjensen@cinemavault.com<br />
www.cinemavault.com<br />
Cinemascope<br />
8 Liuben Karavelov Str.<br />
Sofia 1000<br />
BULGARIA<br />
Fax: (359 2) 980 7055<br />
Nichev@omega.bg<br />
Cinexport<br />
78 Champs Elysees<br />
75008 Paris<br />
FRANCE<br />
Tel: (33 1) 45 62 49 45<br />
Fax: (33 1) 45 63 85 26<br />
cinexport@wanadoo.fr<br />
The Coproduction Office<br />
Mommsenstrasse 27<br />
10629 Berlin<br />
GERMANY<br />
Tel: (49 30) 32 77 78 79<br />
Fax: (49 30) 323 20 91<br />
festivals@thecopro.de<br />
CP <strong>Film</strong>s<br />
Cpfilms3@aol.com<br />
Criterion <strong>Film</strong>s<br />
8238-40 Lehigh<br />
Morten Grove, IL 60053<br />
Tel: (800) 890 9494<br />
www.criterionpicusa.com<br />
D, E<br />
Diorama <strong>Film</strong>s LLC<br />
P.O. Box <strong>15</strong>47<br />
La Canada, CA 91011<br />
Tel: (323) 854 2823<br />
info@realmsoftheunreal.com<br />
www.realmsoftheunreal.com<br />
Dragon <strong>Film</strong>s<br />
25th Kyutei Bldg. #805<br />
3-13-22 Sendagaya<br />
Shibuya-ku<br />
<strong>15</strong>1-0051 Tokyo<br />
JAPAN<br />
Tel: (81 3) 3405 7888<br />
Fax: (81 3) 3405 7887<br />
info@dragonfilmsinc.com<br />
www.dragonfilmsinc.com<br />
Ryan Eslinger<br />
1242 Ticonderoga<br />
Chesterfield, MO 63017<br />
Tel: (917)576 5309<br />
RAE675849@yahoo.com<br />
F<br />
Fig <strong>Film</strong>s<br />
32 Namal Yaffo<br />
68003 el Aviv<br />
ISRAEL<br />
Tel: (9<strong>72</strong> 3) 681 0644<br />
Fax: (9<strong>72</strong> 3) 518 1676<br />
info@figfilms.com<br />
www.figfilms.com<br />
<strong>Film</strong> and Music Ent. Ltd<br />
34, Bloomsbury St<br />
London WC1B 3QJ<br />
UNITED KINGDOM<br />
Tel: (44 207) 636 9292<br />
Fax: (44 207) 636 9229<br />
info@fame.uk.com<br />
www.fame.uk.com<br />
<strong>Film</strong>s Distribution<br />
6 rue l’Ecole de Medecine<br />
75006 Paris<br />
FRANCE<br />
Tel: (33 1) 5310 3399<br />
Fax: (33 1) 5310 3398<br />
wisnia@filmsdistibution.com<br />
www.filmsdistribution.com<br />
The Finnish <strong>Film</strong> Foundation<br />
Kanavakatu 12<br />
FIN-00160 Helsinki<br />
FINLAND<br />
Tel: (358 9) 6220 300<br />
Fax: (358 9) 6220 3060<br />
aretta.vahala@ses.fi<br />
ses@ses.fi<br />
First Look/Overseas <strong>Film</strong> Group<br />
8000 Sunset Blvd., East Penthouse<br />
Los Angeles, CA 90046<br />
Tel: (323) 337 1000<br />
Fax: (323) 337 1037<br />
tnaiman@firstlookmedia.com<br />
www.firstlookmedia.com<br />
Fortissimo <strong>Film</strong> Sales<br />
VeeMarkt 77-79<br />
1019 DA Amsterdam<br />
NETHERLANDS<br />
Tel: (31 20) 627 32<strong>15</strong><br />
Fax: (31 20) 626 1<strong>15</strong>5<br />
info@fortissimo.nl<br />
www.fortissimofilms.com<br />
Forum Sarajevo<br />
Mis Irbina 2<br />
71000 Sarajevo<br />
BOSNIA AND HERZEGOVINA<br />
Tel: (387 33) 668 463<br />
Fax: (387 33) 443 616<br />
forum@bih.net.ba<br />
G, H<br />
goingdigitalfilms, LLC<br />
<strong>15</strong> Hunting Trail<br />
Chagrin Falls, OH 44022<br />
Tel: (440) 247 5453<br />
tohara@gdfilms.com<br />
http://www.gdfilms.com<br />
Happy Hour LLC<br />
<strong>72</strong>11 Santa Monica Blvd., Suite 400<br />
West Hollywood, CA 90046<br />
Tel: (323) 876 5920<br />
Fax: (323) 876 5924<br />
EMKlein@OharaKlein.com<br />
www.oharaklein.com<br />
Haim Ze Haim Ltd.<br />
12, Levi Itzhak St.<br />
62483 Tel-Aviv<br />
ISRAEL<br />
Tel: (9<strong>72</strong> 3) 523 75 57<br />
Fax: (9<strong>72</strong> 3) 522 81 95<br />
mizadam@netvision.net.il<br />
I, J, K<br />
IFC <strong>Film</strong>s<br />
11 Penn Plaza, <strong>15</strong>th Floor<br />
New York, NY 10001<br />
www.ifcfilms.com<br />
pkindlon@rainbow-media.com<br />
Ignatius Entertainment/<br />
Vagrant <strong>Film</strong>s Canada<br />
1055A Forestwood Dr, Unit 109<br />
Mississauga, ON L5C 2T8<br />
CANADA<br />
Tel: (905) 2<strong>72</strong> 8123<br />
flapuz@ica.net<br />
Inferno Distribution<br />
8000 W. Sunset Blvd, Suite 8310<br />
Los Angeles, CA 90046<br />
Tel: (323) 848 8073<br />
Fax: (323) 848 8963<br />
maclean@infernodistribution.com<br />
www.dreamingofjulia.homestead.com<br />
<strong>International</strong> Advertising <strong>Festival</strong> Ltd.<br />
c/o USA Today<br />
535 Madison Ave.<br />
New York, NY 10022<br />
Tel: (212) 7<strong>15</strong> 2100<br />
Fax: (212) 935 5576<br />
slilley@usatoday.com<br />
Juntos <strong>Film</strong>s<br />
4119 Jackson Ave<br />
Culver City CA 90232<br />
Tel: (310) 202 <strong>72</strong>88<br />
lightbright@sbcglobal.net<br />
KSK Studios<br />
12 West 27th St., 8th Floor<br />
New York, NY 10001<br />
Tel: (212) 481 3111<br />
Fax: (212) 481 5404<br />
manny@kskstudios.com<br />
www.kskstudios.com<br />
L<br />
La Fête<br />
387 St. Paul Street West<br />
Montreal, QC h2Y 2A7<br />
CANADA<br />
Tel: (514) 848 0417<br />
Fax: (514) 848 0064<br />
rdemers@lafete.com<br />
www.lafete.com<br />
Lifesize Entertainment & Releasing<br />
194 Elmwood Drive, Suite 2<br />
Parsippany, NJ 07054<br />
Tel: (973) 884 4884<br />
Fax: (973) 428 9550<br />
bfrigeri@lser.net<br />
www.lser.net<br />
Lucky Man <strong>Film</strong>s<br />
Perlova 1<br />
110 00 Prague 1<br />
CZECH REPUBLIC<br />
Tel: (420 2) 2166 7302<br />
Fax: (420 2) 2166 7521<br />
production@luckmanfilms.com<br />
www.luckymanfilms.com<br />
M<br />
Magyar <strong>Film</strong>uió<br />
Városligeti Fasor 38<br />
1068 Budapest<br />
HUNGARY<br />
Tel: (36 1) 351 7760<br />
Fax: (36 1) 352 6734<br />
kati.vajda@filmunio.hu<br />
www.filmunio.hu
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM PRINT SOURCES 55<br />
Mango Me Productions<br />
2501 Kenilworth Ave.<br />
Los Angeles, CA 90039<br />
Tel: (323) 664 2394<br />
Fax: (323) 664 2035<br />
sascharice@sbcglobal.net<br />
Aaron Matthews<br />
<strong>15</strong>1 W. Mitchell Ave.<br />
State College, PA 16803<br />
Tel: (814) 237 1614<br />
Fax: (718) 208 5644<br />
aarmatt@hotmail.com<br />
www.apantherinafrica.com<br />
Sean McGinly<br />
1951 Malcolm Avenue, #201<br />
Los Angeles, CA 90025<br />
Tel: (310) 467 5047<br />
mcginly@aol.com<br />
www.two2days.com<br />
Media Luna Entertainment<br />
Hochstadenstrasse 1-3<br />
D-50674 Cologne<br />
GERMANY<br />
Tel: (49 221) 139 2222<br />
Fax: (49 221) 139 2224<br />
info@medialuna-entertainment.de<br />
www.medialuna-entertainment.de<br />
N, O, P<br />
Nameless <strong>Film</strong>s<br />
1990 Newell Rd<br />
Palo Alto, CA 94302<br />
Tel: (650) 328 <strong>15</strong>29<br />
Fax: (650) 325 3211<br />
bill@thelossofnamelessthings.com<br />
www.thelossofnamelessthings.com<br />
Negativ <strong>Film</strong> Productions<br />
Ostrovní 30<br />
11000 Prague 1<br />
Czech Republic<br />
Tel: (420 606) 634 688<br />
Fax: (420 2) 208 06353<br />
riley@tiscali.cz<br />
www.nevernehry.cz<br />
New Zealand <strong>Film</strong> Commission<br />
PO Box 11-546<br />
Wellington<br />
NEW ZEALAND<br />
Tel: (64 4) 382 7685<br />
Fax: (64 4) 384 9719<br />
kathleen@nzfilm.co.nz<br />
www.nzfilm.co.nz<br />
Nights, LLC<br />
PO Box 46850<br />
Los Angeles, CA 90046<br />
Tel: (310) 283 3262<br />
Fax: (323) 464 4887<br />
ahrensCA@aol.com<br />
Norwegian <strong>Film</strong> Institute<br />
P.O. Box 482 Sentrum<br />
N-0105 Oslo<br />
NORWAY<br />
Tel: (47 22) 47 45 00<br />
Fax: (47 22) 47 45 97<br />
stineo@nfi.no<br />
www.nfi.no<br />
Evan Oppenheimer<br />
12 East 14th St., 5C<br />
New York, NY 10003<br />
Tel: (212) 924 4994<br />
Fax: (801) 217 5834<br />
evan@nyc.rr.com<br />
Palm Pictures<br />
601 W. 26th St., 11th Floor<br />
New York, NY 10001<br />
Tel: (212) 320 3600<br />
Fax: (212) 320 3609<br />
ryan.werner@palmpictures.com<br />
www.palmpictures.com<br />
R<br />
Refresh Productions<br />
Splitska 11<br />
71000 Sarajevo<br />
BOSNIA AND HERZEGOVINA<br />
Tel: (387 3) 325 8<strong>15</strong>0<br />
Fax: (387 3) 321 1093<br />
ljeto@refresh.ba<br />
www.refresh.ba/ljeto<br />
Regent Entertainment/here!<strong>Film</strong>s<br />
10990 Wilshire Blvd, 18th Floor<br />
Los Angeles, CA 90024<br />
T: (310) 806 4290<br />
F: (310) 806 4268<br />
mreinhart@regnetentertainment.com<br />
www.regententertainment.com<br />
Runaway <strong>Film</strong>s<br />
1330 Rhode Island St.<br />
San Francisco, CA 94107<br />
Tel: (4<strong>15</strong>) 821 2448<br />
Fax: (4<strong>15</strong>) 293 0806<br />
amicheli@mindspring.com<br />
www.runawayfilms.com<br />
S<br />
David Sampliner<br />
30 Crosby St. #4A<br />
New York, NY 10013<br />
Tel: (212) 625 9026<br />
vidnick@verizon.net<br />
http://www.dirtyworkdoc.com<br />
Samsa <strong>Film</strong><br />
Rue de Luxembourg, 238C<br />
L-8077 Bergrange<br />
LUXEMBOURG<br />
Tel: (352) 45 18 601<br />
Fax: (352) 44 24 29<br />
Samsa.film@filmnet.lu<br />
www.samsa-film.com<br />
Seventh Art Releasing<br />
7551 Sunset Blvd., Suite 104<br />
Los Angeles, CA 90046<br />
Tel: (323) 845 1455<br />
Fax: (323) 845 4717<br />
seventhart@7thart.com<br />
http://www.7thart.com<br />
Sipapu <strong>Film</strong>s<br />
367 Oakdale Rd. NE., Suite 8<br />
Atlanta, GA 30307<br />
Tel: (404) 688 3270<br />
yuanne@sipapufilms.com<br />
www.sipapufilms.com<br />
Slovenian <strong>Film</strong> Fund<br />
Miklosˇičeva 38<br />
1000 Ljubljana<br />
SLOVENIA<br />
Tel: (38 6 61) 431 3175<br />
Fax: (38 6 61) 430 6250<br />
festivals@film-sklad.si<br />
www.sklad.si<br />
Sony Pictures Classics<br />
550 Madison Ave. , 8th Floor , Rm. 840<br />
New York, NY 10022<br />
Tel: (212) 833 5621<br />
Fax: (212) 833 4190<br />
tom_prassis@spe.sony.com<br />
www.sonyclassics.com<br />
Staccato <strong>Film</strong>s<br />
Sumatrakade 611<br />
1019 PS Amsterdam<br />
NETHERLANDS<br />
Tel: (31 20) 419 04 04<br />
Fax: (31 20) 419 05 05<br />
info@staccatofilms.com<br />
www.staccatofilms.com<br />
Star Production<br />
16, rue du 22 Novembre<br />
67000 Strasbourg<br />
FRANCE<br />
Tel: (33 3) 88 22 73 23<br />
Fax: (33 3) 88 75 59 16<br />
samira@cinema-star.com<br />
Studio Rock<br />
Tel: (7 095) 229 0477<br />
rock@gagarinclub.ru<br />
Swedish <strong>Film</strong> Institute<br />
P.O. Box 27126<br />
SE 10252 Stockholm<br />
SWEDEN<br />
Tel: (46 8) 665 1<strong>15</strong>0<br />
Fax: (46 8) 666 36 98<br />
gunnar.almer@sfi.se<br />
www.sfi.se<br />
T, U, V<br />
Telewizja Polska S.A.<br />
17, J.P. Woronicza St<br />
00-999 Warsaw<br />
POLAND<br />
Tel: (48 22) 547 6774<br />
Fax: (48 22) 547 8070<br />
aleksandra.biernacka@waw.tvp.pl<br />
www.tvp.pl<br />
TF1 <strong>International</strong><br />
18 Quai du Point du Jour<br />
92100 Boulogne<br />
FRANCE<br />
Tel: (33 1) 4141 4267<br />
Fax: (33 1) 4141 3160<br />
capiot@tf1.fr<br />
www.tf1.fr<br />
Think<strong>Film</strong><br />
<strong>15</strong>5 Avenue of the Americas, 7th floor<br />
New York, NY 10013<br />
Tel: (646) 293 9400<br />
Fax: (646) 293 9407<br />
dfenkel@thinkfilmcompany.com<br />
www.thinkfilmcompany.com<br />
TLA Releasing<br />
234 Market St., 5th Floor<br />
Philadelphia, PA 19106<br />
Tel: (2<strong>15</strong>) 733 0608<br />
Fax: (2<strong>15</strong>) 733 0637<br />
jennifera@phillyfests.com<br />
www.tlareleasing.com<br />
Torromfilm AB<br />
Tobaksspinnargatan 7<br />
SE-11736 Stockholm<br />
SWEDEN<br />
Tel: (46) 8669 4740<br />
Fax: (46) 884 2133<br />
torromfilm@torromfilm.a.se<br />
www.torromfilm.a.se<br />
Two Spirit Productions LLC<br />
525 W. 22nd St., Suite 3D<br />
New York, NY 10011<br />
Tel: (212) 254 4748<br />
Fax: (212) 647 8396<br />
twospiritproductions@hotmail.com<br />
http://twospiritproductions@hotmail.com<br />
Vision <strong>International</strong><br />
27, Rue De Solférino<br />
92100 Boulogne-Billancourt<br />
FRANCE<br />
Tel: (33 1) 4694 8802<br />
Fax: (33 1) 4694 0169<br />
<strong>International</strong>@visiongroupe.com<br />
Wolfe <strong>Film</strong>s & Video<br />
Tel: (323) 468 8079<br />
Cel: (323) 610 8128<br />
Email: orlyravid@comcast.net<br />
www.wolfevideo.com<br />
Women Make Movies<br />
462 Broadway, 5th Floor<br />
New York, NY 10013<br />
Tel: (212) 925 0606<br />
cinema@wmm.com<br />
www.wmm.com<br />
Baker & Hostetler is proud to sponsor the<br />
<strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>.<br />
<strong>Cleveland</strong> <strong>Film</strong> Society<br />
We thank the <strong>Cleveland</strong> <strong>Film</strong> Society<br />
for again bringing our city<br />
imaginative sights and stories<br />
from around the world.<br />
CINCINNATI • CLEVELAND • COLUMBUS • COSTA MESA • DENVER<br />
HOUSTON • LOS ANGELES • NEW YORK • ORLANDO • WASHINGTON, D.C.<br />
<strong>International</strong> Affiliates: São Paulo, Brazil • Juárez, Mexico<br />
www.bakerlaw.com
56 SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>
The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> SPONSORS 57<br />
Ulmer & Berne applauds<br />
the <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
and its 28 years of wowing film enthusiasts<br />
For more information on Ulmer & Berne,<br />
contact attorney Tim Downing, <strong>Cleveland</strong> <strong>Film</strong><br />
Society president, at tdowning@ulmer.com<br />
Serving Northeast Ohio’s Not-for-Profits Since 1973<br />
Museums • Social Service Agencies • Religious • Clubs • Foundations • and more<br />
We’re Proud to Support the<br />
<strong>Cleveland</strong> <strong>Film</strong> Society<br />
Expect More.<br />
Contact the Not-for-Profit<br />
Services Group at C&P.<br />
Mike Klein, CPA<br />
216.831.7171<br />
www.cp-advisors.com
58 SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
NEW<br />
built by<br />
WEB-BASED TICKETING SYSTEM for the<br />
28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Purchasing tickets will be easiest with our<br />
NEW SHOPPING CART<br />
CIFF MERCHANDISE STORE<br />
THIS YEAR ON<br />
clevelandfilm.org<br />
WEB ARCHIVE of films programmed in the first<br />
27 <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>s<br />
Verisign SECURE SERVER for safe credit card transactions<br />
todd heckeler<br />
consumedesign.com<br />
216.228.3651<br />
info@consumedesign.com
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM MEMBERSHIP 59<br />
FOR PROGRAM UPDATES<br />
Join Now<br />
Support the <strong>Cleveland</strong> <strong>Film</strong> Society by becoming a member.<br />
<strong>Cleveland</strong> <strong>Film</strong> Society<br />
Membership<br />
$40 Individual Membership $65 Dual Membership<br />
As a <strong>Cleveland</strong> <strong>Film</strong> Society (CFS) member, you will be<br />
entitled to discounts on <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong><br />
<strong>Festival</strong> (CIFF) subscriptions, tickets and merchandise, as<br />
well as discounts on CFS classes and special events. CFS<br />
members also have the opportunity to purchase CIFF tickets<br />
before they go on sale to the general public and they<br />
receive an advance first-class mailing of the CIFF Preview<br />
Guide. Additionally, members receive an on-line subscription<br />
to ScreenPlay and other CFS printed materials.<br />
Add a membership to your ticket order. Just fill out the order<br />
form on page 61...or call 866.865.FILM.<br />
Roxanne T. Mueller Audience Choice Award for Best <strong>Film</strong><br />
Roxanne T. Mueller served as the film critic at the Plain Dealer from 1983 until 1988, when she lost a<br />
six-month battle with cancer at the age of 35. Mueller was a strong supporter of the festival and through<br />
her writing helped to raise the general level of film appreciation in the <strong>Cleveland</strong> market. She was an<br />
exceptionally engaging writer who managed to weave personal insights into her film reviews, whether she<br />
was covering popular Hollywood fare or sophisticated foreign cinema. In its 12th year, the CIFF established<br />
the Roxanne T. Mueller Audience Choice Award for Best <strong>Film</strong> to help bring this important festival<br />
friend back into focus a little each year. <strong>Festival</strong> patrons rate each film they see and the most popular<br />
film is announced shortly after the festival closes.<br />
PAST WINNERS<br />
2003 (27th CIFF) — SPELLBOUND<br />
Directed by Jeff Blitz<br />
2002 (26th CIFF) — AUTUMN SPRING<br />
Directed by Vladimír Michálek<br />
2001 (25th CIFF) — BIG EDEN<br />
Directed by Thomas Bezucha, USA<br />
2000 (24th CIFF) — THE BUTTERFLY<br />
(AKA “THE BUTTERFLY’S TONGUE”)<br />
Directed by José Luis Cuerda, Spain<br />
1999 (23rd CIFF) — RETURN WITH HONOR<br />
Directed by Terry Sanders and Freida Lee-Mock, USA<br />
1998 (22nd CIFF) — CHARACTER<br />
Directed by Mike van Diem, The Netherlands<br />
1997 (21st CIFF) — SHALL WE DANCE<br />
Directed by Masayuki Suo, Japan<br />
1996 (20th CIFF) — FIDDLEFEST<br />
(AKA “SMALL WONDERS”)<br />
Directed by Allen Miller, USA<br />
?<br />
For Members Only!<br />
Members’ Sneak Preview<br />
Wednesday, March 24<br />
7:30 PM I Ticket Code 24N<br />
Need room on this page for<br />
Members Sneak Preview<br />
description<br />
Every year the CIFF leaves one slot open for a major theatrical<br />
release, a feature whose title and nature are a closely guarded<br />
secret, even from the CIFF administration, until show time. Thus,<br />
members get a privileged first look at a film the whole country will<br />
soon be talking about. And in a full house, too. Last year’s Members’<br />
Sneak Preview was BEND IT LIKE BECKHAM.<br />
Present your membership card at the Tower City Cinemas box office<br />
any time on Wednesday, March 24, and get your free ticket to<br />
this special Members Only Sneak Preview screening. Tickets are<br />
available day of show only!<br />
1995 (19th CIFF) — THE SUM OF US<br />
Directed by Kevin Dowling and<br />
Geoff Burton, Australia<br />
1994 (18th CIFF) — BACKBEAT<br />
Directed by Iain Softly, Great Britain<br />
1993 (17th CIFF) — INTO THE WEST<br />
Directed by Mike Newell, Great Britain<br />
1992 (16th CIFF) — ENCHANTED APRIL<br />
Directed by Mike Newell, Great Britain<br />
1991 (<strong>15</strong>th CIFF) — CROSS MY HEART<br />
Directed by Jacques Fansten, France<br />
1990 (14th CIFF) — CINEMA PARADISO<br />
Directed by Guiseppe Tomatore, Italy<br />
1989 (13th CIFF) — THE BEAST<br />
Directed by Kevin Reynolds, USA<br />
1988 (12th CIFF) — GRAND HIGHWAY<br />
Directed by Jean-Loup Hubert, France<br />
Spellbound<br />
Visit our new film archive at<br />
www.clevelandfilm.org
60 TICKET INFORMATION The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Ticket Prices<br />
Regular Screenings<br />
Members $7.00<br />
Non-Members $9.00<br />
Students/Seniors, day of show only $7.00<br />
Voucher/Ticket Orders<br />
Save when you buy any 6 or 12 vouchers or<br />
tickets. Not valid for Opening/Closing Nights<br />
or other special events<br />
6-Pack<br />
Members $37.50<br />
Non-Members $47.50<br />
12-Pack<br />
Members $75.00<br />
Non-Members $95.00<br />
A Note About Vouchers: If you haven’t decided on all the<br />
films you want to see, you can round out your 6 or 12 tickets<br />
with vouchers. However, vouchers will not admit you to a<br />
film. Vouchers must be exchanged in person for tickets to<br />
specific screenings. Exchange as early as possible to avoid<br />
stand-by or sellouts!<br />
Opening Night Gala<br />
<strong>Film</strong> and Party and Parking<br />
Members $100.00<br />
Non-Members $125.00<br />
<strong>Film</strong> Only and Parking<br />
Members $20.00<br />
Non-Members $25.00<br />
Closing Night<br />
<strong>Film</strong> and Reception<br />
Members $35.00<br />
Non-Members $40.00<br />
Important<br />
No refunds, no exchanges (except Stand-By).<br />
During the CIFF, doors open daily<br />
at 11:30 AM.<br />
Ticket holders and passholders who do not<br />
arrive ten minutes before showtime cannot<br />
be guaranteed a seat.<br />
All films are subject to change.<br />
No one under eight admitted, except to Family<br />
<strong>Film</strong>s. All children must have a ticket.<br />
No Tower City Cinemas or <strong>Cleveland</strong><br />
Cinemas discount tickets, coupons or<br />
passes accepted.<br />
Sold Out? Nope –<br />
Just on Stand-By!<br />
Only about two-thirds of the tickets to any film<br />
are sold in advance so that we can save room<br />
for our passholders. Therefore, even for “sold<br />
out” films, we can often accommodate many<br />
patrons just before showtime. Numbered<br />
Stand-By tickets are sold beginning one hour<br />
before showtime, outside the theater lobby.<br />
(Be aware that a line sometimes forms earlier<br />
than this.) Then, ten minutes before the film<br />
begins, Stand-By ticket holders are admitted,<br />
in numerical order, on a space-available basis<br />
until the theater is full. Those who cannot get<br />
in are refunded in full. Cash or vouchers only,<br />
please—no checks or credit cards.<br />
Hint: buy your tickets early or, better yet,<br />
buy a pass to avoid Stand-By!<br />
How To Buy Tickets<br />
For members only: Tickets on sale February 27, 2004 at 10:00 AM<br />
via internet, phone, mail, or fax. For the general public: Tickets on<br />
sale March 5, 2004 at 10:00 AM via all five options below.<br />
1 New Internet-based Ticketing<br />
System for the 28th <strong>Cleveland</strong><br />
<strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
Purchasing tickets will be easiest on our<br />
secure web site, http://www.clevelandfilm.org<br />
New this year—an on-line shopping cart<br />
so that you can purchase all of your tickets<br />
at once<br />
No per-ticket “convenience” charges.<br />
A nominal handling fee of $2.00 per order<br />
CFS members will be given a code so that<br />
they can purchase tickets before the general<br />
public and take advantage of discounts on<br />
passes, tickets, and merchandise<br />
Tickets will be sold until 3 PM on the day<br />
before the screening.<br />
Orders received on or before March 12,<br />
2004 will be mailed; otherwise, tickets will<br />
be held at Tower City Cinemas.<br />
2 Phone via 866.865.FILM (toll-free)<br />
Toll-free calls will be directed into CFS<br />
offices in <strong>Cleveland</strong>’s Ohio City neighborhood.<br />
A nominal handling fee of $2.00 per order<br />
Tickets will be sold until 3 PM on the day<br />
before the screening.<br />
Orders received on or before March 12,<br />
2004 will be mailed; otherwise, tickets will<br />
be held at Tower City Cinemas.<br />
3 U.S. Mail<br />
Order forms will be downloadable from the<br />
CFS web site and included on page 61 of the<br />
28th CIFF Preview Guide.<br />
A nominal handling fee of $2.00 per order<br />
Orders received on or before March 12,<br />
2004 will be mailed; otherwise, tickets will be<br />
held at Tower City Cinemas.<br />
4 In Person via <strong>Film</strong> <strong>Festival</strong> Store<br />
Opening on March 5, 2004 and located in<br />
Tower City Cinemas on The Avenue at Tower<br />
City Center (230 W. Huron Road, <strong>Cleveland</strong>—<br />
Downtown/Public Square).<br />
Store hours between March 5 and<br />
March 18 are as follows:<br />
Monday–Saturday, 11 AM – 8 PM, and<br />
Sunday, 12 noon – 6 PM<br />
Store hours between March 19 and<br />
March 28 are as follows:<br />
11:30 AM – 9:30 PM<br />
No handling fees<br />
5<br />
Fax via 216.623.0103<br />
(Credit card orders only, please.)<br />
Tickets will be sold until 3 PM on the day<br />
before the screening.<br />
Orders received on or before March 12,<br />
2004 will be mailed; otherwise, tickets will be<br />
held at Tower City Cinemas.<br />
A nominal handling fee of $2.00 per order.<br />
<strong>Festival</strong> Passes<br />
Easy access to all the films<br />
you want to see.<br />
Movie Mogul Subscription Pass<br />
Members: $600 Non-Members: $650<br />
Opening Night Gala ticket<br />
Closing Night <strong>Film</strong> and Reception ticket<br />
Access to all regularly scheduled<br />
CIFF screenings<br />
Reserved seating for each <strong>Festival</strong> film<br />
Free valet parking or self-parking at<br />
Tower City Center (when available)<br />
Hospitality Suite privileges<br />
<strong>Festival</strong> poster, T-shirt, and special gift<br />
Acknowledgement in the Preview Guide<br />
insert (if purchased by 3/12/04)<br />
Complimentary invitations to <strong>Cleveland</strong><br />
<strong>Film</strong> Society special events throughout<br />
the year<br />
Executive Producer<br />
Subscription Pass<br />
Members: $400 Non-members: $450<br />
Opening Night Gala ticket<br />
Closing Night <strong>Film</strong> and Reception ticket<br />
Access to all regularly scheduled<br />
CIFF screenings<br />
Seating in the reserved section for<br />
each screening<br />
Free valet parking or self-parking at<br />
Tower City Center (when available)<br />
Hospitality Suite privileges<br />
<strong>Festival</strong> poster and T-shirt<br />
Acknowledgement in the Preview Guide<br />
insert (if purchased by 3/12/04)<br />
Director Subscription Pass<br />
Members: $300 Non-members: $350<br />
Opening Night Gala ticket<br />
Closing Night <strong>Film</strong> and Reception ticket<br />
Access to all regularly scheduled<br />
CIFF screenings<br />
Free self-parking at Tower City Center<br />
(when available)<br />
Hospitality Suite privileges<br />
<strong>Festival</strong> poster<br />
Acknowledgement in the Preview Guide<br />
insert (if purchased by 3/12/04)
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM TICKET ORDER FORM 61<br />
Name(s)<br />
CFS Membership # E-mail Address<br />
Address<br />
City State Zip<br />
Phone (Day) Phone (Evening)<br />
Ticket Prices<br />
Regular Screenings<br />
Members $7.00<br />
Non-Members $9.00<br />
Students/Seniors, day of show only $7.00<br />
Group Rate/10 or more, per ticket $7.00<br />
(Call 866.865.FILM for Group Sales)<br />
Special Orders<br />
CFS Membership See page 59<br />
Individual @ $40 = $<br />
Dual @ $65 = $<br />
Opening Night Gala See page 12<br />
Members @ $100 = $<br />
Non-Members @ $125 = $<br />
Opening Night <strong>Film</strong> Only See page 12<br />
Members @ $20 = $<br />
Non-Members @ $25 = $<br />
Closing Night <strong>Film</strong> and Reception<br />
See page 13<br />
Members @ $35 = $<br />
Non-Members @ $40 = $<br />
Movie Mogul Pass See page 60<br />
Members @ $600 = $<br />
Non-Members @ $650 = $<br />
Executive Producer Pass See page 60<br />
Members @ $400 = $<br />
Non-Members @ $450 = $<br />
Director Pass See page 60<br />
Members @ $300 = $<br />
Non-Members @ $350 = $<br />
6-Pack 6 vouchers, See page 60<br />
Members @ $37.50 = $<br />
Non-Members @ $47.50 = $<br />
12-Pack 12 vouchers, See page 60<br />
Members @ $75 = $<br />
Non-Members @ $95 = $<br />
If you wish to select any tickets to specific screenings at<br />
this time, enter your selection on the form at right.<br />
Ticket Order Form<br />
*For Ticket Codes,<br />
see Calendar (<strong>pages</strong> 35-38)<br />
or film listings.<br />
<strong>Film</strong> Title Date<br />
Ticket<br />
Code* Qty. x Price = Total<br />
For Office Use Only<br />
$<br />
Charge my:<br />
Master Card<br />
VISA<br />
AmEx<br />
Discover<br />
Card # exp. date<br />
Signature<br />
Enclosed find my check<br />
payable to <strong>Cleveland</strong> <strong>Film</strong> Society<br />
2510 Market Avenue<br />
<strong>Cleveland</strong>, Ohio 44113<br />
Please initial to authorize adjustment to credit card<br />
total due to buyer miscalculation or program changes.<br />
Example: The Bookshop 3/27 27N 2 x $9.00 = $18.00<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
x =<br />
Special Orders Subtotal $<br />
Handling Fee $ 2.00<br />
Tax-Deductible Challenge Match Donation (see below) $<br />
TOTAL $<br />
$25,000 Challenge Match. Thanks to the generosity of The <strong>Cleveland</strong><br />
Foundation, your kindness will go twice as far: for every dollar raised through new<br />
or increased individual donations, we will be given the matching amount up to<br />
$25,000. Help us accomplish our mission to promote artistically and culturally<br />
significant film arts through educational and exhibition. Please make a taxdeductible<br />
contribution with your order today!<br />
Date Order Filled Initials Cash In-Person Only
62 BOARD OF DIRECTORS AND COMMITTEES The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
CLEVELAND FILM SOCIETY<br />
BOARD OF DIRECTORS<br />
Timothy J. Downing, President<br />
William E. Koeth, Vice President<br />
Anna Vedouras, Treasurer<br />
David K. Ream, Secretary<br />
Jeffrey F. Allen<br />
Graham Ashmead, M.D.<br />
Jules Belkin<br />
Anne E. Bloomberg<br />
Peg Clifton<br />
Dan Conway<br />
Richard Crownover, M.D.<br />
Elizabeth Dellinger<br />
Howard Freedman<br />
Debra Gold<br />
George Gund III<br />
Marilyn Harris<br />
Jinny Johnson<br />
Toby Devan Lewis<br />
Alan Gordon Lipson<br />
Patrick McFadden<br />
Libby Casale McNeece<br />
Mark Schwartz<br />
Mark Smith<br />
Brian Sullivan<br />
Roy L. Turnell<br />
Courtney G. Watson<br />
Andrew Watterson<br />
Chris Carmody, ex-officio<br />
The CFS Board of Directors<br />
Invites You to Save the Dates<br />
for The 29th <strong>Cleveland</strong><br />
<strong>International</strong> <strong>Film</strong> <strong>Festival</strong>:<br />
March 10-20, 2005<br />
PROGRAMMING COMMITTEES<br />
Shorts Programming<br />
Committee<br />
Kim Neuendorf<br />
Cindy Penter<br />
Paul Sloop, Chair<br />
Rob Thomas<br />
Shorts Selection Committee<br />
Emily Annandono<br />
Linda Bourassa<br />
Tim Callahan<br />
Peg Clifton<br />
Ellen Darby<br />
Jillian Davis<br />
Mara Evans<br />
Rice Hershey<br />
Michelle Johnson<br />
Mike Kelly<br />
Valda Lewis<br />
Sheila Markowitz<br />
Patrick McFadden<br />
Jared McGrath<br />
Molly Merryman<br />
Todd Mesek<br />
Michelle Morad<br />
Michelle Murphy<br />
Mercedes Noble-Reyes<br />
Toni Oliverio<br />
Kim Ann Pfau<br />
Miguel Polanco<br />
Kevin Poor<br />
Steve Probert<br />
Juniper Sage<br />
Mark Smith<br />
Lauren Steiner<br />
Barry Underwood<br />
Anna Vedouras<br />
Feature Screening Committee<br />
Mindy Benson<br />
Ed Boyte<br />
Kathie Brown<br />
Randy Brown<br />
Daniel Carl<br />
Charles Caton<br />
Donna Cornett<br />
Pierre Davignon<br />
Thom Duke<br />
Mary Jane Finan<br />
Bernadette Gillota<br />
Debra Gold<br />
David Huffman<br />
Mike Kechisen<br />
Robert Madison<br />
Jamie Marino<br />
Jason Nightingale<br />
Steven Petras<br />
Irene Shinkle<br />
Joe Tegreene<br />
Jane Temple<br />
Elaine Vincent<br />
Jennifer Vinson<br />
Eileen Walsh<br />
Daiv Whaley<br />
Program Advisory Committee<br />
Mindy Benson<br />
Chuck Caton<br />
Donna Cornett<br />
Thom Duke<br />
Shirin Ghareeb<br />
Anthony Gittens<br />
Tom Miller<br />
Jack Ramsey<br />
Amy Sparks<br />
Bonita Tiffany<br />
Anna Vedouras
FILL YOUR SHOPPING CART > www.clevelandfilm.org < BUY YOUR TICKETS > Call 866.865.FILM STAFF 63<br />
FOR PROGRAM UPDATES<br />
CLEVELAND FILM SOCIETY EXECUTIVE STAFF<br />
Marcie Goodman, Executive Director<br />
William Frank Guentzler, Director of Programming<br />
Patrick Shepherd, Development Director<br />
Gail Sullivan, Financial Consultant<br />
Spalding and Jackson, Official Greeters<br />
28th CLEVELAND INTERNATIONAL FILM FESTIVAL STAFF<br />
Karen Bloomfield, Co-editor, The Daily<br />
Jessica Bragg, Passholder Liaison and Merchandise Manager<br />
Dave Brogan, Ticket Sales<br />
Charles Cassady, Synopses Writer<br />
Pam Cerio, Preview Guide Designer<br />
Eric Dicken, Theater Operations<br />
Thomas A. Duke, Patron Services Associate, Archivist<br />
Jared Earley, Theater Operations<br />
John Farina, <strong>Film</strong>Forums Coordinator<br />
Pam Fine, Cinema for Seniors Assistant Coordinator<br />
Maureen Fitzpatrick, Volunteer Coordinator<br />
Linda Goldstone, Ticket Sales<br />
Ron Guentzler, Print Traffic Coordinator<br />
Todd Heckeler, Webmaster and Ticket System Designer<br />
Emily Ingalls, Guest Relations Coordinator<br />
Jason Nightingale, Liaison to the Projection Booth<br />
Loresa Novy, Ticket Sales<br />
Amy Pappas, Cultural Journeys Coordinator<br />
Ben Parsons, Preview Guide Distribution Coordinator<br />
Allison Perrett, Ticket Sales<br />
Judy Price, Hospitality Suite Coordinator<br />
Paul Putman, Theater Operations Manager<br />
Beth Radisek, <strong>Film</strong>Slam Coordinator and Stand-By Manager<br />
Damon Reaves, Ticket Sales<br />
Tim Safranek, Photographer<br />
Debby Samples, Office Assistant<br />
Jae Schneider, Ticket Sales<br />
Janus Small Associates, Cinema for Seniors Coordinator<br />
Laura Smith, Ticket Sales<br />
Tim Smith, Patron Services Assistant<br />
Amy Sparks, Target Marketing Manager<br />
Dewayne Tindall, Theater Operations<br />
Jennifer Vinson, Challenge Match and Membership Campaign Coordinator<br />
Andrea Wedren, General Marketing and Media Manager<br />
Daiv Whaley, Theater Operations<br />
Brooke Willis, Preview Guide Distribution Coordinator<br />
Jim Wolan, Co-editor, The Daily<br />
Tim Yanko, Special Events Coordinator<br />
Mark Yasenchack, Business Operations Manager<br />
CLEVELAND CINEMAS/<br />
TOWER CITY CINEMAS<br />
Jonathan R. Forman, President<br />
Kenneth Young, Director of Operations<br />
Jackie Koral, Office Manager<br />
Lisa Craig, Director of Marketing<br />
Joe Ruffner, Marketing Assistant<br />
Kim Brazina, Administrative Assistant<br />
Ron Fleming, Facilities Coordinator<br />
Charles Flowers, General Manager<br />
William Slate, Assistant Manager<br />
Melody Shiflet, Assistant Manager<br />
Jeffrey Hoyt, Assistant Manager<br />
Jamie Smith, General Manager,<br />
Shaker Square Cinemas<br />
PROJECTIONIST UNION IATSE<br />
LOCAL 160<br />
John Galinac, Business Manager Local 160<br />
William Taggart, Booth Manager<br />
Phillip Luschek, Chief Projectionist<br />
Scott Woodruff, Lead Projectionist<br />
Peter Balint, Senior Digital/Video Technician<br />
PROJECTIONISTS, DIGITAL/<br />
VIDEO TECHNICIANS<br />
Fred Brown<br />
Chris Helaney<br />
Jeff Johnson<br />
Orville Kist<br />
Vincent Mercurio<br />
Ruben Musheyev<br />
Robert Potoma<br />
Michael Priolo<br />
Cline Siegenthaler<br />
Photo: Tim Safranek
64 SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
We proudly support<br />
the <strong>Cleveland</strong> <strong>Film</strong> Society<br />
and join in celebrating<br />
28 years of bringing the best<br />
international films to <strong>Cleveland</strong>.<br />
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SPONSORS 65
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The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> SPONSORS 67<br />
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The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong> SPONSORS 69
70 SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong><br />
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<strong>72</strong> SPONSORS The 28th <strong>Cleveland</strong> <strong>International</strong> <strong>Film</strong> <strong>Festival</strong>