MVFF31 Program 2008 by CAFILM

Sharing the Road to Success

Training for triathlons isn’t the only thing Russ Colombo works hard on.He leads a team of bankers in putting local businesses on the road to success.And he doesn’t stop there.Russ and his team volunteer over 7,000 hours a year and serve on 70 non-profit boards in Marin and Sonoma.At Bank of Marin,we make it a priority to share the road.And to help our community enjoy a great ride.

Russ Colombo President & CEO,Bank of Marin

Director’s Note | Mayor’s Proclamation

CFI Board of Directors

CFI Milestone Campaign | Major Donors

DRAKE'S WAY LARKSPUR, CA

A constrained site with steep terrain. Limited footprint options. A requirement for affordable units. Creative design strategy and expertise in sustainable practices navigated the cost issues and site conditions. The result—these affordable units with phenomenal Bay views for EAH.

5.5ACRES / 24 TOWNHOUSE UNITS & COMMUNITY CENTER

DIRECTOR’S NOTE

WELCOME TO THE 31ST MILL VALLEY FILM FESTIVAL

The independent film community has gone through astonishing changes in the last decade. Early specialty film distributors like UA Classics, Orion Pictures Cinecom, Island Alive, Fine line and others are long gone, and, while definitions of independent film have always been subjective at best, any semblance of consensus was lost when production and prints and advertising budgets reached $50 million.

The current perception, argued intelligently by at least one industry veteran, is that the sky is falling on specialty film. The major studios are pulling back on their smaller divisions, suggesting that those at the higher end of the indie spectrum have lost their way, at least economically. Perhaps Variety had it right when it stated, “The worst thing that ever happened to indie film is that the studios thought it was good business.”

This doesn’t mean independent films are no longer good. On the contrary, they’re well-made intelligent films that get overlooked for any number of reasons— they’re released too close together to get their due; expectations (and budgets) exceed the reality of the indie market. Last year a group of films on the Iraq war and terrorism led audiences to choose between them rather than see them all.

The industry is sensitive to other factors, too. The downward turn could reflect an adjustment to the actual indie market or a response to the larger economic trend, a shift in generational attitudes or technological changes.

Independent film has never been primarily about the money, though. And the good news is that film festival attendance is not only remaining stable, in many cases it’s growing. This may seem contradictory since festivals such as MVFF comprise films that in many cases will never be distributed in theaters. But the real problem seems to be that current evaluations of the state of independent cinema don’t take into account its most essential features: the quality and diversity of independent filmmaking, and the ideas and experiences these filmmakers give us.

Judging by this year’s MVFF, the current state of the art hasn’t suffered at all. The quality of submissions was superb, exemplifying the best in independent filmmaking: beautifully made stories that resonate on both personal and universal levels; subjects covering crucial topics on race, religion, politics; themes of irreverence, resurrection and reconciliation—the stuff that distinguishes great films.

This year we present 214 films from 44 different countries (27 of which are US, North American or world premieres). I urge you, gracious audience, to take a chance: See at least one film you normally wouldn’t. Whether it’s a short or a feature, fiction or documentary, dive in—it may startle you at first, but it will refresh you in ways you didn’t expect.

It is an MVFF tradition to celebrate and honor great work in cinema. This year five extraordinary artists will receive the Mill Valley Film Festival Award. We will honor writer-director Paul Schrader and screen his new film Adam Resurrected, as well as an enhanced version of his seminal Mishima: A Life in Four Chapters , which will be showing in the US for the first time. Our Spotlight Tribute this year honors Sally Hawkins, who’s gained such acclaim for her breakthrough performance in Mike Leigh’s most recent film, Happy-Go-Lucky. And we are delighted to welcome internationally renowned Swedish ac-

tress Harriet Andersson. As part of her Tribute we will screen Ingmar Bergman’s film Through a Glass Darkly, in which Ms. Andersson stars. A special Bergman multimedia exhibition opens at the Smith Rafael Film Center in conjunction with this Tribute and will continue post-Festival, accompanied by a retrospective of Bergman’s and Andersson’s films.

We will also honor Eric Roth, Academy Award®–winning screenwriter of Forest Gump, Munich and the upcoming The Curious Case of Benjamin Button Finally, our Closing Night Tribute is to the extraordinary actress Alfre Woodard, whose performance in American Violet , one of our two Closing Night films, reinforces her stature not only as one of the America’s great acting treasures, but as an actress committed to work of great social importance.

In a special post-Festival Tribute on November 18 at San Francisco’s Castro Theatre, we are honored to present the MVFF Award to legendary actor Tony Curtis. The evening will include an onstage interview with Mr. Curtis conducted by Jan Wahl, and a screening of Some Like It Hot

Enjoy the Festival! Many thanks to the CFI board of directors, our dedicated staff and volunteers, and the thousands of contributors who help make this Festival possible: members, foundations, businesses and other individuals who have chosen to generously support these films and filmmakers of merit. And thanks to you, the viewer: While the business of the independent film industry sorts itself out, it is your desire for excellent film that ultimately proves that independent film is alive and well.

Mark Fishkin MVFF Founder-Director

PROCLAMATION DECLARING OCTOBER 2–12, 2008, “MILL VALLEY FILM FESTIVAL DAYS”

WHEREAS, the Mill Valley Film Festival has presented outstanding local and international fi lms in this community for 31 years; and WHEREAS, the Mill Valley Film Festival fulfi lls the important function of providing fi lmmakers an audience for their works; and WHEREAS, international fi lmmakers and the fi lm community in Marin County enhance our cultural life by participating in the Mill Valley Film Festival; and WHEREAS, fi lmmakers, volunteers, sponsors and fi lmgoers join together to make the Film Festival one of the Bay Area’s social and cultural highlights of the year; NOW, THEREFORE, I, Shawn Marshall, Mayor of the City of Mill Valley, take great pleasure in supporting the 31st Annual Festival by proclaiming October 2–12, 2008 as Mill Valley Film Festival Days in Mill Valley.

Shawn E. Marshall Mayor of Mill Valley

FOUNDER/ EXECUTIVE DIRECTOR

Mark Fishkin

FOUNDING BOARD

Rita Cahill

Mark Fishkin

Lois Kohl Shore

CFI BOARD OF DIRECTORS

EMERITUS BOARD

Ann Brebner

Rita Cahill

Sid Ganis

Gary Meyer

Gordon Radley

Henry Timnick

ADVISORY BOARD

Stewart and Barbara Boxer

Jeff Fisher

Peter Flaxman

Robert Greber

Linda Gruber

Peggy Haas

Nancy Hudson

Amy Keroes

Andrew McGuire

Jann Moorhead

Mary Poland

Lente and Eric Schwartz

Michael and Susan Schwartz

JENNIFER MACCREADY CHARLES MCGLASHAN

DR. JOEL SKLAR EVELYN TOPPER

W. ROBERT GRISWOLD JR. BRUCE KATZ

LARRY EILENBERG KC LAUCK

KENNETH BROAD

CHRISTOPHER B. SMITH VICE PRESIDENT

STEVE SHANE SECRETARY

RICHARD J. IDELL PRESIDENT

ZACH ZEISLER TREASURER

The California Film Institute Is Proud to Acknowledge Our 2008 Sponsors and Supporters

MAJOR SPONSORS

MAJOR FOUNDATIONS AND INDIVIDUALS

recycling program

organically produced food and wine

enhancing the quality of life in our communities—a commitment that extends from providing safe, reliable service to offering one of the nation’s cleanest utility energy supplies.”

—Peter Darbee, chairman, CEO and president of PG&E corporation

FESTIVAL INFORMATION

PARKING

In Mill Valley: Two-hour parking meters in downtown Mill Valley operate 9:00 am–6:00 pm Monday–Friday, and cars parked over two hours are subject to ticketing. Although meters are free after 6:00 pm and on weekends, the two-hour limit is still enforced.

In San Rafael: There are parking garages throughout the downtown San Rafael area. Two-hour parking meters in San Rafael operate 9:00 am–6:00 pm, Monday–Saturday, and cars parked for more than two hours are subject to ticketing. Meters are free after 6:00 pm and on Sundays.

PUBLIC TRANSPORTATION

Call Golden Gate Transit at 415.923.2000 for information about taking public transportation to and from the Mill Valley Film Festival.

MEMBERSHIP INFORMATION

Membership information will be available at Festival ticket outlets, the Outdoor Art Club and the Smith Rafael Film Center. New members may join, and old friends may renew or upgrade their existing memberships.

FESTIVAL SHOPS

Visit our Festival shop for ofﬁ cial Festival merchandise—they make great holiday gifts for yourself and other ﬁ lm lovers. The Festival shop is located at the San Rafael ticket outlet and the Outdoor Art Club during the Festival.

ETIQUETTE

As a courtesy and in fairness to others, we ask that you only hold one seat per person when attending screenings and events. Please turn off pagers, cell phones and watch alarms. Thank you and enjoy the ﬁ lms.

PHOTOGRAPHY, VIDEO AND RECORDING

Photography, video and audio recording are prohibited in all theatrical and other Festival venues.

RESERVED SEATING

The Mill Valley Film Festival is made possible in part through the generous support of our sponsors and patrons. The reserved seating section at our screenings and events is provided for ﬁ lmmakers and sponsors, to show our appreciation for their contributions and their generous support.

IT’S NOT TOO LATE TO VOLUNTEER!

Visit mvff.com to register or contact us for more information at mvffvolunteers@ cafilm.org.

■ BUYING TICKETS

THE FASTEST WAY TO BUY TICKETS IS ONLINE

Please note there is a nonrefundable processing fee of $3.00 per order when you purchase tickets online or in person, and a fee of $7.50 when you purchase by phone.

ORDER ONLINE: mvff.com

24 hours daily

ORDER BY PHONE:

Toll-free 877.874.MVFF (6833)

9:00 am–5:00 pm

BUY IN PERSON:

• SAN RAFAEL TICKET OUTLET

Christopher B. Smith Rafael Film Center 1118 Fourth Street

Weekdays 2:00–10:00 pm; Weekends 10:00 am–10:00 pm

• MILL VALLEY TICKET OUTLET

Mill Valley Chamber of Commerce

85 Throckmorton Avenue

Weekdays 2:00–10:00 pm; Weekends 10:00 am–10:00 pm

TICKET PRICES*

$10 Members

$12.50 General Admission

$11 Seniors (65+)

$10 Children’s Films (kids and adults)

$5.00 5@5 Programs

*unless otherwise noted on individual programs

■ FESTIVAL VENUES

CinéArts@Sequoia (SEQ) 25 Throckmorton Ave., Mill Valley

Christopher B. Smith Rafael Film Center (RAF) 1118 Fourth St., San Rafael

142 Throckmorton Theatre (THR)

142 Throckmorton Ave., Mill Valley

Century Cinema (CIN) 41 Tamal Vista, Corte Madera

Outdoor Art Club (OAC) 1 W. Blithedale Ave., Mill Valley

Mill Valley Community Center 180 Camino Alto, Mill Valley

Hornblower Cruises Sausalito Ferry Dock 1 Anchor St., Sausalito

Frantoio Ristorante 152 Shoreline Hwy., Mill Valley

Marin Academy 1600 Mission Ave., San Rafael

CINÉARTS@SEQUOIA and 142 THROCKMORTON THEATRE: From US 101, take the Tiburon/East Blithedale exit and proceed west on Blithedale toward downtown Mill Valley. Turn left onto Throckmorton.

From Gold Dust To Star Dust

Wells Fargo Is Proud To Recognize The Mill Valley Film Festival

During the Gold Rush, Wells Fargo stagecoaches carried more than gold dust and mail. We also brought actors, musicians and other performing artists to the West.

Today, we’re proud to continue that tradition by helping to deliver arts and entertainment to our community.

There’s No Mistaking Great Film

Become a Member and Find Out Why!

With a CFI membership you can share a passion for great film that inspires and challenges us to see the world from a new perspective. Your support helps sustain a vibrant environment in which audiences of all ages engage with today’s most influential filmmakers.

For a full list of membership benefits visit us online at cafilm.org

The nonprofit California Film Institute relies on the generosity of its community to thrive. Your financial support enables CFI to continue to offer quality programming and events at the Rafael and the Mill Valley Film Festival, and to offer our free education programs through CFI Education.

Membership Rewards: ticket price of $5.50 at the Christopher B. Smith Rafael Film Center— anytime, any day! often with well-known filmmakers and actors as guests at fascinating Q-and-A sessions

special events

Valley Film Festival tickets before the general public of the Festival” screening during the Mill Valley Film Festival

Film Festival tickets and merchandise

Join

CFI would like to thank the following individuals and foundations for their generous support of the Milestone campaign.

LEADERSHIP CIRCLE

Christopher B. and Jeannie Meg Smith

INVESTOR CIRCLE

Jennifer Coslett MacCready

Gruber Family Foundation

PLATINUM CIRCLE

Richard Barker

Nancy and Rich Robbins

Henry Timnick

Christine Zecca Foundation

GOLD CIRCLE

Jackie and Ken Broad

William Hudson and Nora Gibson

Katz Family Foundation

Michael Klein

K.C. and Steve Lauck

Monahan Parker, Inc.

Terese and Robert Payne

Lente Louw and Eric Schwartz

Susan and Michael Schwartz

Ruth and Alan Scott

Mel and Lois Tukman

SILVER CIRCLE

Anonymous

Jennifer Barker

Kamala Geroux-Berry and David Berry

Gloria and Jack Clumeck

Alice Corning/Springcreek Foundation

Leonard Eber

Jeffrey Edman

Dennis P. Fisco and Pamela Polite Fisco

Margaret E. Haas

Heliotrope Fund

Susan and Richard Idell

Andrée Poirier Jansheski

Fred M. Levin and Nancy Livingston, The Shenson Foundation

Bobbie Meyer

Nicola Miner

Kristin Otis and James Boyce

Heidi Richardson and Michael Dyett

Ruthellen and Monte Toole

Saul Zaentz

Marlies and Zach Zeisler

CFI MILESTONE CAMPAIGN

BRONZE CIRCLE

Marie and Brian Collins

Catherine and Peter Flaxman

Lisa Graeber

Ellen Kutten

Mary and Bill Poland

Gordon Radley

MAJOR FOUNDATION SUPPORT

Barbro Osher Pro Suecia Foundation

Bernard Osher Foundation

The William and Flora Hewlett Foundation

Marin Community Foundation

Miranda Lux Foundation

San Francisco Foundation

GOVERNMENT SUPPORT

County of Marin

National Endowment for the Arts

For more than three decades, the California Film Institute and the Mill Valley Film Festival have enriched the cultural lives of Marin County and Bay Area residents. With the opening of the Christopher B. Smith Rafael Film Center in 1999, the Institute found a ﬁ rst-class Festival venue and a permanent, year-round home for its many activities, including the ground-breaking CFI Education programs.

As we enter our fourth decade of operation, we continue to work to secure the legacy of this exceptional cultural organization by making it ﬁ nancially sustainable as well as environmentally responsible. In taking these

steps now, as we look forward to celebrating the Smith Rafael Film Center’s tenth anniversary in 2009, we ensure that future generations—and future audiences—will be able to enjoy the rich and varied offerings of the California Film Institute, the Smith Rafael Film Center, the Mill Valley Film Festival and CFI Education.

Through the generous support of our community, we will be able to:

• Continue the high-quality innovative programming that has earned CFI its international reputation, and expand our

presence in Marin County through long-term strategic initiatives.

• Expand CFI Education to offer more medialiteracy programs and bring more ﬁ lmmakers into Bay Area schools.

• Maintain the Smith Rafael Film Center’s pristine condition and keep pace with the latest industry technology and innovations.

• Increase our creative and fi nancial support of fi lmmakers, both through fi lm exhibition and through a new model for nonprofi t fi lm distribution.

For information about how you can support the Milestone campaign, please email us at development@caﬁlm.org.

Zaentz Media Center a

THE BIG PICTURE

SECURING

THE SEQUOIA (AND A HOME) IN

MILL VALLEY

by Robert Avila

Mill Valley’s signature movie house, the Sequoia Theatre, has served its community for nearly 80 years now, bucking a decades-long trend that’s seen thousands of movie screens disappear across the country. In fact, the historic 650-seat twin-screen venue at 25 Throckmorton Avenue—originally designed by Reid Brothers of San Francisco as a smallerscale theater palace in the classic art deco mold—has remained a vital part of the cultural life of Marin County ever since Art Blumenfeld began exhibiting silent ﬁ lms, newsreels and even vaudeville shows and other live entertainments there in February 1929. Naturally enough, the Sequoia has also been a cornerstone of the Mill Valley Film Festival and its own vibrant 31-year history.

So when MVFF’s Mark Fishkin got a call last March saying the heirs of the Blumenfeld Theaters family were putting the Sequoia on the market after 79 years, there was no question what to do, and no time to waste. “We knew we had to ensure it survived as a theater,” recalls Fishkin, executive director and founder of the California Film Institute, the Marin-based nonproﬁ t whose programs include the Mill Valley Film Festival. Fishkin and the CFI board rallied to encourage local investment in the

SAVING THE SEQUOIA

property—currently operated by leaseholder Cinemark Theatres as the foreign and independent ﬁ lm house CinéArts@Sequoia, which graciously makes room each October for the 11-day Festival. They soon brought together prominent members of the local community to assist with the $2.5 million purchase, forming Friends of CFI/Sequoia LLC, an investment group that includes CFI itself.

The securing of the Sequoia occurred in a remarkably swift 100 days, with the momentum of a local cause. “It’s clear that all the investors, donors and Tamalpais Bank (which fi nanced the mortgage) had a philanthropic impetus in coming together so quickly,” affi rms CFI board president and Mill Valley resident Richard Idell. Adds Fishkin, “We were fortunate to have such dedicated stakeholders who understand the importance of keeping the cultural life of downtown Mill Valley alive and fl ourishing.”

But it was also just the ﬁ rst step. Under the terms of the purchase, Friends of the CFI/ Sequoia LLC will own the property (which includes two adjacent retail businesses) for up to ﬁ ve years, during which time CFI will buy it outright with funds raised through a formal capital campaign. Cinemark, a leading national exhibitor, will continue to lease and manage the theater. Meanwhile, CFI hopes to expand its year-round presence at the Sequoia through its education program and special screenings, even during Cinemark’s lease term. This phase is crucial to ensuring the Sequoia remains a

cinematic venue in perpetuity, and it recalls CFI’s successful campaign to purchase and renovate San Rafael’s landmark art deco theater, now known as the Christopher B. Smith Rafael Film Center.

For the time being, the legacy of the Sequoia— for both Marin County and the celebrated international fi lm festival with a small-town feel— is in excellent hands. “This is a very important step toward fulfi lling the dream of a permanent home in Mill Valley for the Mill Valley Film Festival,” says Fishkin. Present and future generations of fi lm lovers are likely to agree.

Robert Avila is a Bay Area–based arts writer.

The California Film Institute and the Mill Valley Film Festival would like to acknowledge with deep appreciation the Friends of the Sequoia:

Anonymous

Jaclyn J. and Kenneth F. Broad

Josh and Stefanie Felser

Jane and Douglas Ferguson

Richard and Susan Idell

Katz Family Foundation

Jennifer Coslett MacCready

Nancy and Rich Robbins

Daniel L. Scher

Scott/Ferguson Trust

Christopher B. and Jeannie Meg Smith

Images of the Sequoia Theatre dating from the 1920s through the 1950s, courtesy of the Lucretia Little History Room, Mill Valley Public Library.

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WWW.MARINHAWAIICONNECTION.COM

Public lectures by distinguished speakerson politics, leadership, culture, and more

Concerts and recitals

Aerobics, swimming, tennis, and yoga classes at the Conlan Recreation Center

Film festivals, art exhibitions, and artist talks

Event and conference facilities with catering and lodging

Youth summer camps

www.dominican.edu

Proud Supporters of the Mill Valley Film Festival

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Congratulations to the Mill Valley Film Festival on its 31st Anniversary

Pacific Union is a proud sponsor of the Mill Valley Film Festival

SAN FRANCISCO MARIN NAPA VALLEY SONOMA CONTRA COSTA ALAMEDA PALM SPRINGS

OPENING NIGHT

Our 31st Festival gets off to a rollicking start with Larry Charles’ hilariously irreverent documentary, Religulous, and Gina Prince-Bythewood’s star-studded coming-of-age tale, The Secret Life of Bees. Afterward, join invited guests Dakota Fanning, Larry Charles, Gina Prince-Bythewood and others at the Mill Valley Community Center for scrumptious food, wine and live music by the swingin’ Stompy Jones sextet. With special thanks to Strawberry Village’s Pizza Antica for providing dinner, and to Marin French Cheese Company, Judy’s Breadsticks, Ristorante Mezzo Mezzo, “Take a Dip” Fondue Fountains, Sift: A Cupcakery and Raymond Vineyards.

RELIGULOUS

US 2008 101 MINS

Thursday, October 2, 7:00 pm

Film and Gala $125 REL02P • Film Only $25 REL02R

Christopher B. Smith Rafael Film Center

Politically Incorrect comedian Bill Maher is on a global quest to knock some good old-fashioned heretical sense into his targeted opponent: organized religion of all stripes. From his confrontations with a Christian theme-park Jesus and a Muslim mall-vendor of high-fashion women’s burqas (he just barely avoids total verbal engulfment by a motormouthed Orthodox Jew), Maher’s mission seems next to impossible, making it all the more fun to watch. Director Larry Charles ( Borat ) once again turns the mirror of culture back on itself, with hilarious and somewhat unnerving results. Preaching to the converted is not exactly the name of Maher’s game, but putting all preachers, along with all the converted, to the tests of reason, logic and a bit of basic evolutionary biology gives Religulous its delightful, devilish charm. —Karen Davis

Director Larry Charles Producers Jonah Smith, Palmer West, Bill Maher Cinematographer Anthony Hardwick Editors Jeffrey M. Werner, Jeff Groth, Christian Kinnard Print Source Lionsgate

OPENING NIGHT GALA

(follows either Opening Night screening)

Thursday, October 2, 9:30 pm–12:00 am Mill Valley Community Center

Thursday, October 2, 7:00 pm and 7:15 pm

7:00 pm Film and Gala $125 SECA02P

7:00 pm Film Only $25 SECA02S

7:15 pm Film and Gala $125 SECB02P

7:15 pm Film Only $25 SECB02S CinéArts@Sequoia

South Carolina, 1964: Haunted by the memory of her late mother and beset by her father, 14-year-old Lily (beautifully performed by Dakota Fanning) ﬂees with Rosaleen (a very moving Jennifer Hudson) to a small town where she hopes to uncover her mother’s past. Her search leads her to a bright pink house inhabited by the smart, independent Boatwright sisters: the charismatic August (Queen Latifah), a beekeeper and honeymaker; teacher and musician June (Alicia Keys); and the sensitive, kind May (Sophie Okonedo). The Boatwrights take in the two fugitives, and Lily ﬁnds solace in their mesmerizing world as she learns the mysteries of beekeeping and friendship, life and love. Director Gina Prince-Bythewood perfectly evokes the tone and wisdom of Sue Monk Kidd’s bestselling novel, while her extraordinary cast brings great insight to this story of a girl who sets out to learn about her mother and ends up transforming herself. —Zoë Elton

Director/Screenwriter Gina Prince-Bythewood Producers Lauren Shuler Donner, James Lassiter, Will Smith, Joe Pichirallo

Cinematographer Rogier Stoffers Editor Terilyn A. Shropshire Cast Queen Latifah, Dakota Fanning, Jennifer Hudson, Paul Bettany, Alicia Keys, Sophie Okonedo Print Source Fox Searchlight

THE SECRET LIFE OF BEES US 2008 110 MINS

CLOSING NIGHT

Come help us say farewell to our 31st Festival. We welcome back Hornblower Cruises & Events, who take us aboard for a Closing Night party and cruise. We meet dockside at the California Hornblower in Sausalito for hors d’oeuvres and desserts. Then we’ll fall under the spell of the magical views from the ship’s three ﬂ oors of windows as we cruise the bay.

Closing Night is presented by the California Film Institute Board of Directors.

AMERICAN VIOLET AND TRIBUTE TO ALFRE WOODARD

US 2008 102 MINS

Sunday, October 12, 5:00 pm

Tribute and Party $70 TRIB12P • Tribute Only $25 TRIB12R

Christopher B. Smith Rafael Film Center

Producer-writer Bill Haney ( Price of Sugar, MVFF 2007) and director Tim Disney’s outstanding and timely collaboration reveals the unsettling realities of racism, disenfranchisement and power that permeate our imperfect democracy. Based on a true story and set against the backdrop of the hotly contested 2000 presidential election, the tale opens as single mother Dee Roberts (stunning newcomer Nicole Behaire) is wrongfully arrested on drug charges. She refuses to plead guilty and becomes the unlikely plaintiff in a groundbreaking case against a powerful white DA accused of racial bias. Her strong-willed mother, Alma (the ever-impressive Alfre Woodard), is her sole safety net as Dee risks everything to ﬁ ght for the truth. Innocent until proven guilty is the mantra of our judicial system—except, perhaps, in Texas, where an unreliable informant can get you indicted, the convicted are hounded into plea bargains instead of ﬁ ghting unjust charges, and African Americans are arrested at a grossly disproportionate rate. —Joanne Parsont

Director Tim Disney Producer/Screenwriter Bill Haney

Cinematographer Steve Yedlin Editor Nancy Richardson Cast Nicole Behaire, Will Patton, Alfre Woodard, Michael O’Keefe Print Source Mitropoulos Films

Sponsored by

TREE

Israel 2008 106 MINS

Sunday, October 12, 5:45 pm

Film and Party $70 LEM12P • Film Only $25 LEM12S

CinéArts @ Sequoia

Palestinian widow Salma Zidane’s lemon grove is on the border with Israel. When Israel’s ambitious defense minister moves in next door, he sees a potential terrorist behind each lemon tree, setting off a battle in which Zidane (Hiam Abbass, The Visitor ) faces ruin, loneliness and betrayal as she ﬁ ghts to save her family’s legacy and her livelihood. Acclaimed Israeli director Eran Riklis (The Syrian Bride, Cup Final ) has long been fascinated by borders and taboos, and by the women who challenge them. As Zidane and the defense minister’s lonely wife (Rona Lipaz-Michael) stare at each other across a razor’s edge of distrust, each questions the potential of love against the power of patriarchy and social expectations. Could solidarity between these women be a potential chink in the walls of tribal/national conﬂ ict? —Alan Snitow

Director/Producer Eran Riklis Screenwriters Suha Araf, Eran Riklis

Cinematographer Rainer Klausmann Editor Tova Ascher Cast Hiam Abbass, Ali Suliman, Rona Lipaz-Michael, Doron Tavory, Tarik Copty, Amos Lavie Print Source IFC Films

Sponsored by

CLOSING NIGHT PARTY (follows either event)

Sunday, October 12 (Boarding 8:00 pm; Sailing 9:00 pm)

California Hornblower, Ferry Dock, 1 Anchor St., Sausalito

LEMON

LIVE PERFORMANCES AT 142 THROCKMORTON THEATRE

A vibrant center for the arts and longtime friend of the Mill Valley Film Festival, 142 Throckmorton Theatre is the premier ven ue for unique Festival screenings of works produced on video, including exciting new documentaries and the groundbreaking V(ision)Fest . This year’s live entertainment includes sizzling music events as well as the popular Tuesday Night Comedy Showcase.

The Mill Valley Film Festival and the Bill Graham Memorial Foundation Present LAST DAYS OF THE FILLMORE: A LIVE MULTIMEDIA EVENT

Friday, October 3, 8:00 pm • $50 MUSC03T

Look back at the legacy of Bill Graham and the original Fillmore in a selection of clips from the 1972 documentary Last Days of the Fillmore, put together for this occasion by Rhino Entertainment, which will release the DVD in January 2009. The ﬁ lm features the Grateful Dead, Santana, Quicksilver Messenger Service, Boz Skaggs and more, and follows rock impresario Graham as he books the club’s closing week and reﬂ ects on the state of the music business. The evening includes a panel discussion moderated by Ben FongTorres with music professionals Jerry Pompili, Herbie Herbert, Steve Parish, Raechel Donahue and John Beug, followed by a full set of live music with house band Moonalice, featuring G.E. Smith, Jack Casady, Barry Sless, Pete Sears, Ann McNamee, Roger McNamee, Jimmy Sanchez and invited guests including Ray Manzarek of The Doors, Elvin Bishop, Dan Hicks, Bob Weir, Rob Wasserman and Jay Lane, Lydia Pense of Cold Blood, Josh Clark and Trevor Garrod of Tea Leaf Green, and Dan Lebo of ALO. Produced by Steep Productions, Inc., Clare Wasserman and Stephanie Clarke.

The Mill Valley Film Festival Presents A SALUTE TO THE WRECKING CREW

Monday, October 6, 9:00 pm • $50 MUSC06T

In celebration of Denny Tedesco’s rock ’n’ roll documentary, The Wrecking Crew (see page 101 for ﬁ lm description), join original Wrecking Crew members Hal Blaine, Don Randi, Chuck Berghofer and invited guests including former Beach Boy Al Jardine and others, for an evening of unforgettable hits from the 60s and 70s. The musicians may not be household names, but they’re the ones who played on songs like “Can’t Help Falling in Love With You,” “Be My Baby,” “California Dreamin’,” “These Boots Are Made For Walkin’,” “Aquarius/Let the Sun Shine,” “San Francisco (Be Sure to Wear Flowers in Your Hair)”—and virtually every major hit by the Beach Boys, Sonny & Cher, the Monkees, the Carpenters and Simon & Garfunkel. Don’t miss this rare opportunity to see the originators of the classic West Coast sound live and in person. Musical Director: Scott Mathews. Associate Musical Director: Austin de Lone. Consulting Producer: Larry “The Hat” Lautzker of FAMOUS4. Produced by Steep Productions, Inc., Clare Wasserman and Stephanie Clarke.

In Association with the Mill Valley Film Festival, 142 Throckmorton Theatre Presents TUESDAY NIGHT COMEDY WITH MARK PITTA & FRIENDS

Tuesday October 7, 8:00 pm • $15 COME07T

Mark your calendars for Tuesdays, and join us for Tuesday Night Comedy with Mark Pitta & Friends. Mark Pitta hosts an evening for established headliners and up-and-coming comics to work on new material. You may see ﬁ ve comics, an improv group, a comedy video or a scene from a new play in progress—come and ﬁ nd out! Ages 18 and over unless accompanied by a parent or legal guardian. For more information visit www.142throckmortontheatre.org.

Mark Pitta

Hal Blaine

Last Days of the Fillmore

Photo courtesy of Jim Marshall ®

NEW MOVIES LAB

WORKSHOPS ON THE ART, TECHNOLOGY AND BUSINESS OF FILMMAKING

INDEPENDENT FILM: WHY THE PANIC?

Saturday, October 4, 11:00 am

142 Throckmortion Theatre

SEM04T $15

This past June, when former president of Miramax and Warners Independent Pictures Mark Gill announced, “Yes, the sky really is falling,” it shocked the independent fi lm world. Not so much because we didn’t know but because it confi rmed our worst fears. In the current economic environment, it is harder than ever to fi nance, produce and distribute independent fi lm. An expert panel of industry professionals will discuss ways to ensure independent cinema’s continued productivity.

INVITED GUESTS

Ehud Bleiberg | Producer, Love & Dance, The Band’s Visit, Adam Ressurected (see page 78)

Jonathan Dana | Veteran distributor, producer and consultant. Producer, Standing in the Shadows of Motown, Ballet Russes

Ron Yerxa | Producer, Election, Cold Mountain, Little Miss Sunshine

Danae Ringelmann | Founder and Chief of Finance & Customer Development, IndieGoGo

MODERATOR

Richard Idell | Entertainment attorney, Idell and Seitel, LLP

ACTIVE CINEMA ROUNDTABLE

Sunday, October 5, 1:00 pm

142 Throckmorton Theatre

SEM05T $15

Films about social, environmental and human rights issues have the potential to inspire, inform and transform. This panel of ﬁ lmmakers, funders and activists will look at innovative ways of creating and funding ﬁ lms, connecting with audiences and spreading the word.

INVITED GUESTS

Charles Annenberg Weingarten | Filmmaker, trustee of the Annenberg Foundation

Helen Cotton | Director, Campaing for Female Education (CAMFED), producer-director, Where the Water Meets the Sky

Daven Gee | Director of Outreach, Katadhin Foundation

Almir Narayamoga Surui | Environmentalist, political activist and tribal chief, Rondonia, western Brazil

Vasco van Roosmalen | Brazil program director, Amazon Conservation Team, Arlington, Virginia

Jenny Yancey | Founder and co-president, YouthGive Weezie Yancey-Siegel | Youth coordinator, YouthGive

MODERATOR

Janet Visick | Senior Interviewer, Ashoka: Innovators for the Public

Please go to our website, mvff.com, for updates on additional panelists.

CINEMASPORTS

Sunday, October 5, 9:00 am Intro Meeting

Old Mill Park, Mill Valley FREE

Sign-up required on a ﬁ rst come, ﬁ rst served basis. Sign-ups begin at 11:00 am for that day’s sessions.

Sunday, October 5, screening 8:15 pm

142 Throckmorton Theatre

CINE05T $10

An energetic fusion of imagination, collaboration and tournament, Cinemasports is a race against the clock to make a ﬁ lm in a day. Anyone can participate, just arrive with your crew at 9:00 am equipped and ready to shoot and edit your own cinematic masterpiece by the same-day deadline. Everyone gets the same list of three mandatory “ingredients” (a hint: this year, the “ingredients” will connect with Active Cinema) and must return with a completed short ﬁ lm (3.5 minutes

INSIGHT: A MASTER CLASS WITH JOE WRIGHT

Saturday, October 4, 2:00 pm

Christopher B. Smith Rafael Film Center

JOEW04R $15

or less) by 7:00 pm. Instant gratifi cation comes one hour later at a public screening of entries submitted by the deadline, when we witness the multifarious ways in which the same elements result in entirely different movies. MVFF and Cinemasports are pleased to once again co-present this fun opportunity for fi lmmakers and fi lm enthusiasts alike. Come be a fi lmmaker for a day, or come to the screening to behold the results! Visit cinemasports.com to sign up.

CINEMATOGRAPHER AND DIRECTOR

Sunday, October, 12, 12:30 pm

Christopher B. Smith Rafael Film Center SEM12R $15

The director gives a ﬁ lm its artistic and dramatic vision, but it is the camera that tells the visual story. What do directors need to know from their cinematographers? How does their shared vision become realized? The panel will discuss the artistic relationship between these two visionary roles, and the impact of new digital technologies on their work.

INVITED GUESTS

Tim Disney | Director, American Violet (see page 78), A Question of Faith, Tempesta

Janusz Kaminski | Oscar® -winning cinematographer of Schindler’s List and Saving Private Ryan, nominee for The Diving Bell and the Butterﬂy (MVFF 2007) and director of Hania (see page 86)

Ellen Kuras | Unprecedented three-time winner of the Best Dramatic Cinematography award at Sundance for Swoon, Angela and Personal Velocity, cinematographer for Martin Scorese’s No Direction Home and director of The Betrayal (see page 79)

Eran Riklis | Director, Lemon Tree (see page 90), The Syrian Bride (MVFF 2004), Cup Final

MODERATOR

Stephen Ujlaki | Producer, Ripley Underground , Loch Ness , Hot Spot, Cachao: Uno Mas

MVFF’s new Insight program invites master fi lmmakers to present the art and craft of their work in depth and in detail. Director Joe Wright returns to the Festival to help us launch this program, presenting a fi rst look at selected excerpts from his newest fi lm, The Soloist , and giving a director’s-eye view of the making of the fi lm, which stars Jamie Foxx and Robert Downey Jr. Wright’s exceptional directorial talent can be seen in Pride and Prejudice and Atonement, and this Insight program gives audiences a great opportunity to gain a deeper understanding of his creative process.

OUTDOOR ART CLUB

From October 3 to 12, join us at the Outdoor Art Club (OAC) at 1 West Blithedale Avenue in downtown Mill Valley, just across the street from CinéArts@Sequoia theater.

Socialize and relax at the OAC before and after ﬁ lms. It’s the hub of Festival activity, with a café, live music, Festival merchandise and a California Film Institute (CFI) table, where you can get information about and join CFI.

Run by Maria Maria Restaurant, the café will serve a menu of innovative as well as traditional Mexican cuisine. Wine, beer and margaritas will also be available.

Live music by talented Bay Area musicians will be featured throughout the Festival. Check the board outside the OAC for the daily schedule. Happy hour is from 6:00 to 7:00 pm each day, with free wine.

CAFÉ SCHEDULE

October 3: 4–8 pm

October 4: 12:30–8 pm

October 5: 12–8 pm

October 6–9: 4–7 pm

October 10: 4–8 pm

October 11: 12–2 pm

Please note: the Café will be closed October 12.

CHILDREN’S FILMFEST

MVFF PROUDLY PRESENTS THE 14 TH ANNUAL CHILDREN’S FILMFEST

In this year’s FilmFest many things are the opposite of what they seem to be. You would think a fi lm called Kick Like a Girl would make fun of girls, but instead it’s about girls playing soccer as well as boys. A fi lm called Terra isn’t about the earth, but it is about earthlings; Butterflies is more about a little girl fl ying than about insects; and Nocturna is a land of nighttime mystery, not nightmares. In Skymaster, a child is—maybe—born with wings; and our program of short fi lms, You Can’t Do That! , is really about all the things you can do when you put your mind to it. Many of this year’s fi lms feature a fascination with fl ying and the sky, and there will be weightless moments at our screenings too, when the air will be fi lled with balloons, wonder and joy.

CHILDREN’S FILMFEST PROGRAMS

ies

The Snow Queen

Unna and Nuuk

The Amazing Osamu Tezuka

Terra

Skymaster, A Flying Family Fairytale

This year’s ﬁ lms come from Norway, Denmark, Finland, Japan, Estonia, Latvia, Germany, Canada, Spain, Sweden, the United Kingdom, France— and here as well. A very special treat is a program of non-anime cartoons by Japanese master cartoonist Osamu Tezuka. These wonderful ﬁ lms have no dialogue but instead are accompanied by incredible music. We’ll also show a rare episode of Astro Boy, Tezuka’s most famous creation.

ABOUT SUBTITLES

To enhance our very young viewer’s appreciation of foreign-language movies, we provide the unique service of having actors read subtitles aloud. When we can, we play the readings through individual headphones, to allow those who do not require the service to have an equally pleasurable fi lm experience. We have a limited number of headsets, so we offer them on a fi rst-come, fi rst-served basis.

indicates subtitles with headphone indicates subtitles read aloud

The symbols above indicate how subtitles are provided for each program screening. To avoid confusion and disappointment, please check the ﬁ lm listings for individual program subtitle information.

AGE RECOMMENDATIONS

Please bear in mind that the age range following each children’s ﬁ lm program description is a suggestion only. It may only refer to a program’s length or subject matter, while it cannot adequately address everyone’s sense of appropriate or inappropriate content. Each child is different, and each parent has different standards.

CHILDREN’S FILMFEST EVENTS

• OPENING FILM AND FESTIVITIES NOCTURNA

Saturday, October 4, 11:00 am

CinéArts@Sequoia

• CHILDREN’S FILMFEST OPENING PARTY

Saturday, October 4, 12:30 pm

Outdoor Art Club

Film and Party $15 NOCT04P Film Only $10 NOCT04S Party Only $5 PARTY04

After the screening of Nocturna , join us across the street at the Outdoor Art Club for a fun-ﬁ lled party for the kids. There’ll be music by Lori & RJ and Cotton Candy Express, face painting by Marti Cate of Unexpected Company and Oliver Twist, photos with Capt. Byrde & His Wonderful Macaws and Squeegee’s balloon twisting! Lunch will be provided by Whole Foods, with ice cream sundaes from “Take a Dip” Fondue Fountains. Adults must be accompanied by children.

• CLOSING FILM TERRA

Saturday, October 11, 10:30 am

CinéArts@Sequoia TERR11S

Sunday, October 12, 11:30 am TERR12R

Christopher B. Smith Rafael Film Center

• PARADE

KAZOO PARADE AND ICE CREAM

Sunday, October 12, 1:30 pm

Christopher B. Smith Rafael Film Center

Join the kazoo parade to Double Rainbow on Fourth Street for free ice cream. Everyone gets a kazoo or a shaker.

Lotte From Gadgetville Quest for a Heart Butterﬂ

Nocturna You Can’t Do That!

High School Film Program

Complete

Student ﬁlms have been screened at:

• Short Film Corner, Cannes, France

• Festival de Cine International de Barcelona, Spain

• Bogota Film Festival, Colombia

• Newport Beach International Film Festival

• Westwood International Film Festival

• Palm Springs International Short Film Festival

• Big Bear Film Festival

• Mill Valley Film Festival

• Temecula Valley Film Festival

YOUNG CRITICS JURY

Now in its seventh year, this popular three-day crash course held each July includes everything we can cram in about fi lm through lectures, roundtable talks and hands-on work. This summer’s industry guests included screenwriter-director-animator Kevin Lima, whose Enchanted is an affectionate send-up of Disney fi lms. Addressing the subject of silent fi lm, Bruce Loeb provided piano accompaniment for the 1929 comedy Show People, and Sprague Anderson presented an informative show-and-tell of three rare, fully functional silent fi lm cameras.

Stuntwoman Jean Malahni, who is also an advocate for establishing an Academy Award for stunt work, wowed students with her stories. Oscar nominee Marilyn Mulford showed scenes from her new documentary Archaeology of Memory (see ﬁ lm description, page 79), co-directed with Quique Cruz, about Cruz’s torture and imprisonment under the dictatorship of Augusto Pinochet in Chile.

Local celebrities Noah and Logan Miller came to talk about making their fi rst feature fi lm with powerhouse actors Ed Harris, Robert Forster and Brad Dourif. Film critic and feature writer David Templeton discussed how a fi lm critic does his job, and veteran editor Vivien Hillgrove, who has worked with Francis Ford Coppola and Milos Foreman as well as many independent documentary fi lmmakers, talked about her role in fi lmmaking and showed fi lm clips. Rory Enke described his work as a location scout, illustrating with clips from fi lms he’s worked on. Filmmaker and media archaeologist Craig Baldwin presented experimental works by some of the genre’s most accomplished fi lmmakers, including himself. And 36-year veteran actor Jeffrey Weissman led a mini-course on how to become an actor.

YOUTH REEL

Six members are chosen from the larger group of young critics to peer jury and curate the MVFF youth reel. This year’s jurors Trevor Fisher, Sofi a BrittoSchwartz, Shauna Keddy and Alex Allen-Hyma judged 80 fi lms and curated a fantastic youth reel, titled Lessons in Lice, Language and Lipstick (see fi lm description, page 90). The reel comprises 19 fi lms from the US, Mexico and Bulgaria, by student fi lmmakers ranging in age from 10 to 18. Local fi lms included in the reel are produced through great programs like San Francisco Art and Film and the AIM program at Tamalpais High School.

The Saturday October 11, 11:00 am screening of Lessons in Lice, Language and Lipstick will feature a Q-and-A with the young ﬁ lmmakers, and they will be presented with copies of Final Draft, the premier software in the industry.

CFI Education will be taking applications for the 2009 Young Critics Jury next April. For information, email CFI Education director John Morrison at education@caﬁ lm.org or go to our website, caﬁ lm.org, and download the application.

In addition to the Children’s FilmFest and the Youth Reel, many of this year’s Festival ﬁ lms feature young people:

32A Everything Is Fine Heart of Fire The Home in My Heart

Let the Right One In Mommy Is at the Hairdresser’s Morning Light

The Secret Life of Bees Tricks The Wave Zimbabwe

Please rely on your judgment regarding whether a ﬁ lm is appropriate. Our recommendations are not a substitute for a well-informed adult’s decision.

CALIFORNIA FILM INSTITUTE EDUCATION

BUILDING THE NEXT GENERATION OF FILMMAKERS AND AUDIENCES

Film engages and inspires like no other medium. For two decades the Mill Valley Film Festival and CFI Education have pioneered creative fi lm programming for Bay Area young people, providing year-round screenings, interactive sessions with fi lm professionals and hands-on activities to introduce students to the power of fi lm as a vibrant tool of communication.

In addition to our Festival activities, CFI Education presents programs at the Christopher B. Smith Rafael Film Center in San Rafael, the Paciﬁ c Film Archive in Berkeley and other Bay Area theaters. We also come directly to schools with our interdisciplinary, intercultural ﬁ lm-study programs. Designed to supplement literature, history, science and social studies curricula, they are accompanied by study guides created to conform to state educational standards. The following are some of our current programs:

IN-SCHOOL

FILMMAKER PROGRAM

DURING THE MILL VALLEY FILM FESTIVAL

Each year, three interns work with the Education director to bring fi lmmakers and their fi lms from the Mill Valley Film Festival to Bay Area secondary schools. In mid-August we sign up schools and teachers, and in September we match fi lmmakers to those schools for an exciting classroom exchange between fi lmmakers and students.

At the college level, San Francisco State University ﬁ lm professor Steven Kovacs teaches an annual weekend course at the university that highlights the ﬁ lms and guests in that year’s Mill Valley Film Festival. The program is curated by Dr. Kovacs and CFI Education director John Morrison.

SELECTED SCREENINGS FOR SCHOOLS

Throughout the year we provide schools with free monthly screenings of important ﬁ lms. In addition,

every year we select six to eight fi lms from the more than two hundred fi lms at the Festival and screen them for schools for free during Festival time. Most of the screenings occur during the school day at the Smith Rafael Film Center; others are held at theaters in the East Bay and San Francisco. After each screening, question-and-answer sessions with fi lmmakers challenge students to think critically about the fi lms and consider what goes on both behind and in front of the camera.

YOUNG CRITICS JURY

Held every July, Young Critics Jury is a three-day intensive workshop for youths aged 13–18 to learn media literacy skills directly from fi lmmakers and fi lm historians. Directors, screenwriters, location scouts, actors, animators, critics, documentary fi lmmakers, cinematographers and others make this event an exceptional educational experience. Six students are chosen from this workshop to spend the following week as jury and curators of the Mill Valley Film Festival Youth Reel.

A PLACE IN THE WORLD

Now in its fourth year, this yearlong program has become an integral part of several Bay Area schools’ humanities studies. The international six-film curriculum focuses on youth experience and point of view, addressing watershed moments and important subjects such as family, religion, sexuality, death, racism and friendship. Participants meet monthly at the Smith Rafael Film Center, where they watch the films together after reviewing CFI Education study guides with their teachers. Afterward they listen to filmmakers or subject experts speak about the film, and then break up into small interschool groups to discuss personal reactions and the ways the film is relevant to their lives.

MY PLACE

This two-year-old program combines hands-on fi lmmaking with storytelling. With help from local fi lmmakers and Berkeley’s internationally known Center for Digital Storytelling, students use fi lmmaking to look at where they live through different eyes. CFI works with social service agencies to recruit underserved youth for the program. My Place is currently active in Marin’s Canal area and Marin City, and San Francisco’s Mission and Bayview–Hunter’s Point neighborhoods. Films from the program have been accepted into the Mill Valley Film Festival Youth Reel, and one of last year’s fi lms was accepted into the teen contingent of the 30 th Mountainfi lm Festival in Telluride, Colorado.

TEACHING MEDIA LITERACY IN THE CLASSROOM

Assisted by San Francisco State University Education professor Mark Phillips, this CFI Education–initiated group of Bay Area teachers design and hold interdisciplinary teacher workshops on media literacy and the use of media in the classroom. One annual workshop reviews upcoming Mill Valley Film Festival ﬁ lms available for integration into classroom study via CFI Education’s Selected Screenings program. A subcommittee of this group is developing a media literacy program for elementary school students that will include jurying short ﬁ lms in the Festival’s Children’s FilmFest.

Call, email or visit online: phone: 415.383.5256 x113 email: education@caﬁ lm.org online: caﬁ lm.org

Fred M. Levin and Nancy Livingston, The Shenson Foundation

Miranda Lux Foundation

CFI Education programs are made possible by grants from

THINKING IN PICTURES

AN INTERVIEW WITH PAUL SCHRADER

by Michael Fox

One of the few American directors and screenwriters to combine philisophy and action, Paul Schrader has forged a 30-year career of probing moral tales that bring the wrenching internal dilemmas of agonized characters palpably to life. His latest ﬁ lm, Adam Ressurected, will screen at MVFF, as well as a new release of his 1985 masterwork Mishima: A Life in Four Chapters . I recently had the pleasure of talking to Paul Schrader by phone about his extraordinary career.

How did your Calvinist upbringing inﬂ uence your approach to making movies?

Filmmakers never forget their fi rst love. I came to the movies in college. The fi rst movies I saw were the European cinema of the 60s and that was my fi rst love, [and where I got] my notion of what is art. Not seeing fi lms as a young person gave me a much different perspective. I came from a community of storytellers, without movies and television. I had a background with an oral tradition where people sat around and entertained each other with stories. The third infl uence of being raised in that Calvinist tradition was that we were anti-iconographic, meaning that we didn’t believe in any imagery. Our church is like a courthouse. So I was really kind of starved of visual logic. We didn’t believe that images were ideas. How to tell stories in images was not a tradition that I was familiar with, so it took me a little while to fi gure out how to direct.

Was there a moment of epiphany when you realized you were a screenwriter?

I was a [protégé] of Pauline Kael’s, and I thought about being a screenwriter. You obviously do when you’re living in Los Angeles, but it kind of crystallized when Pauline got me a job, a real job as a working critic. It was everything I wanted, and it would have been in Seattle, and I turned her down. It sort of ended my relationship with her, but also it became clear to me that I wasn’t really a ﬁ lm critic, because I just turned down exactly what I wanted. So I had to get serious about writing.

So much has been said and written about Taxi Driver that it sometimes overshadows all the other work you’ve

done. Can you summarize its place in your life in a few words?

It was my ﬁ rst script and it was written as self-therapy. It wasn’t really written to sell; it was written to exorcise certain things I was feeling and thinking.

I came across an old quote of yours, about reaching a point in your writing where you decided to tone down the violence. What is the appeal or attraction of violence to a writer and/or a director, and what are its limitations?

Obviously, the arts are about extremes, so therefore you’re always interested in the extremes of behavior. And if you’re talking about extreme behavior, you’re going to get into violence fairly quickly. You don’t have that many tools in your toolbelt, you know, as a storyteller. You have violence and you have romance and you have relatively few others.… I was starting to get pegged at one time as a violence-sexploitation kind of director, and I just didn’t feel that I was that. So I kind of backed away from any more of those scripts where a whole bunch of people got killed.

You moved into the director’s chair in 1978 with Blue Collar, followed by Hardcore and American Gigolo in quick succession. What compelled you to make the transition from screenwriter?

I didn’t try being a director because I felt that I was ill served by directors who had done scripts of mine. I just felt that I was sort of half of an author. I really wasn’t a writer; my words weren’t on-screen, and if I wanted to be a writer I should write books. So I had to decide whether I wanted to be a true writer or a fi lmmaker. That’s why I started thinking about how to plot and connive a fi lmmaking career. So I wrote Blue Collar and packaged it, and more or less, that is how I have operated for 30 years plus. I have basically put these fi lms together myself, either coming up with the idea or fi nding the elements to make it work.

American Gigolo, for better or worse, was the ﬁ lm seized on by pop culture, maybe accidentally. Probably accidentally. I mean, it’s kind of hard to contrive those things. Actually, American Gigolo was, in my mind, not dissimilar from Taxi Driver, which is essentially about one of these fringe characters on the edges of society, except that the taxi driver was very angry and very laconic, and the gigolo

TRIBUTE : PAUL SCHRADER

was very superﬁ cial and very glamorous. They’re not two ﬁ lms that people would put together but to me it was the same central character, [and] the same character that appears later in Light Sleeper and then appears for the last time in The Walker

Mishima: A Life in Four Chapters remains the most underappreciated and overlooked of your ﬁlms. The Festival screening is a great opportunity for ﬁ lmgoers to rediscover the work.

The Criterion version to be shown for the fi rst time in the US in Mill Valley has gone a long way to put that fi lm back in people’s minds. The DVD, which was issued in July, got quite a bit of attention, and Criterion did a terrifi c packaging and enhancement of the fi lm…. We changed narration, we did some sky replacements, we added a short scene back in. We, of course, worked on the color and the music, so that the fi lm certainly looks better than it did when it came out. It’s a new, improved version of the fi lm.

It’s unfair to ask this of an artist, but do you think the ﬁ lm was ahead of its time?

I don’t think there is a time for such a fi lm. It’s a complete anomaly, and there’s no other fi lm quite like it. In America, it was a Japanese-language fi lm, and Warner agreed to distribute it, and co-fi nanced it as a favor to George [Lucas] and Francis [Ford Coppola], but they weren’t going to do any promotion on it. And Warner isn’t really in the business of releasing Japanese-language fi lms. There never really was a market for it in this country and, of course, where there was a market for it, it was never released, which was Japan.

Of all your ﬁ lms, is it the one you’re the most proud of?

You have different favorites. I particularly like Mishima just because it’s the damnedest thing. I think it has a kind of a bold reach of the imagination, and it actually works. On the other hand, I think my best direction was in The Comfort of Strangers . I think my most fully realized ﬁ lm is Afﬂ iction

We’re speaking on the eve of the premiere of Adam Resurrected. What can you tell us?

subject such as the Holocaust dealt with in that kind of imaginative way, and used as a metaphor. The fi lm takes place in a mental institution in 1960 in the Negev Desert. I describe the fi lm as the story of a man who once was a dog who meets a dog who once was a boy. It’s the relationship between this older man that survived the camps by acting as a dog and a young boy who believes he’s a dog because he’s been abused. We’ve been going through how to describe the fi lm, because there’s nothing quite to compare it to. It’s not magic realism, so I don’t know quite how to describe it.

I remember Andrzej Wajda took a lot of heat for the fantastical ending of Korczak, his ﬁ lm about the Polish pediatrician deported to Auschwitz with dozens of orphans under his care.

We’ve taken real pains—it’s a losing battle, of course—not to call this a Holocaust fi lm because it takes place in the 60s, and there’s approximately 10 to 15 minutes of fl ashback material to the camps and that’s about it. The moment you call it a Holocaust fi lm, all these perception problems start to arise. I realized that two years ago when we announced it at the Jerusalem Film Festival, and I told the press that this is not a Holocaust fi lm. The headline in The Jerusalem Post the next day was, “Schrader to Do Holocaust Film.” So you are kind of stuck.

Your ﬁ lms contain an intellectual component that American audiences, shall we say, don’t relish as much as French and Japanese moviegoers. Do you feel as if you’ve been walking an uphill road your entire career?

I feel I’ve been very lucky to have a career at all. I started making ﬁ lms at a very fortuitous time, in a window there in the late 60s, early 70s. A number of us sort of walked in [through that] window, and then 10 years later they closed it. I got in, and somehow I was able to keep making ﬁ lms. I don’t think I could get into the industry now. And I don’t think I could have gotten in 10 years before I did. So I’ve been very, very fortunate, and it’s kind of amazing that I’ve cobbled this career together.

Michael Fox is a Bay Area ﬁ lm critic and journalist for SF360.org and SF Weekly, and the curator and host of the Friday night CinemaLit series at the Mechanics’ Institute in San Francisco.

The thing to remember about Adam Resurrected is that it is an act of the imagination. It’s not based on history; it’s based on a novel. To my mind, a very great novel, but a bold and imaginative novel. What may throw some people is having a

SELECTED FILMOGRAPHY

DIRECTOR/WRITER

The Walker (2007)

Forever Mine (1999)

Afﬂ iction (1998)

Touch (1997)

Light Sleeper (1992)

Light of Day (1987)

Mishima: A Life in Four Chapters (1985)

American Gigolo (1980) Hardcore (1979)

Blue Collar (1978)

Adam Resurrected

Germany/Israel/US 2008 106 MINS

DIRECTOR

Dominion: Prequel to the Exorcist (2005)

Auto Focus (2002)

The Comfort of Strangers (1990)

Cat People (1982)

Former Berlin magician and circus impresario Adam Stein (a winningly theatrical Jeff Goldblum) is an enthralling, enigmatic patient at the Seizling Institute, a remote Israeli rehabilitation outpost for Holocaust survivors. Entertainer, clairvoyant, sophisticate and lothario, Stein veers from brilliance to eroticism, horror and madness, with ﬂashbacks to the physical and psychological demoralization he endured under Commandant Klein (Willem Dafoe) in the Stellring death camp. Stein appears to have everyone stymied and overawed, but an unusual new patient seems to have the magnetic power to break him free of the grip of his relentless torment. Award-winning screenwriter ( Taxi Driver , Raging Bull , Affliction ) and director Paul Schrader brilliantly re-creates Israeli author Yoram Kaniuk’s powerful 1969 novel about the excruciating choices Holocaust victims made in order to stay alive and the indelible impact of these choices on the psyche.

—Joanne Parsont

Director Paul Schrader Producer Ehud Bleiberg

Screenwriter Noah Stollman Cinematographer Sebastian

Edschmid Editor Sandy Saffeels Cast Jeff Goldblum, Willem

Dafoe, Derek Jacobi, Ayelet Zurer Print Source Bleiberg

Entertainment

With support from

WRITER

Bringing Out the Dead (1999)

The Last Temptation of Christ (1988)

The Mosquito Coast (1986)

Raging Bull (1980)

Obsession (1976)

Taxi Driver (1976)

The Yakuza (1974)

Saturday, October 4, 7:00 pm

Tribute and Reception $60 TRIB04P Tribute Only $25 TRIB04R

Christopher B. Smith Rafael Film Center Reception to follow at Outdoor Art Club

Additional screening for Adam Resurrected Tuesday, October 7, 7:00 pm ADAM07S, Sequoia

Please join us for the Tribute program of clips and conversation with Paul Schrader, followed by a screening of Adam Resurrected and the presentation of the MVFF award. Afterward, come to the Outdoor Art Club for a late dinner provided by Mill Valley’s beloved Piazza D’Angelo, with dessert from “Take a Dip” Fondue Fountains.

Paul Schrader will be presented with the MVFF award, designed by celebrated artist Alice Corning.

TRIBUTE : PAUL SCHRADER

TRIBUTE TO PAUL SCHRADER

STEPPING INTO OTHER PEOPLE’S SHOES

A CONVERSATION WITH SALLY HAWKINS by

Zoë Elton

“Did you like her?” Sally Hawkins asks, about Poppy, the perpetually upbeat teacher she plays in Mike Leigh’s HappyGo-Lucky. It’s as though we’re talking about a mutual acquaintance. And, essentially, we are. It’s a measure of Hawkins’ approach to acting that she seems to become one with the characters she portrays. She has a real affection for them, and her approach to playing them seems to tap as much into openheartedness as it does artistic craft and insight. In an interview from London, Hawkins spoke about her work in general and Poppy in particular, and discussed what it took to step into Poppy’s shoes (a particularly apt turn of phrase, given the recurring humor in the ﬁ lm regarding Poppy’s insistence on wearing unsuitable highheeled boots to her driving lessons).

Born in Lewisham in South East London, Sally Hawkins grew up in a creative household surrounded by the inﬂ uence of her parents, who are children’s book writers and illustrators. “The way that they used words, and the way that they played with words…. I was fascinated by words and surrounded by books and images and artwork and color. I’m so grateful for that, it was so incredibly stimulating as a child.”

She also had the beneﬁ t of living near the vibrant cultural life of London’s West End, and her parents “made sure we were taken to the theater and exposed to different types of cultures.” An early experience of seeing Midsummer Night’s Dream at the National Theatre when she was about nine still resonates. “There was something about it. I still remember the actors, the choreography, some of the jokes—the visual jokes—some of the fairies.” Of the acting, she recalls, “You felt so special…and felt they were talking just to you.” Experiences like these perhaps gave her insigh later into how she would want to work.

Hawkins also loved pantomime (the campy, kitschy British holiday tradition) and remembers “seeing Lionel Blair [actor, dancer, celebrity] at an early age, about three, and being equally enamored and charmed by that.” Between the Bard and pantos, she was hooked. “Something clicked in me when I saw people who could really perform and make

people laugh…and entertain people or tell a story. It’s so powerful.”

The ﬁ nal nudge came when she performed in school plays. “Something was ﬁ red up in me,” Hawkins says, by “that buzz from a live audience.” She attended the Royal Academy of Dramatic Art (RADA), England’s most prestigious drama school. While purists at such schools still tend to see theater as the gold standard for acting, Hawkins’ career has been striking in that it encompasses stage and screens both large and small.

Contemplating these different strands of her work, Hawkins says of live theater, “It’s always surprising how, on such a big stage you can do very little, and if the focus is right and the thoughts are there, and the intention, someone in the back of the stalls [orchestra] or in the gods [top balcony] can still pick up on the tiniest of detail.” By contrast, she says, though fi lm acting is usually seen as requiring a very minimalist approach, sometimes the opposite is true. “What fascinates me about fi lm, and especially working with Mike [Leigh], is when he’ll push you to do more and to make it bigger, to see how much you can get away with.” Reality often bears this out, she adds. “And then you watch people in life, and you realize actually how big people are in life. People are always saying: If you saw that on fi lm, you’d never believe it.”

Each medium has its techniques and tones, says Hawkins, who fi nds a continual learning process in her work. She acts across genres as well; while she seems to have a strong connection with comedy, her credits are diverse, including adaptations of novels by Jane Austen and Sarah Waters, and the original work of directors Leigh and Woody Allen. Hawkins observes something in common among her different roles: “There is a defi nite through line in things and defi nite steps and similarities in characters.”

Asked how she goes about creating a character, Hawkins says she sees it as an opportunity. “I feel it’s a gift, especially if there’s something I don’t quite understand about the character that I really hope by the end I do…. There’s probably a lesson to be learnt from her that can help part of me. In someone like Anne Elliot ( Persuasion, 2007), I learnt such a lot from her—but I do with each character if I let myself—in the way that she’s so poised and held, but there’s a true grace about her, a pure intelligence, a real elegance. [Personally] I

SPOTLIGHT : SALLY HAWKINS

ﬁ nd it quite hard to restrain: to keep feelings under tap like that. But one character does lead into to another.”

Of Poppy, the role that has brought so much attention to Hawkins’ work, and for which she was awarded the Silver Bear for best actress at the Berlin Film Festival earlier this year, Hawkins says, “Poppy has a grace as well. You really have to understand Poppy to see the real grace and wisdom.

I think she’s incredible. I loved her ability to not be afraid, in the way that Anne was afraid. When I was doing Anne Elliot I called her the ultimate woman. And then speaking about Poppy, I think she’s the ultimate woman as well. I think there are things to learn from everyone. People are amazing. You want to step into their shoes and inhabit them as much as you can.”

In an interview for The Independent a few years ago, Hawkins said, in response to a question about the preponderance of dark characters she’d been playing: “Bubbly and happy doesn’t tend to make for an interesting part.” Ironically, it is this bubbly, happy character that has audiences intrigued.

Asked whether she had looked for another, perhaps darker side of Poppy, Hawkins responds that she’s been surprised by people’s reactions to Poppy because in creating her, she “never stopped to think how she would come across.” It’s another measure of how immersed she becomes in her work.

“With every character, I try not to be objective about them until I’m on the other side. Until I’ve stepped out of their shoes again, and I’m talking like this in an interview. When I’m inhabiting them, I can’t do that—I’d fall apart.”

Looking back at Poppy now, Hawkins notes, “She feels things incredibly deeply. It’s just her way of coping is to bounce along. But she does go to some dark places. It’s just she has an extraordinary way of coping, she doesn’t indulge them, she doesn’t indulge herself, she doesn’t wallow. I think it’s an extraordinary strength. I learned a lot from that. There’s a lot to be said for smiling through it and keeping going.”

There are moments in the ﬁ lm in which we see a completely different aspect of Poppy. At one point, she watches a bully in the schoolyard in silence, and that silence is striking. For much of the ﬁ lm, we have seen her chattering away; in a silent moment, we see her insight. Hawkins notes, “It felt, for me anyway, that the moment was quite powerful. She is in the moment: She’s a lesson, especially for me, of seizing the moment, of living in the moment.”

In a climactic scene near the end of the ﬁ lm, she confronts Scott (Eddie Marsan), her driving instructor, a damaged, tightly wound soul whose repressed crush on Poppy has permeated their interactions. The reality of the emotional choices her character faced then is evident in Hawkins’ description: “The last scene was incredibly hard on Poppy. It was difﬁ cult not to break down. It took all her strength not to cry in front of him. It was really hard to let him go; but that was the only thing she could do.”

Happy-Go-Lucky marks Hawkins’ third collaboration with Mike Leigh; earlier ﬁ lms are All or Nothing (2002) and Vera Drake (2004). This is just one of several recurring professional relationships. She appeared with actress Imelda Staunton in both Vera Drake and Fingersmith (2005). And Fingersmith is one of two Sarah Waters’ adaptations Hawkins has appeared in (the other was 2002’s Tipping the Velvet ). Such overlap suggests Hawkins is great to work with, and she says of these experiences, “It’s lovely to work with people again, if you build up a rapport with them. It’s always a pleasure, when you get on with them. You create a shorthand—you know how they work, how they think, their quirks, the things you don’t have to get over; you’re beyond the getting-to-know-them stage.”

With Mike Leigh, of course, the connections within his company contribute to the trust and profoundness of his work. “That’s why Mike keeps a rep company of people he works with. If you get on with people and you ﬁ nd a strong bunch of people, it makes you stronger. Especially when you’re working a Mike Leigh ﬁ lm; the sessions are so long you’re with people 24 hours a day.”

The dedication, talent and heart that Hawkins brings to her work is astounding, particularly in projects she’s done with Leigh. Laurence Olivier once described the work that is given to an actor as teaching “the human heart the knowledge of itself.” Sally Hawkins does this, and it doesn’t come much better than that.

Zoë Elton is director of programming for MVFF and an artist, writer and theater director.

SELECTED FILMOGRAPHY

Cassandra’s Dream (2007) Persuasion (TV) (2007)

The Painted Veil (2006)

Shiny Shiny Bright New Hole in My Heart (2006) Fingersmith (2005)

Layer Cake (2004)

Happy-Go-Lucky

UK 2008 118 MINS

Director Mike Leigh recalibrates his incisive exploration of working-class grit and grapple in this brightly colored character study of perhaps the happiest person in London. Meet Poppy (Sally Hawkins): a free-spirited, single, 30-year-old primary school teacher. Like a human rainbow, she is perpetually cheerful and good humored. A painful round of physical therapy can make her laugh; the theft of her beloved bicycle is met with a simple, “I didn’t get to say goodbye.” But not everyone responds to Poppy’s good cheer with equal appreciation, including her uptight driving instructor, Scott. Hawkins’ exceptional performance (winner of the Silver Bear award for Best Actress at the Berlinale) embodies all that is at once endearing and irritating in Poppy’s persona as she encounters a series of people and events that challenge even her unfathomable optimism, raising the question, Just how hard is it to be happy?

—Joanne Parsont

Director/Screenwriter Mike Leigh Producer Simon Channing

Williams Cinematographer Dick Pope Editor Jim Clark Cast Sally Hawkins, Eddie Marsan, Alexis Zegerman, Andrea Riseborough Print Source Miramax Films

Sponsored by

Vera Drake (2004)

Tipping the Velvet (TV) (2002) All or Nothing (2002)

SPOTLIGHT ON SALLY HAWKINS

Tuesday, October 7, 6:30 pm

Spotlight and Reception $75 SPOT07P Spotlight Only $25 SPOT07R

Christopher B. Smith Rafael Film Center Reception to follow at Frantoio Ristorante

Additional screening for Happy-Go-Lucky Thursday, October 9, 9:30 pm HAPP09S, Sequoia

Join us for a Spotlight Tribute program, including a screening of the ﬁ lm, an interview with Sally Hawkins conducted by MVFF director of programming Zoë Elton, and a presentation of the MVFF award. Afterward, the evening will continue with a lovely dinner at Frantoio Ristorante & Olive Oil Co., one of our favorite places for a party. Wine will be provided by St. Clement.

Sally Hawkins will be presented with the MVFF award, designed by celebrated artist Alice Corning.

congratulates the Mill Valley Film Festival and is proud to announce our upcoming film NOVEMBER 26

TRIBUTE : HARRIET ANDERSSON

WHEN HARRIET MET INGMAR

A CINEMATIC LOVE AFFAIR

by Richard Peterson

What would turn out to be Harriet Andersson’s final meeting with Ingmar Bergman took place at the third annual Bergman Week in June 2006. Although held on Fårö, the remote Baltic island that was his home, Bergman Week could not guarantee that its reclusive namesake would ever make an appearance. That year, to everyone’s delight, Bergman warmed to the occasion, and it’s likely that the guest of honor had something to do with it.

“It was fantastic,” Andersson recalled recently by phone from Sweden, “because that was the last time he was in good shape, and he went to almost everything.” Like Bergman’s other close friends, Andersson hadn’t seen him in years, although he often kept in touch through extended telephone conversations. Her next trip to Fårö would be for Bergman’s funeral the following year.

Harriet Andersson is humorous, spirited and down-to-earth, a charming combination of vivacity and common sense. Judging from the laughter that frequently punctuates her sentences, it’s clear she has great fun making movies. And although she has worked with other stage-and-screen artists in Scandinavia and abroad, she appreciates the fact that she will always be associated with the films of Ingmar Bergman.

When they first met, Harriet Andersson was not quite 20 years old, a singer and dancer in musical revues with a string of small film roles to her credit. Ingmar Bergman was 14 years older—and married—and was an accomplished theater director who had already made several films.

Most Swedish films were shot during the warmer months, due to actors’ availability as well as favorable weather, and in 1952 Bergman and Andersson made Summer With Monika , emerging from the experience with an intimate relationship as well as a movie that would influence the future filmmakers of the French New Wave. The film also helped inspire the international reputation Swedish film acquired for depicting casual eroticism; a greedy American distributor renamed it Monika, The Story of a Bad Girl

Andersson joined Malmö City Theatre when Bergman was appointed its director, and he cast her in serious stage roles.

Their filmmaking collaboration continued with Sawdust and Tinsel (released in the US as The Naked Night ), A Lesson in Love , Dreams and Smiles of a Summer Night , the celebrated comedy of passion and jealousy that he wrote while their romance was winding down. Throughout these early films with Andersson, there is increasing eloquence in Bergman’s use of close-ups, a technique that would become one of his trademarks. And Harriet Andersson, intuitive and sensual, was fearless before the camera.

“Harriet’s genius is almost unidentifiable,” Bergman later declared. “The immediacy in her portrayals and the remarkable symbiosis between her and the camera is impossible to describe in words…. There are things you didn’t notice at the moment of filming but the camera captured them.” He valued her as an actor whose approach was more physical than psychological.

When Bergman contacted her again in 1960 for the central role of the schizophrenic young woman in Through a Glass Darkly, in which she would co-star with Bergman regulars Max von Sydow and Gunnar Björnstrand, she had been married to a farmer and living away from the limelight. By this time Bergman had begun his remarkable association with cinematographer Sven Nykvist, who recommended that Bergman consider Fårö for the elemental location of the story. Widely regarded as the first film in Bergman’s “God and Man” trilogy, it is both spiritually ambiguous and physically precise, and Andersson’s portrayal of Karin unfolds like a dark and beautiful dance.

In 1972, she co-starred with Liv Ullmann, Ingrid Thulin and Kari Sylwan in Cries and Whispers , playing Agnes, the sister who is dying; in 1982 she was memorable as the miserable Justina in Fanny and Alexander ; and in 1986 she gave another powerful performance in Bergman’s television drama The Blessed Ones , the first he produced using video technology. In an interview with Jan Lumholdt for her 2005 autobiography (co-authored by Lumholdt), Andersson delivered a wry summation of her collaborations with Bergman following their romantic breakup: “So first he made me a maid, then crazy, and then he killed me off a couple of times.”

When asked on the phone whether the intense atmosphere of Bergman’s stories could take its toll on an actor’s emotions, she seems to shrug: “With Through a Glass Darkly people asked how I could be happy in that part, but it was

Photo credit: Richard Peterson

the best thing for me, and I’ve never been so happy in my life, to be in the studio and also at Fårö…. Before and between takes, you can’t go and be ohhhhh -feeling the whole time,” she says. “You have to relax a little. And we did. Bergman too. On Cries and Whispers he’d tell dirty stories, and everyone was falling down laughing, and then (clapping her hands like a ballet master) suddenly everyone was very concentrated and we were working again. That’s the best way to work…. I mean, you die in the studio, then you go home and you are alive,” she adds, sounding very sensible.

While her performances appear instinctive and spontaneous, they grow from enormous discipline. “I don’t like to take many rehearsals for acting,” she says. “But I like technical rehearsals, because that’s very important. I say I’m about 50 percent for the technical things and 50 percent for the acting—I think that’s film for me. You can’t just stand there being a big actress and not take care of the other fellows working the films. For the lighting, for the camera and all this, you are a team, you are working together, and that’s what I like so much.”

Over the years, Andersson has worked with many other filmmakers, including Mai Zetterling in Sweden, the American director Sidney Lumet, Denmark’s Lars von Trier and Jörn Donner, the Finnish Swedish filmmaker and politician with whom she lived for nine years. One of Donner’s films won her the best actress award at the Venice Film Festival. She also continued to work on stage, including a long tenure at Stockholm’s Royal Dramatic Theatre (but not at the time Bergman was running it).

She continues to work in film and television, but doesn’t worry about starring roles. On the phone she observes, “You know, I’m not sitting and thinking about what I’ve done. I’m not like Gloria Swanson in Sunset Boulevard, looking at the films, going ‘Oh look at her, now look at her,’ because I must say I know what I have done. Also I don’t want to think too much about the future. I want to be today. Now. That’s the best.”

Andersson’s enjoyment of film and television work doesn’t extend to the theater. “I’ve never been nervous with a camera,” she says, “but I got so nervous before a performance in the theater. I need a camera to show my face a little more, because I am a little shy on the big stage. In film and television I have my friends on the crew, and then I feel safe.”

Apparently Bergman disagreed with her self-evaluation. During the 2006 program on Fårö, Andersson was being interviewed on stage by Bergman Week’s Jannike Åhlund, when a formidable voice started to interject comments and corrections from the front row.

“I’ve always wondered,” Bergman asked, “An actress with your talent, why didn’t you do more theater? What have you got against the theater?”

“I’m scared,” she repeated several times, but it was an answer he refused to hear. She added: “But now it’s like this, Ingmar, I have a very nice circle of acquaintances and good friends—I don’t socialize much with actors—and we cook and drink wine and have fun together. I wouldn’t want to work nights at all.”

Bergman took a prosecutor’s stance as he addressed the audience: “A great Swedish actress doesn’t want to act in the theater because she wants to be free in the evenings! I think that’s good, that’s a good explanation. I thank you very much for that. And we have witnesses to this!” Retreating a bit, Bergman later added: “Yes, but you are missed! I would have liked to work with you more in the theater because that would have been great fun.”

When Jannike Åhlund asked Harriet Andersson how she felt being grouped with several colleagues and known as “Bergman’s women,” she replied: “That doesn’t bother me at all, except when they call us ‘Bergman’s stable.’ That I don’t like, because we aren’t horses. We’re women who walk on two feet. A fine collection, Bergman’s women!”

Special thanks to Bergman Week for transcript excerpts.

Richard Peterson is director of programming for the Smith Rafael Film Center at the California Film Institute.

TRIBUTE : HARRIET ANDERSSON

SELECTED FILMOGRAPHY

Dogville (2003)

Gossip (2000)

Summer Nights (1987)

Fanny and Alexander (1982)

Cries and Whispers (1972)

The Girls (1968)

The Deadly Affair (1966)

Loving Couples (1964)

A Sunday in September (1963)

Through a Glass Darkly (1961)

Smiles of a Summer Night (1955)

A Lesson in Love (1954)

Sawdust and Tinsel (1953)

Summer With Monika (1952)

TRIBUTE TO HARRIET ANDERSSON

Friday, October 10, 7:00 pm

Tribute and Reception $60 TRIB10P

Tribute Only $25 TRIB10R

Christopher B. Smith Rafael Film Center

Reception to follow at the Outdoor Art Club.

Harriet Andersson will participate in an onstage conversation with Smith Rafael Film Center director of programming Richard Peterson about her career, with ﬁ lm clips from her work with Ingmar Bergman and others. After the interview there will be a screening of the ﬁ lm Through a Glass Darkly. Following the Tribute program, join us for an elegant dinner reception at the Outdoor Art Club.

Through a Glass Darkly (Såsom i en spegel )

Sweden 1961 91 MINS

Harriet Andersson is extraordinary in Ingmar Bergman’s Oscar-winning drama about a young woman who is overwhelmed by mental illness, even while she is embraced by the love of her family. Karin enjoys a summer holiday with her husband, father (Bergman regulars Max von Sydow and Gunnar Björnstrand) and younger brother (Lars Passgård), but the warm weather, perpetual daylight and close companionship are progressively overshadowed by recurrent schizophrenic episodes. As she begins to believe inner voices are summoning her to an encounter with God, the three men grapple with guilt and their powerlessness to save her. Filming for the ﬁ rst time on Fårö, the remote Baltic island that would later become his permanent home, Bergman and cinematographer Sven Nykvist create a world both sunlit and austere. Crowned by Andersson’s soulful, elemental performance, this ﬁ lm masterpiece is as delicate and precise as a beautiful crystal or a spider’s web. —Richard Peterson

Director/Screenwriter Ingmar Bergman Producer Allan Ekelund

Cinematographer Sven Nykvist Editor Ulla Ryghe Cast Harriet Andersson, Max von Sydow, Gunnar Björnstrand, Lars Passgård Print Source Swedish Institute/ Janus Films

With support from

Harriet Andersson will be presented with the MVFF award, designed by celebrated artist Alice Corning.

INGMAR BERGMAN EXHIBIT

INGMAR BERGMAN: THE MAN WHO ASKED HARD QUESTIONS

MULTIMEDIA INSTALLATION

October 11–19

Weekdays 6:00–9:00 pm

Weekends 2:00–9:00 pm

Christopher B. Smith Rafael Film Center

Free Admission

Ingmar Bergman: The Man Who Asked Hard Questions is a multimedia installation offering visitors the opportunity to encounter the multifaceted universe of one of the world’s great filmmakers, who for six decades explored universal religious, moral and existential questions in film masterpieces such as The Seventh Seal, Through a Glass Darkly, Persona , Cries and Whispers and Fanny and Alexander. The installation was inspired in design by the island of Fårö, Bergman’s haven for much of his life. Suspended from a stylized tree at its center, multiple film projections offer dramatic scenes and documentary footage reflecting the life and work of this great artist, who died in 2007. The installation’s name is borrowed from the title of Woody Allen’s memorial tribute to the filmmaker he admired above all others.

Premiering in association with the Mill Valley Film Festival’s Tribute to Harriet Andersson on Friday, October 10, the installation will remain on view at the Smith Rafael Film Center through Sunday, October 19, and

will be accompanied by an extensive retrospective of Bergman’s films, several of them featuring Harriet Andersson.

Following the Festival’s presentation of a new print of Through a Glass Darkly as part of the Harriet Andersson Tribute, the Rafael’s series, which will begin Monday, October 13, will include a newly restored print of Sawdust and Tinsel (personally presented by Harriet Andersson along with rare behind-the-scenes footage that premiered this year at Cannes); Bergman Island, a recent and incisive documentary containing one of Bergman’s final interviews; and the first West Coast screenings of the complete and uncut Fanny and Alexander, running over five hours and presented in two parts.

Created by the Swedish Institute, Stockholm, Ingmar Bergman: The Man Who Asked Hard Questions is presented with the support of the Swedish Institute; the Embassy of Sweden; the Consulate General of Sweden, San Francisco; and the Barbro Osher Pro Suecia Foundation, in cooperation with the Ingmar Bergman Foundation.

Photo

credit: Karl Heinz Hernried

TRIBUTE : ERIC ROTH

GO WITH THE FLOW

THE VISUAL SENSE OF ERIC ROTH

by Joshua Moore

“You need to be literate, see a lot of movies, have a visual sense,” Eric Roth says simply, describing the traits of a good writer in a recent interview at UCLA’s Festival of New Creative Work. It’s this “visual sense” that has served Roth well in his screenwriting career as time and again he has successfully transcribed the written word into a flowing visual narrative. With an Oscar and two Academy Award nominations for best adapted screenplay under his belt, Roth speaks with some authority.

Back at his alma mater to receive an award for distinguished achievement in screenwriting, Roth described his work and career with characteristic understatment as “sort of a long road.” Born in New York, Roth attended UCLA’s distinguished film school in the 70s (alongside The Doors’ Jim Morrison), and won the Samuel Goldwyn Writing Award during his studies. His first produced screenplay, The Nickel Ride , premiered at the Cannes Film Festival in 1975, and he followed this success with screenplays for Suspect (1987) and the Mike Figgis romantic drama Mr. Jones (1993).

But it was Roth’s Oscar-winning screenplay for Forrest Gump (1994), containing some of the most memorable and most quoted dialogue in film, that placed him in the spotlight. In Gump , Roth masterfully captures turbulent times in 20th-century American history, from segregation to the civil rights movement to the Vietnam War and the Watergate scandal, in a uniquely humorous manner, through the eyes of a simple man living in a complicated era. American history hasn’t looked the same since.

On a typical day, Roth writes from 8:30 in the morning to 1:00 in the afternoon, returning to the keyboard again in the evening. And he always begins a project at page one. This disciplined craftsman’s approach has contributed to his success with one of the most challenging and complex projects a screenwriter can face: the adaptation. In addition to Gump , Roth has written adaptations for the post-apocalyptic Kevin Costner–directed drama, The Postman (1997), and the emotionally powerful The Horse Whisperer (1998), directed by and starring Robert Redford.

Roth excels at using the specifics of emotion and place to create seamless transitions from page to screen. Of his particular abilities as a writer, he says, “I can remember things pretty well from a long time ago, what the sense of things were, the weather…. I really have sort of a freaky memory.”

Roth received an Academy nomination with his script for The Insider (1999), a fictional retelling of the attempt by 60 Minutes producer Lowell Bergman to air research biologist and whistle blower Jeffrey Wigand’s account of the tobacco industry’s deliberate efforts to increase the addictiveness of cigarettes, despite warnings that the product was harmful. Directed by Michael Mann and brilliantly performed by Russell Crowe and Al Pacino, The Insider is an example of dramatized exposé not seen since All the President’s Men and Network . Roth demonstrated a knack for constructing dramatic stories from highly detailed nonfiction material that captures the viewer from the get go, and never misses a beat.

He next worked with Michael Mann again on the epic biopic Ali (2001), and with Steven Spielberg and co-writer Tony Kushner on Munich (2005), the harrowing depiction of the real life events following the kidnapping of eleven Israeli athletes at the 1972 Olympics. Immediately controversial for its neutral stance on the Israeli–Palestinian conflict, the deft script and numerous heart-stopping images unapologetically capture the absurdity of the violence begat by violence, and redefined the genre of revenge-based cinematic stories. Munich gave Roth another Academy Award nomination for best adapted screenplay in 2005. He next found inspiration in the darkly clouded history of the Central Intelligence Agency in The Good Shepherd , a tale of espionage, power and deceit that, much like Forrest Gump, plays the effects of American history out through one man’s life—only this time, that life is destroyed.

Roth’s most recent project be may his most ambitious yet, F. Scott Fitzgerald’s short story The Curious Case of Benjamin Button , about a man who mysteriously ages backwards. The film is directed by David Fincher and stars Brad Pitt, Cate Blanchett and Taraji P. Henson ( Hustle and Flow ).

With the same down-to-earth view of his talent and skills, Roth summarizes his job. “It’s satisfying when you have something that works for people, where an audience is either rapt or moved or laughing; but there are other times that you grimace because you missed.” It’s a craftsman’s prerogative to criticize his work, but as far as his audiences are concerned, Eric Roth’s got it down.

Joshua Moore is the assistant programmer for the Mill Valley Film Festival, an independent ﬁ lmmaker and an alumnus of San Francisco State University.

SELECTED FILMOGRAPHY

The Curious Case of Benjamin Button (2008)

The Good Shepherd (2006)

Munich (2005)

Ali (2001)

The Insider (1999)

The Horse Whisperer (1998)

The Postman (1997)

Forrest Gump (1994)

Suspect (1987)

TRIBUTE TO ERIC ROTH

Saturday, October 11, 4:30 pm

Tribute and Party $60 TRIB11P

Tribute Only $25 TRIB11R

Christopher B. Smith Rafael Film Center Reception to follow at the Outdoor Art Club.

MVFF’s Tribute to Eric Roth opens with clips from his career, followed by an onstage interview. Next comes a special viewing of clips from his latest ﬁ lm, The Curious Case of Benjamin Button. Finally, Benjamin Button co-star Taraji P. Henson joins Roth onstage to discuss their new ﬁ lm and engage in a Q-andA with the audience. After the Tribute, join us for a sumptuous dinner reception catered by All Seasons Catering, with wines from Arrowood Vineyards & Winery and desserts from “Take A Dip” Fondue Fountains.

Sponsored by

Eric Roth will be presented with the MVFF award, designed by celebrated artist Alice Corning.

The Curious Case of Benjamin Button

CLOSING NIGHT TRIBUTE : ALFRE WOODARD

TRUE HONESTY

A PORTRAIT OF ALFRE WOODARD

by Sura Wood

An unconventional woman who’s the salt of the earth, possessing integrity and a sober emotional intelligence; someone you’d want for your best girlfriend or your mom. This is Alfre Woodard’s persona. Her luminous large eyes reﬂ ect a deep reservoir of compassion, yet she can summon the toughness to confront adversity, even when down and seemingly damaged beyond repair. It comes as no surprise, then, that Woodard often embodies a woman to be reckoned with. And then there’s the whiskey-and-cigarettes voice, the fragrant South ﬂ oating through it.

In a conversation with Woodard’s long-time publicist, Melody Korenbrot, about the core asset of this extraordinary actress’ eclectic career, Korenbrot says emphatically, without missing a beat: “Honesty, true honesty. That’s the word I’d use for her. It’s that honesty onscreen. Even though I’ve known her so long, when I watch her onscreen, I don’t know her any more—she becomes that person.” Woodard’s formidable presence continues to be her calling card in a career spanning three decades, with performances in indies great and small as well as a host of acclaimed television roles.

A native of Oklahoma, Woodard put aside cheerleading and track to pursue acting, and studied drama at Boston University before making her ﬁ lm debut in Alan Rudolph’s Remember My Name , starring Jeff Goldblum. A steady stream of parts has followed, in ﬁ lms such as Martin Ritt’s Cross Creek , for which she received an Oscar nomination; Grand Canyon ; Crooklyn ; Star Trek: First Contact (hardcore Trekkies will recall that she was Lily Sloane, Zefram Cochrane’s assistant); and big studio movies including Primal Fear, The Core and The Singing Detective . It’s an impressive range, and Korenbrot remarks, “She can go between the two worlds—something that’s mainstream, independent, or she can make you think, make you fall in love with her.” For audiences, the actress’ reach is intriguing. “She’s unpredictable, and that’s what makes her exciting to watch. It comes back to the same thing: It’s the honesty.”

Woodard’s memorable turn as the recovering cocaine addict Chantelle, a conﬂ icted nurse caring for a paralyzed alcoholic

in John Sayles’ Passion Fish , is the role that put her on the map with movie audiences. Five years later, Woodard’s standout performance in HBO’s highly praised Miss Evers’ Boys won her an Emmy for best actress as well as a Golden Globe, a Screen Actors Guild and a cable Ace award. As the central character in this tragic docudrama, Woodard’s Nurse Evers attempts to console the black men used as test subjects and allowed to die despite the availability of a cure, in the US government’s notorious Tuskeegee syphilis experiments. Other remarkable performances include her work in The Piano Lesson, for TV; Mandela ; and Down in the Delta . Maya Angelou directed Down in the Delta , in which Woodard played an alcoholic single mother from Chicago forced to spend a summer with her uncle in Mississippi. “There are so many roles from all screens—you never know what to expect from Alfre and that’s what is special about her,” Korenbrot says, and adds: “She’s also very funny—and people don’t see that.”

A versatile ﬁ lm and stage actress, Woodard has also racked up an impressive list of credits on television. The four-time Emmy winner has had recurring roles and numerous guest appearances on prestigious dramas such as Hill Street Blues , St. Elsewhere , Homicide: Life on the Street and two David E. Kelley vehicles, The Practice and the pilot for L.A. Law, in which she played a rape victim. Audiences may know her best for her work on Desperate Housewives (2005–2006), where she was the mysterious Betty Applewhite, a rather sinister addition to Wisteria Lane. These outstanding performances have made Woodard the African American actress with the most prime-time Emmys on her mantle.

Woodard shines at this year’s MVFF in the pivotal role of Alma, the strong-willed, protective mother at the heart of Tim Disney’s American Violet (see page 78), a potent legal drama based on a true story of corruption in the Texas judicial system. In the ﬁ lm, Alma’s daughter, Dee, portrayed by remarkable newcomer Nicole Behaire, is a struggling single mother who ﬁ ghts a wrongful arrest on drug charges. When the groundbreaking case becomes part of a larger campaign to expose a powerful, racist DA, Alma becomes Dee’s sole support as she is overtaken by events beyond her control.

A long-time democrat, political activist and avid Obama supporter, Woodard recently attended the Democratic National Convention. She has a long-term relationship with

South Africa, rooted in her work there in the fi lms Mandela (in which she played Winnie Mandela) and Bopha! A friend of Nelson Mandela and Archbishop Desmond Tutu, she’s also a founder and board member of Artists for a New South Africa, which led to her appearance in another Festival fi lm, The Road to Ingwavuma (see page 101). Narrated by Deborah Santana, this insightful documentary by awardwinning fi lmmaker Barbara Rick follows a delegation of stage, screen and musical artists and their families on a journey through postapartheid South Africa.

SELECTED FILMOGRAPHY

American Violet (2008)

The Family That Preys (2008)

Take the Lead (2006)

Desperate Housewives (TV) (2005–2006)

Radio (2003)

K-PAX (2001)

Love & Basketball (2000)

Mumford (1999)

TRIBUTE TO ALFRE WOODARD

Sunday, October 12, 5:00 pm

Tribute and Party $70 TRIB12P

Tribute Only $25 TRIB12R

Christopher B. Smith Rafael Film Center

This fall ﬁ nds Woodard as busy as ever. In her latest ﬁ lm, Tyler Perry’s The Family That Preys , she’s cast as a highminded working-class woman opposite Kathy Bates, and she’s on board with the NBC series My Own Worst Enemy, starring Christian Slater. At a time in which rich roles for women and for African American women in particular are still few, Alfre Woodard has thrived.

Down in the Delta (1998)

Miss Evers’ Boys (TV) (1997)

Follow Me Home (1996)

Primal Fear (1996)

Star Trek: First Contact (1996)

How to Make an American Quilt (1995)

The Piano Lesson (TV) (1995)

Crooklyn (1994)

Bopha! (1993)

Please join us for the Tribute program featuring career clips, an interview with Alfre Woodard and a screening of American Violet . See page 23 for the ﬁ lm description.

CLOSING NIGHT PARTY

Sunday, October 12

Boarding 8:00 pm, Sailing 9:00 pm

California Hornblower

Ferry Dock, 1 Anchor St., Sausalito

After the Tribute to Alfre Woodard or the screening of Lemon Tree , join us on the California Hornblower in Sausalito for our Closing Night party and moonlight cruise. Thanks to the Hornblower’s chefs and to A Frosting Bakeshop and “Take a Dip” Fondue Fountains.

Passion Fish (1992)

Grand Canyon (1991)

Miss Firecracker (1989)

Scrooged (1988)

St. Elsewhere (TV) (1985–1987)

Mandela (TV) (1987)

L.A. Law (1986)

Cross Creek (1984)

Alfre Woodard will be presented with the MVFF award, designed by celebrated artist Alice Corning.

POST-FESTIVAL PRESENTATION TONY CURTIS

THE DEFIANT ONE

PROFILE OF A HOLLYWOOD LEGEND

by Marc Huestis

Mix one part charming rogue, two parts sharp timing, a dash of cynicism, a helping of bubbling good humor and a little steamy drama, fold in pure talent, top it off with killer good looks and you have Tony Curtis, who will be receiving the MVFF award this November at the Castro Theatre in San Francisco. Appearing in more than one hundred ﬁ lms, many of them now classics, few have matched the stunning versatility and scope of Mr. Curtis’ career.

Born Bernard Schwartz, the son of Hungarian Jewish immigrants, Curtis’ training ground was the mean streets of the Bronx, and his great escape was the movies. The tough boy with big dreams was discovered by famed Hollywood agent Joyce Selznick. His screen debut was in the noir classic Cross Creek (1949), in which he dances the rumba with Yvonne de Carlo. After a series of sword-and-sandal epics and studio comedies, he ﬁ nally got to prove his acting skill in the breakout title role in Houdini, opposite his ﬁ rst wife Janet Leigh.

The rest, as they say, is (fi lm) history—playing Sidney Falco opposite Burt Lancaster in Alexander Mackendrick’s Sweet Smell of Success (1957), which won Curtis a British Academy of Film and Television Arts (BAFTA) award for best foreign actor; being shackled to Sidney Poitier in Stanley Kramer’s The Defi ant Ones (1958), for which he earned an Academy Award nomination (the fi lm earned nine); bathing with Laurence Olivier (“Snails or

oysters?”) in Stanley Kubrick’s Spartacus; and blowing sax in a pitch-perfect performance in tonight’s ﬁ lm, Billy Wilder’s classic crossdressing comedy, Some Like It Hot.

Curtis has worked with all the greats of Hollywood’s golden age, and made his mark as star talent. Director Alexander Mackendrick (Sweet Smell of Success) said of him: “A fantastic vanity, but no ego. He could act Burt (Lancaster) off the screen”; Billy Wilder: “Curtis was ALL actor”; and Sidney Poitier: “When you’re with Tony Curtis on screen you’re with someone very alive.”

In person, Curtis is famously unafraid and honest; he tells ’em like he sees ’em. He also has made it known on numerous occasions that he has felt underappreciated in Hollywood. And he is not alone in that sentiment. “Even at the height of his fame, Tony Curtis was underrated as an actor—because he made everything he did look easy. He could move from light comedy to hard-hitting drama without blinking an eye—and he should have had an Oscar nomination for his extraordinary performance in The Boston Strangler. I remain an unabashed fan,” says ﬁ lm critic Leonard Maltin.

Let it be known that he is much beloved here. We are honored to salute the man and his work. Thank you, Tony Curtis, and congratulations on this much-deserved tribute.

Mr. Curtis will be interviewed on stage by KRON Channel 4’s Jan Wahl, following a program of clips and a screening of Some Like It Hot. Afterward, he will sign copies of his new

book, American Prince: A Memoir, in the Castro lobby. This evening is co-produced by Castro Theatre impresario Marc Huestis.

Marc Huestis is an award-winning ﬁ lmmaker and impresario of gala tribute events at San Francisco’s landmark Castro Theatre, feting ﬁ lm legends such as Debbie Reynolds. Jane Russell, Ann Margret, Ann Miller, John Waters and Sandra Dee.

SELECTED FILMOGRAPHY

The Celluloid Closet (1995)

Insigniﬁ cance (1985)

The Mirror Crack’d (1980)

Sextette (1978)

The Last Tycoon (1976)

The Boston Strangler (1968)

Boeing Boeing (1965)

The Great Race (1965)

Goodbye Charlie (1964)

Captain Newman, M.D. (1963)

The Great Impostor (1961)

Spartacus (1960)

Operation Petticoat (1959)

Some Like It Hot (1959)

The Deﬁ ant Ones (1958)

The Vikings (1958)

Sweet Smell of Success (1957)

Trapeze (1956)

Beachhead (1954)

Houdini (1953)

Son of Ali Baba (1952)

The Prince Who Was a Thief (1951)

Francis (1950)

Winchester ‘73 (1950)

Criss Cross (1949)

The Lady Gambles (1949)

Excerpt From American Prince: A Memoir

My agent, Lew Wasserman, had an uncanny instinct for making the right move at the right time. Lew’s job was to provide my career with direction; my job was to put on some makeup and a costume and act. Early on Lew told me that the way to become successful was to take whatever parts came my way and not to give the studio a hard time. That’s what I did.

And it worked.

Lew loved to hear me talk about my life. He was fascinated by stories about my childhood, because he came from such a different background. Lew came from money and was welleducated, articulate and comfortable with power. He could handle things.

One day Lew called and asked me to meet him at his offi ce. When I got there, he said, “I’m not sure whether we can swing it, but United Artists is making a movie with Burt Lancaster called Trapeze . Harold Hecht is producing it. They’re going to shoot in Paris, and they want you to play the younger guy, the ‘fl yer,’ who gets fl ung around by the bigger guy.”

“I love it already,” I said.

“I knew you would,” Lew said. “I’m trying to arrange it with Universal.” When Lew spoke to Ed Muhl, who was running Universal, at ﬁ rst Ed refused to let me go. “We’re doing great with Tony now, and I don’t think we want to loan him out anymore,” Muhl said.

Lew, who ran one of the most powerful talent agencies in Hollywood, wasn’t going to take no for an answer. He told Muhl, “Listen, you need to put Tony in that picture. Look how important he’s going to be for you when he ﬁ nishes making it. You have to consider that.” But Muhl still wasn’t convinced. So Lew had Burt Lancaster talk with Ed Muhl. Burt was a very energetic and imposing fellow, and with a few suggestions from Lew, Burt found a way to get Ed to say okay.

The director was Carol Reed, who’d directed The Third Man. The producers were Harold Hecht, Burt Lancaster, and Jim Hill. Harold had discovered Burt on Broadway and brought him to Hollywood, and the two became partners in an independent production company. But after six or seven years Burt and Harold no longer got along. Burt felt Harold was imposing himself too much and he wanted to replace him, but they had a contract, so Burt hired Jim Hill to serve as a buffer between himself and Harold.

Of the three leads, Burt was an established star, Gina Lollobrigida was a certiﬁ able Italian dish and I was the up-and-coming kid. (Gina had come to Hollywood only a couple of years earlier and had starred in a movie called Beat the Devil Trapeze was to be her second American-made picture.) So Burt got top billing, and I got second billing everywhere but in Italy, where Gina Lollobrigida wanted it. I didn’t mind; I was happy just being in the picture. The only time I got upset was when Gina wanted me to cut my hair. She talked to Burt and Harold about it, so they came to me and asked me if I would mind going to the barber. I grudgingly went along. Gina was some dish, but after that I lost my appetite for her. Every time I saw her on the set, I couldn’t help but think about how much I missed my hair. If it sounds petty, I can’t argue with that. I’m just reporting events as I experienced them.

Excerpted from American Prince: A Memoir, by Tony Curtis and Peter Golenbock. Copyright © 2008 Tony Curtis. Excerpted by permission of Harmony, a division of Random House, Inc. All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.

TRIBUTE TO TONY CURTIS

Tuesday, November 18, 7:00 pm

Castro Theatre

429 Castro St., San Francisco

TRIBUTE PROGRAM

$35 Orchestra Preferred Seating ($30 for CFI Members)

Limited Availability! TRIB18VIP

$35 Orchestra General Admission ($30 for CFI Members)

TRIB18ORCH

$25 Balcony General Admission TRIB18BALC

Tickets are available through Mill Valley Film Festival box ofﬁ ce or by calling 415.863.0611.

Copies of American Prince: A Memoir by Tony Curtis with Peter Golenbock will be available at the event.

The Castro Theatre will screen a four-day festival of Curtis classics in anticipation of this tribute, November 8–12, check local listings.

Tony Curtis will be presented with the MVFF award, designed by celebrated artist Alice Corning.

The Ladies and Gentlemen of The Ritz-Carlton, San Francisco congratulate the Mill Valley Film Festival for their support of the arts for the past 31 years.

FORT DOCS is proud to sponsor and provide fulfillment services to the Mill Valley Film Festival.

Fort Docs is providing MVFF with: Storage and just-in-time delivery of Festival programs and posters Long-term storage of documents Temperature controlled storage of movie trailers

Hard Copy Records, Digital Imaging, E-mail Management, Document Destruction, Consulting Services www.ftdocs.com 707-571-8313

For reservations

Please call 415-296-7465 Toll free 800-241-3333 Or visit the hotel website at www.ritzcarlton.com

The Ritz-Carlton, San Francisco is the city’s only hotel to capture both Mobil Travel Guide’s Five Stars and the American Automobile Association’s Five Diamonds for 2008 — the hospitality industry’s most distinguished awards. The Ritz-Carlton, San Francisco 600 Stockton Street at California San Francisco, CA 94108

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ACTIVE CINEMA

A CREATIVE SOCIAL ACTION NETWORK

CELEBRATE, EDUCATE, ACTIVATE

MVFF’S ACTIVE CINEMA PROGRAM

by Joanne Parsont

In the early days of cinema, escapism was generally our main motivation for movie going. To enter a movie theater was to enter a fantasyland of fi ctional stories that would entertain us and, for two dark, popcorn-fueled hours, let us forget about the struggles, confl icts and realities of the world outside. Today, we still go to the movies for diversion, but, in our modern, hyper-communicating world, where we drink in information like so much life-giving water, fi lm has also become a critical resource for learning more about that outside world, and, as often as not, we want to fi nd out, not tune out.

At the same time, the accessibility and mobility of fi lmmaking technology has made it possible for more people—ordinary citizens, emerging fi lmmakers and seasoned artists alike—to capture the stories happening around them and around the world. In their hands, fi lm, and, more commonly, digital video, have become a powerful new tool, not only for educating audiences about issues but for motivating them to do something. There is certainly no shortage of injustice, oppression or crisis in our imperfect world, but there is no shortage of people fi ghting for change, either. Filmmakers have become highly skilled at approaching the endless stream of social, political and environmental issues from both angles: They can rile us up, and they can give us hope. In order to make change, we need a bit of both.

A lot of things can happen when you watch a movie about a highly charged or politicized issue: You may become enraged,

emboldened, indifferent or inspired. You may forget what you saw the moment you walk out of the theater, or you may want to talk about it with everyone you know. You may dismiss the issue as unimportant, or you may want to know what you can do about it. For activist cinema, this is the crux of the matter: What happens after the lights come up, the snifﬂ ing and fuming subside, and audience members start looking around for answers, wondering “What can I do?”

At the start of the 21st century, the political documentary genre exploded with fi lms like Michael Moore’s Bowling for Columbine (2002), Fahrenheit 9/11 (2004) and Sicko (2007), and Al Gore’s An Inconvenient Truth (2006), all drawing record audiences and successfully agitating viewers about key issues such as gun control, terrorism, war, health care and global warming. With a reawakened national audience shaking their heads and fi sts in anger and frustration, the time had come for activist fi lmmakers to make their move. Thankfully, the many members of this growing movement know the answer to that critical question “What can I do?,” and they’re eager to share it with you. So is the Mill Valley Film Festival.

The 31st MVFF marks the launch of its Active Cinema program, described by MVFF director of programming Zoë Elton as an exciting new forum for celebration, education and activation. With a powerful slate of activist fi lms peppered throughout this year’s program, MVFF will be taking the seemingly simple act of movie going to several new levels. As its title suggests, Active Cinema is not about the passive viewing of fi lm; it is a dynamic effort to connect the dots between activist fi lms, interested audiences and the individuals and organizations that are working

for the causes and issues represented onscreen. At the 2008 Festival, this effort will include postscreening Q-and-As with fi lmmakers as well as many of the activists and actors featured in their fi lms; co-presenting partnerships with local and national organizations such as the Rainforest Action Network, Bay Area Friends of Tibet and the Campaign for Female Education, which will provide resources and information about their work in the fi eld; outreach screenings for school groups; and numerous live events such as a tree planting, musical performances, panel discussions and an Active Cinema challenge at the annual make-a-movie-in-a-day Cinemasports competition.

But Active Cinema also goes well beyond this year’s Festival. Ultimately, the California Film Institute plans to make these connections even more tangible through the development of a website (mvff.com/ActiveCinema.html), which will provide online resources, social networking capabilities and a library of activist ﬁ lms for audience members to access. So when you come out of a Festival ﬁ lm this year asking “What can I do?,” there is a place to turn for the answer.

The ﬁ lms in the Active Cinema program are diverse—narrative and nonﬁ ction, hard-hitting and soft-spoken, personal and universal, local and global. A narrative feature like Tim Disney’s American Violet , for example, offers gripping drama while exposing grave injustice in the American judicial system in a groundbreaking, based-on-a-true-story case of disenfranchisement and racial bias. Makoto Sasa’s Fire Under the Snow illuminates the human cost of China’s occupation of Tibet. Bay Area resident and Chilean musician and artist Quique Cruz revisits—and transforms— the painful memories of his incarceration and

ACTIVE CINEMA

torture under Pinochet’s brutal regime in Archeology of Memory, co-directed with Marilyn Mulford. Bill Chayes and Chuck Olin’s Call It Home tracks the decades-long debate over preserving the Bolinas lagoon in West Marin. Darrell James Roodt’s Zimbabwe explores the human drama of illegal immigrants. In northern Zambia, Where the Water Meets the Sky gives voice to traditionally oppressed young women by teaching them to make their own ﬁ lms. The stories are distinct, but each is embedded with a powerful message and a compelling call to action.

For Brazilian-born, Berkeley-based ﬁ lmmaker Denise Zmekhol, making her feature-length documentary, Children of the Amazon, was a way to “bring more awareness, so people will be sparked to do something” about the destruction of the Amazon rainforest and its devastating impact on the region’s indigenous people. “I wanted to make people understand that, even though it’s so far away, we have a connection to that place. If something happens here, it affects things there, and vice versa,” says Zmekhol. “It took people a long time to get it…. They would say, ‘What do we care about those people in the Amazon?’ And then An Inconvenient Truth came out, and it made those connections clear.”

Zmekhol hopes the ﬁ lm will resonate with viewers and make people more conscious of their choices and behavior, whether it’s the products they buy or the amount of resources they consume. Her message comes not as a chiding lecture or a ﬁ nger-wagging directive, but as a beautifully shot and hauntingly told

life-and-death story in which the distant, intangible notion of rainforest destruction is humanized in the beautiful faces of tribal children and the real-life stories of environmental activists like rubber tapper and union leader Chico Mendes, who was murdered while fi ghting to protect his land, his people and their livelihood. As part of the fi lm’s world premiere at MVFF, his daughter Elenira Mendes will be in attendance, along with Chief Almir of the Surui tribe, to answer questions and discuss their efforts at cultural and environmental preservation. Carrying on her father’s legacy, the younger Mendes is now the founder and president of the Chico Mendes Institute, an Amazon conservation organization. Elected village chief at the young age of 17, Chief Almir has successfully lobbied the Brazilian government to improve medical care and education for indigenous tribes, and enlisted the support of Bay Area high-tech behemoth Google in a large-scale ethno-mapping project that allows the tribe to monitor illegal loggers and raise global awareness about the destruction of the Amazon. It is the fi rst collaborative outreach program of its kind for the company’s Google Earth program, and a compelling example of the unexpected ways we can make a difference.

Documentary fi lmmakers Lisa Merton and Alan Dater are hoping for a similar reactive response to their latest fi lm, Taking Root: The Vision of Wangari Maathai, a moving profi le of Nobel laureate and environmental activist Wangari Maathai and her Green Belt Movement, which has inspired dramatic improvements in Kenya simply by encouraging

women to plant trees. But Wangari’s achievements have been anything but simple. “The way she linked poverty, environment, human rights—it was brilliant,” observed Merton. “We were completely inspired by her approach: You couldn’t just be an environmental activist; you had to be political. She knew you had to make change in the powers destroying the environment before you could see anything happen.” The ﬁ lmmaking duo hopes Wangari’s example will demonstrate these interconnections and motivate viewers to “raise their consciousness, reach a higher moral ground and shed their fear.”

“I’m an activist at heart,” says Merton. “I see ﬁ lm as a way to inspire people to make change, and I think Taking Root will change people’s perceptions of how the environment, good government and peace are linked.” She is also conﬁ dent that the proliferation of the ways in which we co mmunicate—including MVFF’s Active Cinema program with its live and online resources—will provide the necessary mechanisms that make it easier for people to connect. And maybe, just maybe, it will inspire people here in the US to change our government in the same way Wangari has inspired change in hers.

Joanne Parsont is a Bay Area ﬁ lm festival consultant, media educator, writer and editor.

ACTIVE CINEMA

SEE FILMS, GET INVOLVED!

There’s a world of inspiration in Active Cinema fi lms. Please join us for Active Cinema screenings througho ut the Festival, and help support the admirable work of fi lmmakers, special guests and the co-presenters partnering with us in the series. You’ll fi nd links to their websites on the Active Cinema web page, mvff.com/ActiveCinema.html.

American Violet by Tim Disney

Archeology of Memory: Villa Grimaldi by Quique Cruz and Marilyn Mulford

Presented in association with La Peña Cultural Center.

Burning the Future: Coal in America by David Novack

Call It Home: Searching for Truth on Bolinas Lagoon by Bill Chayes and Chuck Olin

Children of the Amazon by Denise Zmekhol

Presented in association with Amazon Action Team and Rainforest Action Network.

Explore: India’s Song (And the Vanishing Art of Listening), No Child Is Born a Terrorist, Kokua Hawaii Foundation (featuring Jack Johnson) by Charles Annenberg Weingarten

Fire Under the Snow by Makoto Sasa

Presented in association with Bay Area Friends of Tibet.

Road to Ingwavuma by Barbara Rick

Presented in association with Campaign for Female Education (CAMFED).

Stolen by Luis Mandoki

Presented in association with Canal Alliance.

Taking Root: The Vision of Wangari Maathai by Lisa Merton and Alan Dater

Presented in association with Friends of the Urban Forest.

They Killed Sister Dorothy by Daniel Junge

Presented in association with Rain Forest Action Network.

Where the Water Meets the Sky by David Eberts and Helen Cotton

Presented in association with Campaign for Female Education (CAMFED).

Zimbabwe by Darrell James Roodt

GET ACTIVE!

Turning ideas into deeds is what Active Cinema is all about. The following activities provide ways to roll up your sleeves and join the ﬁ lmmakers, activists and others making a difference in our world.

TREE PLANTING

With Friends of the Urban Forest and Goodscapes

Saturday, October 4, 10:00 am We will meet at Outdoor Art Club, and leave from there.

Children of the Amazon and Taking Root: The Vision of Wangari Maathai both look at the importance of trees in our lives and for our communities. In honor of these ﬁ lms and their subjects, Wangari Maathai and the late Chico Mendes, come and help us plant trees! Location of planting to be announced. Check our website, mvff.com, for information updates.

CINEMASPORTS

Sunday, October 5, 9:00 a.m. Intro Meeting Old Mill Park, Mill Valley FREE For details, see New Movies Lab, page 27.

ACTIVE CINEMA ROUNDTABLE

Sunday, October 5, 1:00 pm 142 Throckmorton Theatre, Mill Valley For details, see New Movies Lab, page 27.

Active Cinema sponsored by

NAPA VALLEY

MVFF 2008

FILM CATEGORIES

WORLD CINEMA

World Cinema ﬁ lms tell stories that reveal elements of the universal while changing our ways of seeing and understanding our global neighbors.

VALLEY OF THE DOCS

Reality spins some of the most fascinating yarns of all. Valley of the Docs presents the latest in documentary ﬁ lmmaking. sponsored by

OFFICIAL PREMIERE SELECTION

WORLD PREMIERES

Around June

Children of the Amazon

Frank Dead Souls

The Lost Skeleton Returns Again

US PREMIERES

Archeology of Memory: Villa Grimaldi

At the River

Every Night, Loneliness

Fujian Blue

God Man Dog

V(ISION) FEST

V(ision)Fest mediamakers come from the school of all possibilities and are ready to reboot the state of cinema. sponsored by

5@5 AND MVFF SHORTS

Our 5@5 matinee series always takes its program titles from the songs of a musical performer; this year’s selected artist is Nina Simone. Our shorts programs are an assortment of ﬁ lmic gems by emerging artists and established masters. sponsored by

CHILDREN’S FILMFEST

The Children’s FilmFest gives young people a taste of cultures and adventures they won’t get anywhere else.

Hania

The Home of Dark Butterﬂ ies

Jerusalema

Lemon Tree

Mommy Is at the Hairdresser’s

Quiet Chaos

RocknRolla

Stolen

What on Earth Have I Done Wrong?

Wolf

Zimbabwe

NORTH AMERICAN PREMIERES

The Bird Can’t Fly

Burned Hearts

Goodnight Irene

Hafez

Shiver

Sonic Mirror

2008 FOCUS

FOCUS: SOUTHERN AFRICA

Besides having its own vibrant and growing fi lm industry, Southern Africa attracts talented fi lmmakers from around the world to tell the stories of this diverse region. Southern African fi lms in focus: The Bird Can’t Fly (Threes Anna), Jerusalema (Ralph Ziman), Road to Ingwavuma (Barbara Rick), Zimbabwe (Darrell James Roodt).

FOCUS: POLAND

Few countries can boast such an acclaimed cinematic history as Poland. We are proud to present films by two Academy Award™–winning directors and a talented newcomer. Polish ﬁlms in focus: Hania (Janusz Kaminski), Katyn (Andrzej Wajda), Tricks (Andrzej Jakimowski).

FOCUS: IRELAND

Foreign language ﬁlms screen with English subtitles.

A new wave of Irish ﬁ lmmakers is carrying on the tradition of this nation of gifted storytellers. Irish ﬁ lms in focus: 32A (Marian Quinn), How About You (Anthony Byrne), Learning Gravity (Cathal Black).

FOCUS: ASIA

From this year’s crop of exciting new Asian ﬁ lms MVFF presents works from Taiwan, South Korea, Laos and China. Asian ﬁ lms in focus: The Betrayal (Ellen Kuras and Thavisouk Phrasavath), Fujian Blue (Robin Weng), God Man Dog (Singing Chen), Hello, Stranger (Kim DongHyun), What on Earth Have I Done Wrong? (Doze Niu Chen Zer).

5@5: Either Way I Lose

No matter which way you turn, which road you follow or which answer you pick, sometimes there is no way out of a losing predicament. Sasie Sealy observes a young girl’s increasingly frenetic and hopeless attempts to recover her sister’s affections from a latecomer boyfriend in The Elephant Garden (US 20 mins). In Edward Feldman’s A Day’s Work (Czech Republic 15 mins), a single mother struggles to get to work, only to fi nd that her employer doesn’t feel she’s sensitive enough to the harsh realities of life. Christian Simmons presents the tragicomedy Sunshine Bob (US 3 mins), which follows a clay fi gurine lamenting its lack of self-control. In famed fi lmmaker Radu Jude’s Alexandra (Romania 25 mins), a starkly honest testament to the diffi culties of split parenting, a father blames his ex when their child stops calling him Papa, and an intractable argument ensues. And in Wim Reygaert and Marc Roels’ dark Flemish comedy Mompelaar (Belgium 22 mins), a quirky mumbler escapes the oppression of his home to enjoy a stroll in the country, but matters get out of hand.

—Ilya Tovbis

TOTAL PROGRAM 86 MINS

Friday, October 3, 5:00 pm 5AT503S, Sequoia

Monday, October 6, 5:00 pm 5AT506R, Rafael

5@5: Four Women

Women are often lumped together with broad and shallow platitudes, even more so when they are also perceived as a minority by race or class. Living in spite of and counter to these stereotypes is a testament to the incredible, often quiet strength of the “fairer sex.” An impoverished Filipina is forced into a torturous decision regarding her child in Mark Reyes’ God Only Knows (US/Philippines 17 mins). Jonathan Lisecki’s Woman in Burka (US 21 mins) offers a poignant look into the typecasting faced by a brownskinned actress. A country bumpkin thought to be easy prey for a slick lady’s man turns the tables on her internet date in Teressa Tunney’s This Is a Story About Ted and Alice (US 16 mins). Piers Thompson’s discomfortingly honest K (UK 19 mins) portrays a girl living beyond her ascribed “trailer-trash” roots. Hollywood Jerome (US 10 mins) is Frey Hoffman’s all-too-timely warning about the real dangers of succumbing to stereotypes.

—Ilya Tovbis

TOTAL PROGRAM 83 MINS

Tuesday, October 7, 5:00 pm 5AT507S, Sequoia

Thursday, October 9, 5:00 pm 5AT509R, Rafael

5@5: I Want a Little Sugar in My Bowl

We all want a little more sweetness in our lives. Ultimately, fulfi llment can come from the least-expected people and places. An Italian lad fruitlessly seeks gratifi cation from the church, his friends and family in Fabio Mollo’s Giants (Italy 24 mins). Perhaps the town’s pickedon tomboy has something to offer? Kurt Kuenne fi nds an improbable and overlooked source of human connection in his farcical musical The Phone Book (US 22 mins). In Dmitry Povolotsky’s uproarious comedy of errors, PAL/SECAM (Russia 14 mins), a rare VCR is the unlikely key to disco-laced juvenile courtship, but it brings something unexpected as well. Céline Novel’s Boulevard l’Océan (France 20 mins) tracks one woman’s unassailable, and comically unsuccessful, quest to fl y a kite, while considering the question, What good is triumph without companionship (or at least a witness)? Finally, Kuenne returns with Slow (US 8 mins), this time examining a sour man’s fraught relationship with his city and occupation.

—Ilya Tovbis

TOTAL PROGRAM 88 MINS

Wednesday, October 8, 5:00 pm 5AT508S, Sequoia Friday, October 10, 5:00 pm 5AT510R, Rafael

5@5: Images

A picture may be worth a thousand words, but that gives it all the more power to either deceive, or reveal and unmask. Adam Keker’s On the Assassination of the President (US 6 mins) is a wickedly rendered conspiracy-theorist spoof that attacks our iron-clad faith in photographic evidence. Reto Cafﬁ ’s chilling On the Line (Germany/ Switzerland 30 mins) follows a security guard’s dangerous decision to make something real out of a surveillance-camera crush; while his actions may bring him closer to the woman he desires, what are the consequences? The lovely and jagged imagery of Marcos Meconi’s Carlos Catani (US 15 mins) serves to debunk the endless stream of lies put forth by its narrator. In David Oh’s Recollections (US 12 mins), an elderly man spends his last days with his photo album, peacefully ruminating on the life he’s leaving behind. The breathtaking scenery and steampunk atmosphere of Kristian P. Hansen’s The Zeppelin Parable (US 12 mins) explicates, or perhaps beautifully muddles, a short story by Jonathan Lethem.

—Ilya Tovbis

TOTAL PROGRAM 75 MINS Friday, October 3, 5:00 pm 5AT503R, Rafael Thursday, October 9, 5:00 pm 5AT509S, Sequoia

5@5: Ne Me Quitte Pas

The longing for friendship, love, connection and understanding is perhaps the most powerful of all human urges, leaving us to cry out, “Do not leave me!” In Marcel Sawicki’s The Loneliness of the Short-Order Cook (Poland 22 mins), a Japanese cook struggles with the INS to stay in the US, despite his seemingly isolated existence and awkward crush on a bakery girl he cannot approach. Urging us to fi ght back and reconnect with humanity while we still can, Dan Trezise’s Outsource (US 12 mins) presents a sci-fi take on the ruthless technology that keeps us secluded. In Kate Burton’s The Ice Plant (Scotland 10 mins), a frigid ice-plant employee thaws around a new co-worker, only to have their fragile union threatened. In Tim Plester’s English Language (with English Subtitles) (UK 20 mins), a huge communication gap leads to breakup, but being apart proves more challenging than either partner can handle. And in Trevor Cawood’s Terminus (Canada 8 mins), a lone businessman tries his hardest to shake an eerie stone statue that shadows his every step, but their fi nal separation is more than he bargained for.

—Ilya Tovbis

TOTAL PROGRAM 73 MINS

Monday, October 6, 5:00 pm

5AT506S, Sequoia

Wednesday, October 8, 5:00 pm

5AT508R, Rafael

5@5: Sinnerman

Whether emboldened or repentant, sinners are often irrevocably changed by their indiscretions. In Colin Cunningham’s Centigrade (Canada 15 mins), a man is dragged through a personal hell, but he only has himself to blame. Hanne Larsen’s quietly contemplative Cairn (Norway 16 mins), a tale of adolescent malfeasance, casts its sights on the delicate nature of boyhood friendship. Jean-Julien Collette and Olivier Tollet’s offcolor comedy È Finita la Commedia (Belgium 13 mins) glimpses an outwardly heartwarming moment of father-son bonding, but something’s ﬁ shy. In Harry Wootliff’s Trip (UK 15 mins), another desperate father absconds with his children in the middle of the night, but is their upcoming journey what he had in mind? Lucas Fleischer and Paul Grellong’s pitch-perfect Parachute (US 12 mins) shows that the wisdom of a child—albeit an unnaturally precocious one—might be just the ticket to getting a transgressor back on the right path.

—Ilya Tovbis

TOTAL PROGRAM 71 MINS

Tuesday, October 7, 5:00 pm 5AT507R, Rafael Friday, October 10, 5:00 pm 5AT510S, Sequoia

32A

FOCUS: IRELAND • How does life measure up for a 13-year-old Irish girl? It’s 1979 in Dublin’s Northside, and Maeve has just marked a milestone: her ﬁ rst bra. Maeve’s life revolves around best pals Ruth, Orla and Claire. With the summer holidays just around the corner, when they’re not dodging chores at home or the vigilant Sister Una at school, these inseparable friends are searching for new adventures. Then Maeve attracts the attention of local heart-throb Brian Power, ﬁ nds her priorities changing and inadvertently lets her friends down when they need her the most. Suddenly life begins to feel a lot more complicated, and becoming an adult no longer seems like such a great idea. With a talented young cast (and a cameo appearance by brother Aidan), actor-turned-writer–director Marian Quinn’s charming feature debut takes a fresh and tender look at the highs and lows of growing up.

—Kelly Clement

Director/Screenwriter Marian Quinn

Producer Tommy Weir Cinematographer PJ Dillon Editor Rene Schweitzer Cast Ailish McCarthy, Sophie Jo Wasson, Riona Smith, Orla Long Print Source Beta Film Gmbh

Ireland/Germany 2007 89 MINS Tuesday, October 7, 7:15 pm 32A07S, Sequoia Sunday, October 12, 12:45 pm 32A12S, Sequoia

Sponsored by Maroevich, O’Shea & Coghlan

Family dysfunction gets a high-tech makeover in French photographer Delphine Kreuter’s dazzling debut feature, a wicked satire of our webocracy’s insatiable fascination with online surveillance and emotional exhibitionism. Cam-crazy mom Margot and her new husband, Michel, record their family’s every waking moment, posting domestic vignettes on their blog to the delight of video voyeurs. Meanwhile, levelheaded teenage daughter Nat maintains physically distant yet strangely intimate friendships, playing interactive computer games with cancer-stricken teen Adrien, and instant-messaging with a middle-aged diaper fetishist (Mathieu Amalric, The Diving Bell and the Butterﬂy, MVFF 2007). Nat yearns most for a ﬂ esh-and-blood connection with her transsexual father, Nicole, who, in turn, is hooked on Margot and Michel’s 24/7 transmissions. Figuring out who’s zoom-lensing who is part of the fun in this visually inventive cultural critique that might be described as surreal if it didn’t so creepily resemble our own era of virtual reality.

—Steven Jenkins

Director/Cinematographer Delphine Kreuter Producers Laetitia Gonzalez, Yaël Fogiel Screenwriters Delphine Kreuter, Mathieu Lis, Emmanuel Finkiel Editors Valentine Borlant, Francois Gedigier, Delphine Kreuter Cast Florence Thomassin, Pascal Bongard, Marie Burgun, Hadrien Bouvier, Stephanie Michelini, Mohamed Rouabhi Print Source Les Films du Poisson

France 2007 82 MINS

Tuesday, October 7, 9:45 pm

57KM07S, Sequoia Friday, October 10, 9:45 pm

57KM10R, Rafael

Sponsored by Marin French Cheese Company

5 @ 5

@ 5 world cinema

57000 KM Between Us (57000 km entre nous)

Adam Resurrected

TRIBUTE • Former Berlin magician and circus impresario Adam Stein (a winningly theatrical Jeff Goldblum) is an enthralling, enigmatic patient at the Seizling Institute, a remote Israeli rehabilitation outpost for Holocaust survivors. Entertainer, clairvoyant, sophisticate and lothario, Stein veers from brilliance to eroticism, horror and madness, with ﬂ ashbacks to the physical and psychological demoralization he endured under Commandant Klein (Willem Dafoe) in the Stellring death camp. Stein appears to have everyone stymied and overawed, but an unusual new patient seems to have the magnetic power to break him free of the grip of his relentless torment. Awardwinning screenwriter (Taxi Driver, Raging Bull, Afﬂiction ) and director Paul Schrader brilliantly re-creates Israeli author Yoram Kaniuk’s powerful 1969 novel about the excruciating choices Holocaust victims made in order to stay alive, and their indelible impact on the psyche.

—Joanne Parsont

Director Paul Schrader Producer Ehud Bleiberg Screenwriter Noah Stollman Cinematographer Sebastian Edschmid Editor Sandy Saffeels Cast Jeff Goldblum, Willem Dafoe, Derek Jacobi, Ayelet Zurer Print Source Bleiberg Entertainment

Germany/Israel/US 2008 106 MINS

Saturday, October 4, 7:00 pm

TRIB04R, Rafael

Tuesday, October 7, 7:00 pm

ADAM07S, Sequoia

* For Tribute event information, see page 39.

With support from Gruber Family Foundation

All Together Now

When a bolt of inspiration struck Cirque du Soleil founder Guy Laliberté, writer-director Dominic Champagne and guitarist George Harrison, sparks ﬂ ew in all directions, and the musical tribute show Love was born. All Together Now tells the remarkable tale of this gestation period and its audacious offspring. Distinct from other Beatles ﬁ lms, its irresistible appeal is writ larger than life in a dazzling explosion of collaborative creation between some of the greatest artists of our day. The incomparable musical ear of Beatles producer Sir George Martin and his son Giles orchestrate the audio while Cirque’s multitalented aerialists and thespians work every inch of the rehearsal space. But the delicate juggling acts are not only onstage, as Champagne must also consider the spirits of the late Harrison and Lennon and the preferences of Yoko Ono, Sir Paul McCartney, Ringo Starr and Olivia Harrison. From its most intimate to its grandest moments, All Together Now celebrates the creative process in all its glory.

—Karen Davis

Director Adrian Wills Producers Jonathan Clyde, Martin Bolduc Cinematographer Alain Julfayan Editor Heidi Haines Print Source Apple Corp

Canada/UK 2008 84 MINS

Sunday, October 5, 5:00 pm

ALLT05R, Rafael

Monday, October 6, 4:30 pm

ALLT06R, Rafael

Around June

For June, feeling alive “means not knowing what comes next.” Bound by family tragedy, June leads a lonely existence, caring for her overbearing father and doting, simple-minded uncle, and ﬁ nding happiness in life’s small details. Then a stranger in the rain looks into her eyes like no one has before, and she can’t turn away, and the colors, light and rain that she knows so well take on a new meaning. The striking newcomer, Juan Diego, an earnest, struggling immigrant, is equally taken, not just by June’s beauty but by the light that shines within her. Whimsically interwoven with animation, this lyrical, deeply romantic fairy tale about love, fate and family transforms San Francisco into a lush and dreamlike sleepy coastal town where June, as she begins to ﬁ nd her place in the world, discovers that she actually has choices to make. World Premiere

—Kristine Kolton

Director/Screenwriter/Editor James Savoca Producers Jeremiah Birnbaum, Ralph King Cinematographer Peter Hawkins Cast Samaire Armstrong, Jon Gries, Brad W. Henke, Oscar Guerrero Print Source Fog City Pictures

US 2008 92 MINS

Friday, October 3, 7:15 pm

AROU03R, Rafael

At the River (U reki)

An aged mother and her elderly daughter spend their days ﬁ nicking, bickering and denouncing each other’s fragile health problems. Despite this overt hostility, a certain tenderness ekes through, and when a stranger’s unannounced visit spurs memories of days long gone, the pair embark on an improbable adventure by the river. Along the way, breathtaking cinematography presents the landscape as carefully as a character and captures a host of idiosyncratic oddballs sleepily milling about the river and its shoreline attractions. These features strangely underscore the gravity of the women’s voyage, imbuing it with a palpable sense of purpose: This is clearly their last outing together. A background tale hinted at throughout seems almost incidental to the deeper connection of the women’s common bloodline. Adapted from two stories by Friedrich Gorenstein (co-writer of Andrei Tarkovsky’s Solaris), director Eva Neymann’s assured debut deftly combines Chekovian humor with moments of unassailable emotional clarity. US Premiere

—Ilya Tovbis

Director Eva Neymann Producer Alexander Tkachenko Screenwriters Sergey Chetvertkow, Eva Neymann Cinematographer Alexey Ubeyvolk Editor Irina Blogerman Cast Nina Ruslanova, Marina Polizeymako, Sergey Bechterev, Juriy Nevgamonniy Print Source Odessa Film Studio

Ukraine 2007 84 MINS

Saturday, October 4, 8:30 pm

ATTH04R, Rafael

Sunday, October 5, 6:30 pm

ATTH05R, Rafael

Presented in association with the Ukrainian Heritage Club of Northern California.

The Betrayal (Nerakhoon)

FOCUS: ASIA • During the Vietnam War, the US employed Laotian soldiers to gain intelligence behind enemy lines. Once the Americans left, however, the families of these guerrilla warriors had to ﬂ ee or risk persecution. Thavisouk Phrasaveth was one of these refugees, and when then-budding cinematographer Ellen Kuras ( Eternal Sunshine of the Spotless Mind ) met him in 1985, she knew she had to start ﬁ lming. This arresting documentary, co-directed by the two and more than 23 years in the making, lets Phrasavath tell his story in his own words, from his perilous escape, to the culture shock of living in a Brooklyn crack house, to an eventual reunion with his father . . . with unexpected consequences. Both a critique of the wreckage American foreign policy leaves in its wake and a chronicle of contemporary immigrant experience, The Betrayal pays tribute to the perseverance of the human spirit in the most personal of ways.

—David Fear

Director Ellen Kuras, Thavisouk Phrasavath Producers Flora Fernandez-Mareneo, Chiemi Karasawa Cinematographer Ellen Kuras Editor Thavisouk Phrasavath Print Source Isotope Films

US/Laos 2008 96 MINS

Saturday, October 11, 1:30 pm

BETR11S, Sequoia

Sunday, October 12, 11:00 am BETR12R, Rafael

Presented in association with the Center for Asian American Media (CAAM).

us cinema

valley of the docs us cinema

world cinema

valley of the docs

The Bird Can’t Fly

FOCUS: SOUTHERN AFRICA •

Barbara Hershey’s breathtaking performance fuels this captivating crosscultural drama about unlikely family connections and the mysteries of ostriches. Set against gorgeous South African sand dunes, the story revolves around Melody (Hershey), a high-strung chef who returns to the small mining town she left 11 years ago to discover a chaotic, dilapidated place ﬁ lled with unfamiliar people. Faced with unexpected challenges, including an out-of-control, war-obsessed grandchild with a passion for wild ostriches, and unpredictable relationships with relatives she barely knows, Melody is soon a woman on the verge of a nervous breakdown. Director Threes Anna’s creative camera set-ups perfectly capture wonderful acting and stunning scenery as the story unfolds with authentic emotional impact. Filled with images and situations that resonate for days, The Bird Can’t Fly is a mesmerizing ﬁ lm that raises intriguing questions about the value of community and the function of family. North American Premiere

—Brendan Peterson

Director/Screenwriter Threes Anna

Producers Anton Scholten, Joel Phiri, Tom Maguire, Threes Anna

Cinematographer Guido van Gennep

Editor Wouter Jansen Cast Barbara Hershey, Yusuf Davids, Tony Kgoroge, John Kani Print Source East West Film Distribution

Netherlands/South Africa/Ireland 2007 89 MINS

Friday, October 3, 7:15 pm

BIRD03S, Sequoia

Thursday, October 9, 4:45 pm

BIRD09R, Rafael

Burning the Future: Coal in America

ACTIVE CINEMA • “Mountaintop mining” sounds harmless enough. But when their tops are removed and there’s nothing left to absorb the rain, the mountains themselves come sliding down, fl ooding the land and the water table. Thick black sludge runs from household taps, while toxic slurry from prepping coal for market leaches into wells, poisoning residents. Appalachians like Maria Gunnoe, whose family has lived on the same land in West Virginia since the 1700s and who nearly lost her house due to unprecendented torrential fl ooding, are banding together to fi ght the callous disregard of the coal companies and their political accomplices. Meanwhile, the West Virginia Coal Association maintains that the fl ooding isn’t caused by its work, which it calls “artistic sculpting” of the landscape. Director David Novack’s powerful fi lm exposes this still-raging epic battle between human and environmental health and opportunistic business interests, and the dark irony behind the term “clean coal.”

—Carleton Glen

Director David Novack Producers David Novack, Alexis Zoullas Screenwriters

David Novack, Richard Hankin Cinematographers James Scott Shelley, Samuel Henriques Editor Richard Hankin Print Source Odessa Films

US 2007 89 MINS

Friday, October 3, 6:45 pm

BURF03R, Rafael

Sunday, October 5, 4:45 pm

BURF05S , Sequoia s cinema

Butterﬂ ies (Pirret)

In English and Swedish with English subtitles read either aloud or on our closed headphone system. What is it like to fl y? Six-year-old Ana has a gift: When she gets “butterfl ies” in her stomach she fl ies. The fi rst time it happens she lands in a tall tree, earning her a trip to the hospital to see what makes her levitate. There she meets a very sick boy who can benefi t from her gift. This fi ne Swedish fi lm mixes humor and drama with a deft hand. Two terrifi c girl-centered companion fi lms round out this program: Seven-year-old Robin decides she’s going to swim with the boys in No Bikini (Claudia Morgado, Canada 8 mins); and in the documentary Kick Like a Girl (Jenny Mackenzie, US 25 mins), a Salt Lake City girls’ soccer team is so good they play in the boys’ league and teach their male competitors some lessons in pride and prejudice. Ages 7+

—John Morrison

Director Kjell-Åke Andersson

Producers Francy Suntinger, Lina Jansson Screenwriter Marianne Strand Cinematographer Olof Johnson Editor Petra Ahlin Cast Alice Havrell, Frida Hallgren Print Source Swedish Film Institute

Sweden 2007 52 MINS

TOTAL PROGRAM 85 MINS

Thursday, October 9, 4:00 pm

BUTT09R, Rafael

Sunday, October 12, 10:00 am

BUTT12S, Sequoia

s cinema

Cactus

A man is abducted in the middle of the night. He awakens the next morning to fi nd himself trussed up in the backseat of a car heading into the Australian outback. Who is this man, what has he done, and who is the guy behind the wheel? Welcome to Cactus , an unrelenting dramatic duet pulsating with energy. Terse exchanges between kidnapper and victim slowly peel away layers of mystery, revealing complexities neither could have imagined about the other. Talented newcomers Travis McMahon and David Lyons electrify the screen with gritty, uncompromising performances, garnering both sympathy and loathing in a fi lm that refuses to pigeonhole its characters as either hero or villain. With a surprise at every turn, Cactus is fl at-out thrilling, visually intense with the harsh beauty of the outback and explosive with the ramifi cations of two men at the limits of self-control and self-destruction.

—Joshua Moore

Director/Screenwriter Jasmine YuenCarrucan Producers Bryan Brown, Paul Sullivan Cinematographer Florian Emmerich Editor Mark Perry Cast Travis McMahon, David Lyons, Bryan Brown, Shane Jacobson Print Source Open Space Films

Australia 2007 89 MINS Sunday, October 5, 7:15 pm

CACT05S, Sequoia Tuesday, October 7, 9:30 pm

CACT07R, Rafael

world cinema

Captain Abu Raed

A widower and airport custodian, Abu Raed (Nadim Sawalha) is content to blend into the background and mind his own business. Finding a pilot’s cap in the garbage one day, he wears it home on a whim, and the children in his neighborhood decide he’s a world traveler. As “Captain” Abu obliges, telling the children stories about his journeys far and wide, he fi nds himself increasingly involved in their lives, as well as offering fatherly advice to a female fl ight attendant (Rana Sultan) who is struggling against traditional society. Winner of the World Cinema Audience Award at Sundance this year, Amin Matalqa’s touching drama presents a multilayered look at contemporary life in Amman and a stunning performance from veteran actor Sawalha. It’s the fi lm’s emphasis on the importance of storytelling, however, that turns this Moby Dick–inspired tale into a Cinema Paradiso –style heartwarmer.

—David Fear

Director/Screenwriter Amin Matalqa Producer David Pritchard Cinematographer Reinhart Peschke Editor Laith Al-Majali Cast Nadim Sawalha, Rana Sultan, Hussein Al-Sous, Udey Al-Qiddissi, Ghandi Saber, Dina Ra’ad-Yaghnam Print Source Gigapix Studios

Jordan 2007 102 MINS

Friday, October 10, 7:30 pm

CAPT10S, Sequoia

Sunday, October 12, 4:45 pm

CAPT12R, Rafael

world cinema

Cherry Blossoms

(Kirschblüten - Hanami)

Like two cabbage rolls side by side, middle-aged couple Trudi and Rudi lead a routine life in a sleepy German town. When Trudi learns Rudi is terminally ill, she can’t tell him but wants him to see his family one last time. They visit Berlin, where two of their grown children have little time or interest for them, but their plans to travel to Tokyo to see their other child are unexpectedly disrupted when Trudi herself dies. Left with Trudi’s suitcase, containing reminders of her interests that he had discouraged, Rudi pushes on to Tokyo, where he ﬁ nds no real sympathy with his son but discovers a new understanding of his wife, and of himself. Acclaimed director Doris Dörrie ( How to Cook Your Life, 2007; Enlightenment Guaranteed, 2000) drew from Yasujiro Ozu’s classic Tokyo Story for this beautifully acted tale of life, love and renewal.

—Frako Loden

Director/Screenwriter Doris Dörrie

Cinematographer Hanno Lentz Editors

Frank C. Müller, Inez Regnier Producers Molly von Fürstenberg, Harald Kügler

Cast Elmar Wepper, Hannelore Elsner, Aya Irizuki, Maximilian Brückner Print

Source Strand Releasing

Germany/France 2008 127 MINS

Friday, October 3, 9:30 pm

CHER03S, Sequoia

Monday, October 6, 7:00 pm

CHER06S, Sequoia

Presented in association with GoetheInstitut San Francisco.

world cinema

Every Night, Loneliness (Har shab, tanhaee)

In award-winning Iranian fi lmmaker Rasoul Sadrameli’s latest, his main character, Atieh, states, “To have belief is happiness worth envy.” Atieh, a radio program host, thinks she is pregnant, only to fi nd out she instead has a serious illness. Desperate for a miracle, her husband Hamid takes her on a pilgrimage from Tehran to the holy city of Mashad. While in the mosque, Atieh fi nds and cares for a lost little girl, and seems to recover a part of herself. As he continues his focus on complex female characters (following on the heels of his award-winning The Girl in the Sneakers , one of Iran’s most successful fi lms, and I’m Taraneh, 15 , submitted for an Academy Award in 2003), Sadrameli also demonstrates once again his ability to create an intriguing fi lm aesthetic, offering us a subtle yet exact cinematic world that explores the complexities of faith, belief and connections between people and within oneself. US Premiere

—Kirthi Nath

Director Rasoul Sadrameli Producer

Seyed Kamal Tabatabaee Screenwriters

Kambozia Partovi, Rasoul Sadrameli

Cinematographer Faraj Heydari Editor Bahram Dehghani Cast Leyla Hatami, Hamed Behdad, Marian Gharajeh Print

Source CMI

Iran 2008 83 MINS

Friday, October 10, 9:30 pm

EVNL10S, Sequoia s cinema

valley of the docs

Everything Is Fine (Tout est parfait)

A suicide pact among a group of teenage boys devastates a quiet town and leaves unanswered questions about how it could have happened. For Josh, the only member of the group to be left out of the pact, life continues but with the specter of the suicides hanging over him wherever he goes. The corners of the town all seem to hold memories of his lost friends, while adults look to him for answers and wonder why he was left behind. Josh fi nds some relief in a melancholic and bittersweet bond that forms with the girlfriend of one of his deceased buddies and with the grieving father of another. Director Yves Christian Fournier’s haunting debut feature makes excellent use of an extraordinary cast of young actors, capturing exactly the confl icted nature of adolescence, the pain of loss and the courage it takes to fi nd a way to go on.

—Rachel Aloy

Director Yves Christian Fournier Producer

Nicole Robert Screenwriter Guillaume Vigneault Cinematographer Sara Mishara

Editor Yvann Thibaudeau Cast Maxime Dumontier, Chloé Bourgeois, Maxime Bessette, Jean-Noël Raymond-Jetté, Niels Schneider, Sébastien Bergeron Carranza

Print Source Séville Pictures

Canada 2007 118 MINS

Saturday, October 4, 11:15 am

EVEF04R, Rafael

Sunday, October 5, 6:45 pm

EVEF05R, Rafael

s cinema

Explore

ACTIVE CINEMA • Extraordinary people and their work are at the heart of these ﬁ lms from Explore , a signature project of the Annenberg Foundation. Filmmaker Charles Annenberg Weingarten’s explorations of remarkable people, ideas, communities and cultures engage his subjects with the openness and inquisitiveness of a true seeker. India’s Song (And the Vanishing Art of Listening) (46 mins) looks at the music of India as gateway to the soul, a healing tool, an expression of nature—and endangered species. For a master musician, music is a life journey; India’s Song gives us the opportunity to witness this profound heritage. Set in the occupied West Bank, where violence is a daily reality, No Child Is Born a Terrorist (21 mins) visits the inspired Freedom Theatre, an incredible theater project for young people, and questions the notion of what a terrorist is. In Kokua Hawaii Foundation (4 mins), we meet stellar musician—and Hawaiian environmentalist—Jack Johnson, teaching children about the environment as he leads his young acolytes in a chorus of “Reduce, reuse, recycle.” The power of creativity to transform simply radiates through these ﬁ lms.

—Zoë Elton

Director Charles Annenberg Weingarten

TOTAL PROGRAM 74 MINS

Saturday, October 4, 5:00 pm

EXPL04S, Sequoia

Monday, October 6, 7:15 pm

EXPL06R, Rafael

Sponsored by Bellam Self-Storage & Boxes

world cinema

valley of the docs

Fire Under the Snow

ACTIVE CINEMA • Fire Under the Snow is a graceful, unequivocal answer to the question of how to keep peace and purpose in our hearts in the midst of terrible suffering. Palden Gyatso was a Tibetan monk living a quiet life before the Chinese occupation of Tibet. Arrested by the Chinese for attending a rally, he endured torture, starvation, jail and forced labor for 33 years. After his release, Palden escaped to Dharamsala, India, home of the Tibetan exile community. There he became an activist speaking out against the Chinese occupation, giving voice to thousands of dead or imprisoned Tibetans. Interweaving interviews with Palden, political prisoners, family members and His Holiness the Dalai Lama, director Makoto Sasa illuminates this true survivor’s heartbreaking, riveting story, shining a light on the human cost of China’s occupation, while teaching us how to live with greater purpose, compassion and conviction.

—Nora Isaacs

Director Makoto Sasa Producers Makoto Sasa, Jim Browne, Vladan Nikolic Cinematographer Vladimir Subotic, Lincoln Maguire Editor Milica Zec Print

Source Argot Pictures

US/Japan 2008 75 MINS

Sunday, October 5, 12:15 pm

FIRE05S, Sequoia

Thursday, October 9, 7:00 pm FIRE09S, Sequoia

Presented in association with Bay Area Friends of Tibet.

Flash of Genius

The road to invention is often paved with obsession. But getting an invention out into the world can be more challenging than just getting it to work. This based-onreal-events tale opens in 1960s Detroit, as unassuming engineering professor and father of six Robert Kearns (wonderfully played by Greg Kinnear) thinks he’s hit the jackpot after successfully developing an intermittent windshield wiper in his suburban basement. On the fast track to a deal with Ford, Kearns is stunned when the automotive powerhouse pulls out, and then devastated when his Blinking Eye wiper suddenly appears on the latest model Ford Mustang. Spiraling through stress, paranoia and breakdown, Kearns remains singlemindedly ﬁ xated on taking Ford to task for their blatant grand theft auto. He spends years battling their titanic corporate forces, but is the credit for his invention worth sacriﬁ cing his marriage, his family, his livelihood— and his sanity?

—Joanne Parsont

Director Marc Abraham Producers Gary Barber, Roger Birnbaum, Michael Lieber Screenwriter Philip Railsback

Cinematographer Dante Spinotti Editor Jill Savitt Cast Greg Kinnear, Lauren Graham, Alan Alda, Dermot Mulroney

Print Source Universal Pictures

US 2008 119 MINS

Thursday, October 2, 9:45 pm

FLAS02R, Rafael

us cinema

Frank Dead Souls

FOCUS: SOUTHERN AFRICA • MVFF resident auteur Rob Nilsson (MVFF Tributee, 2000) brings his signature style (working with nonactors and an improvised script) to South Africa. An anxious but affable junior executive leads the staff of Frank , a fl edgling magazine, on a team-building bus trip in a last-ditch effort to revive and revamp the magazine’s image. Tasked with motivating the staff, he masks his resentment with awkward humor to create a rapport with his co-workers, resulting in a tone reminiscent of The Office on wheels. The myriad black, white and mixed-race characters on the Frank bus elicit an atmosphere rife with tension, fl irtation, humor and self-revelation, in stark contrast to that of the callous corporate leadership pulling strings. Frank Dead Souls slyly navigates the rough waters of greed-fueled postmodernity, steering us toward the hopeful shores of humanity. A co-production of Interactive Africa and Citizen Cinema. World Premiere —Victoria Lucas

Director Rob Nilsson Producers Rob Nilsson, Ravi Naidoo, Chikara Motomura, Karol Martesko Cinematographers Chikara Motomura, Drow Millar Editor Drow Millar Cast Denny Day, Evert Lombaert, Fadila Lagadien, Omonike Akinyemi, Mpho Masilela, Greg Cameraon Print Source Citizen Cinema

US/South Africa 2008 97 MINS Friday, October 3, 9:45 pm FRAN03R, Rafael Friday, October 10, 7:00 pm FRAN10T, 142 Throckmorton

world cinema

Happy-Go-Lucky

SPOTLIGHT • Director Mike Leigh recalibrates his incisive exploration of working-class grit and grapple in this brightly colored character study of perhaps the happiest person in London. Meet Poppy (Sally Hawkins): a free-spirited, single, 30-year-old primary school teacher. Like a human rainbow, she is perpetually cheerful and good humored. A painful round of physical therapy can make her laugh; the theft of her beloved bicycle is met with a simple, “I didn’t get to say goodbye.” But not everyone responds to Poppy’s good cheer with equal appreciation, including her uptight driving instructor, Scott. Hawkins’ exceptional performance (winner of the Silver Bear award for Best Actress at the Berlinale) embodies all that is at once endearing and irritating in Poppy’s persona as she encounters a series of people and events that challenge even her unfathomable optimism, raising the question, Just how hard is it to be happy? US Premiere

—Joanne Parsont

Director/Screenwriter Mike Leigh

Producer Simon Channing Williams

Cinematographer Dick Pope Editor Jim Clark Cast Sally Hawkins, Eddie Marsan, Alexis Zegerman, Andrea Riseborough

Print Source Miramax Films

UK 2008 118 MINS

Tuesday, October 7, 6:30 pm

SPOT07R, Rafael

Thursday, October 9, 9:30 pm HAPP09S, Sequoia

* For Spotlight event information, see page 11.

Sponsored by Frantoio Ristorante & Olive Oil Co.

v(ision)fest

Heart of Fire (Feuerherz)

In 1981, Eritrea was in the midst of a battle for independence from Ethiopia, but no battle was as violent as the one the Eritrean rebels waged against each other. A young girl named Awet is taken from the warm nest of a Catholic orphanage and delivered to the rebels as a future warrior. Awet’s passion for the rebellion strikes a chord with the leaders, who treat her kindly for it, but in a roving war zone there’s little nurturing to be offered, and Awet faces atrocities and contradictions that prove the world outside the orphanage is indeed unsafe for one developing her own independence. Masterful pacing and elegant, understated direction by Luigi Falorni (The Story of the Weeping Camel ) mark this beautifully made ﬁ lm, as well as an incredible performance by Letekidan Micael as Awet, a naïve yet strong girl capable of making her own way.

—Sara Schieron

Director Luigi Falorni Producers

Andreas Bareiss, Sven Burgemeister, Gloria Burkert, Bevnd Burgemeister

Screenwriters Luigi Falorni, Gabriele Kister Cinematographer Judith Kaufmann

Editors Claudia Gladzjejewski, Hubert von Spreti Cast Letekidan Micael, Solomie Micael, Seble Tilahun, Daniel Seyoum, Mekdes Wegene, Samuel Semere Print Source Seventh Art Releasing

Germany/Italy/Austria/France 2008 94 MINS

Saturday, October 11, 3:00 pm

HEAR11S, Sequoia

Sunday, October 12, 6:45 pm HEAR12T, 142 Throckmorton

Hello, Stranger (Cher-eum man-nan sa-ram-deul)

FOCUS: ASIA • Every year, dozens of North Koreans gain citizenship in the south to pursue dreams of a brighter tomorrow. As Kim DongHyun’s dramedy depicts, it isn’t geographical relocation so much as culture shock that subsequently sends immigrants into a tizzy. Passing his refugee-center exam, Jin-Wook (Park In-Soo) starts a new life in Seoul. All too soon, however, he is overwhelmingly lonely, lost and—after a trip to the local megastore to buy a blanket—totally unprepared for capitalism. A taxi driver who defected a decade earlier fi nally helps Jin-Wook get his bearings, and when he meets a Vietnamese traveler looking for his girlfriend, Jin-Wook gets the chance to pay his good fortune forward. Part wry road movie and part fi sh-out-ofwater parable, this gentle fi lm looks at the Korean divide with humor and affection. No matter where you are, it seems human kindness is around the corner.

—David Fear

Director/Screenwriter Kim Dong-Hyun Producers Kim Dong-Hyun, Park Jin-Soo Cinematographer On Jeong-Ok Editor Lee Do Hyun Cast Park In-Soo, Choi Hee-JIn, Quang Su, Bang Young, JIn Yong-Wook, Kim Song-Il, Woo Don-Gi Print Source Indiestory

South Korea 2007 113 MINS

Thursday, October 9, 6:30 pm

HELL09R, Rafael Sunday, October 12, 7:00 pm HELL12R, Rafael

Presented in association with the Center for Asian American Media (CAAM).

Hi De Ho Show

Village Music is alive and well and coming to a festival near you! The inimitable John Goddard, grand master of all things musical, mentor to musicians monolithic and multifarious and maestro of the movin’ and shakin’ image returns with an all-new, eye-popping, brainwarping Hi De Ho Show. This year’s theme: All I ever learned I learned from television. Goddard’s veejayed music clip show considers all things televisual, exploring what happens to music when you put it on, in or take it out of the box: lipsynching; live performances; ﬁ rst appearances by major artists; people doing what they don’t normally do; people we never would have heard of if not for TV. Oh, and some odd, well, couplings (imagine: Tom Jones and . . . Janis Joplin). And how about Bette Davis doing rock ’n’ roll? Makes you wonder whatever happened to Baby Jane, right? As ever, anything can happen at the Hi De Ho Show. All Goddard promises is “oddball stuff, major stuff. It’s just . . . stuff!”

—Zoë Elton

Saturday, October 4, 9:30 pm

HIDE04S, Sequoia

Saturday, October 11, 9:00 pm HIDE11R, Rafael

world cinema

valley of the docs

The Home in My Heart

This powerful selection of true stories from up-and-coming Bay Area ﬁ lmmakers gracefully spans the distance between the passionately political and the intimately personal. The singular voice of one young girl bears witness to the displaced in Estée Blancher’s In My Heart: A Child’s Hurricane Katrina Story (US 5 mins). In Donna Lee’s Adventures of Josh Wolf: Activist Video Blogger (US 29 mins), it is the camera that blows the lid off of the state of our civil liberties. The words of assassinated investigative journalist Chauncey Bailey form the inspiration for Zachary Stauffer’s A Day Late in Oakland (US 27 mins). One East Bay mother’s patience and persistence give her wheelchair-bound twin sons and their ﬁ ve siblings a home in Hannah Guggenheim’s Benji and Judah (US 31 mins). And a daughter looks back with love at her parents in Ellen Lake’s Betty + Johnny (US 5 mins).

—Janis Plotkin

TOTAL PROGRAM 97 MINS

Friday, October 3, 9:00 pm HOMH03R, Rafael

Saturday, October 11, 4:15 pm HOMH11T, 142 Throckmorton

The Home of Dark Butterﬂ ies (Tummien perhosten koti)

Juhani is a troubled teen with a tragic past by the time he lands in a home for boys known as the Island. A world unto itself, the Island is run by Mr. Harjula, a strict disciplinarian intent on shaping the boys into conﬁ dent young men and earning their respect in turn. A romance begins to blossom between Juhani and Mr. Harjula’s daughter, and Juhani discovers the Island offers him something he has never had: a home. As the boy’s haunting childhood slowly comes to light, he is forced to confront his demons, risk vulnerability and learn to forgive himself. Actor Niilo Syväoja shines as Juhani, delivering a nuanced performance that reveals his character’s brooding intensity. This emotionally honest depiction of young teens brilliantly captures at once heartbreaking inner trauma and the discovery of the strength and wisdom we need to rise above what we fear most. US Premiere —Joshua Moore

Director Dome Karukoski Producer

Markus Selin Screenwriter Marko Leino

Cinematographer Pini Hellstedt Editor

Harri Ylönen Cast Tommi Korpela, Niilo Syväoja, Eero Milonoff, Kristiina Halttu, Marjut Maristo, Kati Outinen, Pertti

Sveholm Matleena Kuusniemi Print

Source Solar Films Inc.

Finland 2008 105 MINS

Sunday, October 5, 2:15 pm

HOMD05S, Sequoia

Wednesday, October 8, 6:45 pm

HOMD08R, Rafael

How About You

FOCUS: IRELAND • It’s Christmas and the Woodlane retirement home is in crisis. Much of the staff has already quit because of the “horrible” residents. Owner Kate must now leave to tend to her ailing mother, and only ﬂ ighty, reluctant younger sister Ellie is available to care for Woodlane’s four most obnoxious residents, who won’t be going anywhere for the holidays. Luckily, they are played by veteran actors Vanessa Redgrave, Imelda Staunton ( Vera Drake , MVFF 2004), Brenda Fricker (MVFF Tributee, 1996) and Joss Ackland. These characters may be past their prime, but they have plenty of life left in them, and they torment the inexperienced Ellie in a series of battles. How they manage to behave themselves, overcome regrets from the past and come together is the stuff of this warm and engaging comedy. Vanessa Redgrave is especially radiant as an imperious ex-showgirl who keeps forgetting her age.

—Frako Loden

Director Anthony Byrne Producers Noel Pearson, Sarah Radclyffe Screenwriter Jean Pasley Cinematographer Des Whelan Editor Emma E. Hickox Cast Vanessa Redgrave, Imelda Staunton, Joss Ackland, Hayley Atwell, Brenda Fricker Print Source Strand Releasing

Ireland 2007 100 MINS Friday, October 10, 7:15 pm

HOWA10R, Rafael Sunday, October 12, 1:45 pm

HOWA12R, Rafael

world cinema

I’ll Come Running

Writer-director Spencer Parsons offers a unique take on this quirky romantic dramedy with a refreshingly unpredictable plot. Pelle, a disgruntled Danish tourist visiting the US, decides to cut his trip short—but not before enjoying a steamy weekend with Veronica (perfectly played by Melonie Diaz, who starred in three fi lms in this past year’s Sundance Film Festival), a 20something feisty Texan graffi tti artist who isn’t looking for anything serious. As their weekend of wild and lusty antics washes over them, they both wonder if love might be just around the corner. An unexpected turn of events then sends Veronica to Denmark, where she encounters not only the places and faces in Pelle’s life but ends up on an even more important journey . . . fi nding herself.

—Jesse Hawthorne Ficks

Director Spencer Parsons Producers Anish Savjani, Jay Van Hoy, Lars Knudsen Screenwriters Spencer Parsons, Line Langebek-Knudsen Cinematographer Siobhan Walshe Editor David Fabelo Cast Melonie Diaz, Jon Lange, Christian Tafdrup, Birgitte Raaberg Print Source ﬁ lmscience

US/Denmark 2007 112 MINS

Friday, October 3, 9:30 pm ILLC03R, Rafael

Jerusalema

FOCUS: SOUTHERN AFRICA •

“I had two heroes: Karl Marx and Al Capone.” So begins the story of Lucky Kunene (Tsotsi ’s Rapulana Seiphemo), a small-time South African hood who makes crime his career choice when he can’t afford his college tuition. He soon ascends to the top of Johannesburg’s bad-guy ranks, building a lucrative real estate empire and angering both cops and fellow crooks while gaining Robin Hood status for good works and a talent for evading the law. Seiphemo’s commanding performance anchors this lively epic, stretching from teenage Lucky’s carjacking roots (on ﬁ rst attempt, he and his partner realize they’re unable to actually drive the car they’ve stolen) to the height of his bulletriddled success. Director Ralph Ziman ( Hearts and Minds , MVFF 1996) uses fast-paced action and stirring African music to drive this cautionary, based-on-true events tale Tony Montana fans will especially appreciate. US Premiere

—Cheryl Eddy

Director/Screenwriter Ralph Ziman

Producer Tendeka Matatu

Cinematographer Nicolas Hofmeyer

Editor David Helfand Cast Rapulana Seiphemo, Ronnie Nyakale, Shelly Meskin, Jeffrey Sekele Print Source Muti Films

South Africa 2007 118 MINS

Sunday, October 5, 7:00 pm

JERU05S, Sequoia

Monday, October 6, 9:15 pm

JERU06R, Rafael

Jodhaa Akbar

Reminiscent of Hollywood’s most golden era, Jodhaa Akbar has been receiving rave audience responses. In 16th-century Hindustan, the great Moslem emperor Akbar (heartthrob Hrithik Roshan) marries Rajput Hindu princess Jodhaa (the gorgeous Aishwarya Rai Bachchan) in a match of political alliances. While Jodhaa names her conditions, Akbar sets out to win her heart—thus beginning a great romance, and Akbar’s journey toward becoming a more enlightened ruler. Gorgeous design, fantastic choreography (think Busby Berkeley with a cast of thousands and an elephant for added cachet), grand-scale battles and exquisite (real) jewelry wrapped around a message of peace, love and religious tolerance. It’s an epic for our times. Director of the crossover hit Lagaan , Ashutosh Gowariker’s latest is worthy of a place in the pantheon of great epic cinema for this ultimate big-screen experience—which shouldn’t be missed on the largest screen north of the Golden Gate.

—Zoë Elton

Director Ashutosh Gowariker Producers

Ronnie Screwrala, Ashutosh Gowariker Screenwriters Maidar Ali, Ashutosh Gowariker Cinematographer Kiiran Deohans Cast Mrithik Roshan, Aishwarya Rai Bachchan Print Source UTV Communications (USA) Llc

India 2008 213 MINS

Tuesday, October 7, 7:00 pm JODH07C, Cinema

Katyn

FOCUS: POLAND • Acclaimed Polish director and winner of a lifetime achievement Academy Award, Andrzej Wajda ( Ashes and Diamonds , Man of Marble , Danton ) has created an epic and personal tale about one of WWII’s notorious cover-ups. In the village of Katyn in May 1940, the Soviet army brutally murdered 15,000 Polish POWs, to crush Polish hopes for future independence. For 50 years afterward, the USSR denied responsibility, cynically blaming the Nazis. Wajda, whose father was one of those killed, focuses less on the crimes of war than on the people left in its wake. Their interwoven stories draw us into a world where the struggle for memory and truth takes place amid a chilling conspiracy of silence. The Soviet Union ﬁ nally admitted to the crime in 1990. Katyn became a cause célèbre and a national event in Poland when it was released there last year.

—Deborah Kaufman

Director Andrzej Wajda Producer Michal Kwiecinski Screenwriters Andrzej Wajda, Wladyslaw Pasikowski, Przemyslaw Nowarkowski Cinematographer Pawel Edelman Editors Milenia Fiedler, Rafal Listopad Cast Jan Englert, Danute Stenka, Magdalena Cielecka Print Source TVP SA

Poland 2007 118 MINS

Saturday, October 4, 2:15 pm

KATY04S, Sequoia

Saturday, October 11, 9:30 pm

KATY11R, Rafael

Presented in association with PoloniaSF.org.

world cinema

Learning Gravity

FOCUS: IRELAND • Cathal Black’s portrait of Thomas Lynch—poet, undertaker and inspiration, in part, for Six Feet Under—is eloquent storytelling, with a visual lyricism that is a beautiful counterpoint to his subject’s voice. Through stories and poems, memories, insights and vignettes of times past, Lynch’s life and wisdom unfold. Black evokes an exquisite stillness in his gorgeously composed pictures, often underscored by wistful music, as Lynch describes the family undertaking business; his relationship to his home in Milford, Michigan, and his other home, a cottage in County Clare left to him by his distant cousin and keeper of family stories, Nora Lynch; his family relationships; his drinking, his quitting drinking. But mostly, it’s the profound insights on life and mortality, tempered by the conversations that necessarily ensue in his chosen trade and abetted by the sensibility of the poet, that make this ﬁ lm essential.

—Zoë Elton

Director Cathal Black Producers James Mitchell, Aisling Ahmed Screenwriters Cathal Black, Philip Davison Cinematographer Tim Fleming Editor Hugh Williams Print Source Little Bird, Ltd.

Ireland 70 MINS

Wednesday, October 8, 7:15 pm

LEAR08S, Sequoia

Sunday, October 12, 3:30 pm

LEAR12S, Sequoia

v(ision)fest

The Lost Skeleton Returns Again Horrors, bone-chilling shenanigans and hilariously lowbrow hijinks! Out from the creepy-crawly cadaverous depths comes Larry Blamire’s longawaited “osteomaniacal” sequel to The Lost Skeleton of Cadavra (MVFF 2001). Dedicated man of science Paul Armstrong is in the despairing midst of a two-year lost weekend in the Ama zonian jungle. A bitter, drunken mess of his former self, he has all but given up his quest for Geranium 90. Meanwhile, his numbskullian nemeses, including the Lost Skeleton (“None can stand its mental powers!”), have been spotted in the area, ready to grab the Geranium for themselves. With the help of Armstrong’s unfl appable and spot-free wife, Betty, and their irascible alien friends the “Marvins” (from Marva, of course), the race to the Geranium is on once again. Blamire’s trademark loop-de-loopy dialogue and faux-50s sci-fi panache fill this doublebarrel of laughs so chockful, the monkeys can’t even fit! World Premiere

—Karen Davis

Director/Screenwriter Larry Blamire

Producer Sara Van Der Voort

Cinematographer A.J. Rickert-Epstein

Editor Bill Bryn Russell Cast Jennifer Blaire, Fay Masterson, Dan Conroy, Brian Howe, Trish Geiger, Andrew Parks

Print Source Larry Blamire

US 2008 90 MINS

PRECEDED BY

Rex Barrett and the Eye of God

It’s thrills and adventure from start to ﬁ nish, and from past to future, in this steampunk genre homage to the work of Jules Verne and the fab TV serials of the 1950s ( Flash Gordon et al.).

Director Scott McEachen

US 2008 11 MINS

TOTAL PROGRAM 101 MINS

Friday, October 3, 9:45 pm

LOSK03S, Sequoia

Sunday, October 5, 9:30 pm

LOSK05R, Rafael

Rex Barrett and the Eye of God will precede The Lost Skeleton Returns Again at the October 5 screening only.

Lost Souls and Malcontent Beasties: Animated Shorts

Try not to get maimed while fi nding happiness and your heart in this year’s MVFF animation program in 2D, 3D and stop motion. Hsiao-wen Chiu’s Breath (US 2 mins) provides tranquil introduction, and Maderi Dailly’s Westi (Scotland 3 mins) fi nds strength and acceptance. Dennis Tupicoff’s Chainsaw (Australia 24 mins) is an interwoven and racy bullfi ghting love story, while Johannes Nyholm’s The Tale of Little Puppetboy (Sweden 13 mins) is neurotic courting at its best. A chubby devil searches for happiness in Tim Weinmann and Tom Bracht’s My Date From Hell (Germany 14 mins), while Tim Shroeder’s The Yellow Bird (US 11 mins) takes a bloody ride down memory lane. Bill Plympton’s Hot Dog (US 6 mins) exemplifi es canine eagerness, while the best of friends are showcased in Milen Vitanov’s My Happy End (Germany 5 mins). Wrapping up the program, canine character stereotypes break through the bludgeoning and snarky nature of Dana Dorian’s Snowtime (Scotland 2 mins).

—Amanda Todd

TOTAL PROGRAM 85 MINS

Saturday, October 4, 6:00 pm LOSL04R, Rafael Tuesday, October 7, 9:15 pm LOSL07R, Rafael

Lotte From Gadgetville (Leiutajateküla Lotte)

Wacky inventions, a pair of civilized rats sitting down to tea and a town full of folks toppling each other with judo moves just scratches the surface of the weird and wonderful world of Lotte From Gadgetville, Estonia’s fi rst animated feature and a major box offi ce hit there. Can 1.3 million Estonians be wrong? Lotte is a kooky, multilayered tale set in a bucolic seaside town where inventing gadgets is a highly prized pastime and culminates in an annual contest. Lotte herself is an irrepressible dog who adores her father Oskar’s prizewinning inventions and sweeps her best friend Bruno along on her enthusiastic whims. When a Japanese bee named Susumu buzzes into Lotte’s life, and Oskar’s meddlesome rival tries to steal his latest invention, Gadgetville is in for a wild ride—one fi lled with silliness, songs and old-fashioned cartoon charm. In English. All ages.

—Deanna Quinones

Directors Janno Põldma, Heiki Ernits Producers Kalev Tamm, Riina Sildos Screenwriters Janno Põldma, Heiki Ernits, Andrus Kivirähk Editor Janno Põldma Cast Evelin Pang, Andero Ermel, Argo Aadli, Lembit Ulfsak, Elina Reinold Print Source Atrix Films

Estonia/Latvia 2006 81 MINS

Friday, October 3, 4:45 pm LOTT03S, Sequoia

Sunday, October 5, 11:00 am LOTT05R, Rafael

mvff shorts

children’s filmfest

us cinema

Máncora

“It’s the journey that counts, not the destination,” a cheerful Brazilian surfer/philosopher tells the trio he’s hitched a ride from to the Peruvian beach town of Máncora. The journey, for the other three, is just beginning. The brooding young Santiago (Jason Day) seeks relief from personal tragedy; his stepsister, Ximena (Elsa Pataky), ostensibly there to comfort Santiago, brings along her troubled marriage with a rich hedonist, Iñigo (Enrique Murciano of TV’s Without a Trace ). As the stepsiblings rediscover their old closeness and Iñigo looks for the next thrill, the relationships between them slip into dangerous territory. This emotionally charged second feature by Ricardo de Montreuil ( La Mujer de Mi Hermano , 2005) makes use of the Peruvian director’s commercial and music video visuals and pacing as it tantalizingly evolves from road trip to sex-and-drugs escapism to a journey of self-discovery.

—Margarita Landazuri

Director Ricardo de Montreuil Producer Diego Ojeda Screenwriter Oscar Torres Cinematographer Leandro Filloy

Editor Luis Carballar Cast Elsa Pataky, Jason Day, Enrique Murciano, Phellipe Haagensen, Liz Gallardo Print Source Cinema Libre International

Spain/Peru 2008 93 MINS

Tuesday, October 7, 9:30 pm

MANC07S, Sequoia

Saturday, October 11, 11:00 am

MANC11S, Sequoia

Mirageman

Are gangsters threatening you? Have a family member that’s been kidnapped? Mirageman will speed to your rescue—well, assuming he catches the right bus and doesn’t lose his costume. The tall, dark, silent (and hunky) Mirageman, known by day as Maco, answers the emails of those in need, sometimes employing the assistance of his notso-trusty sidekick, Pseudo Robin. While out running one night, Maco inadvertently rescues a stunning young woman who just so happens to be a popular news reporter. She becomes his biggest fan, declaring that Maco is one of the last men left with real “cojones.” Who could resist the challenge to be a hero? To ﬁ ght for justice? To save the damsel in distress held in a fortress behind locked doors guarded by dozens of ninjas and evil villains?

Award-winning director Ernesto Diaz Espinoza delivers an ass-kicking, viciously funny, wild-as-Mirageman’sshiny-blue-spandex superhero ﬂ ick.

—Rachel Aloy

Director/Screenwriter/Editor Ernesto

Diaz Espinoza Producer Derek Rundell

Cinematographer Nicolás Ibieta Cast

Marko Zaror, María Elena Swett, Ariel

Mateluna, Mauricio Pesutic, Iván Jara

Print Source Magnolia Pictures

Chile 2007 87 MINS

Sunday, October 5, 9:30 pm

MIRA05S, Sequoia

Thursday, October 9, 9:30 pm

MIRA09R, Rafael

Mishima: A Life in Four Chapters

Released in 1985 (with Francis Ford Coppola and George Lucas as executive producers) and fi lmed entirely in Japan (although never shown there to this day), Paul Schrader’s dazzling, controversial fi lm about Yukio Mishima, the legendary Japanese novelist and playwright, resembles few American fi lms before or since. The fi lmmaker recently enhanced and retouched this masterwork, and MVFF offers the fi rst US screening of his new 35mm print. Structured around the day in 1970 when Mishima (played by Ken Ogata) famously committed a public act of ritual suicide, the fi lm dramatically weaves diverse strands of biography, memory and the author’s fi ction to explore the complexity and contradictions of an artist obsessed with physical extremes and whose public persona was one of his most extraordinary creations. In collaboration with cinematographer John Bailey and designer Eiko Ishioka, Schrader creates a striking stylized collageportrait of Mishima, underlined by Philip Glass’ powerful music score. —Richard Peterson

Director Paul Schrader Producers Tom Luddy, Mataichiro Yamamoto Screenwriters Paul Schrader, Leonard Schrader, Chieko Schrader Cinematographer John Bailey Editors Michael Chandler, Tomoyo Oshima Cast Ken Ogata, Naoku Otani, Yasosuke Bando, Hisako Manda Print Source Schrader Productions

US 1985 120 MINS

Sunday, October 5, 1:00 pm

MISH05R, Rafael

world cinema

My Marlon and Brando (Gitmek)

Blending fact and fi ction, this compelling drama stars Turkish actress Ayça Damgaci in a poignant reenactment of her own true tale of love spanning three turbulent cultures. A few years ago on a movie set, Ayça fell in love with Hama Ali, a Kurdish actor living in northern Iraq. At a time when many people were fl eeing for safety from east to west, Ayça went the opposite direction, leaving Istanbul to join up with her long-distance lover. Turkish fi lmmaker Hüseyin Karabey’s feature debut, which won the best director award at this year’s Tribeca Film Festival, invests Ayça’s restaged journey with both documentary vitality and dramatic suspense. And as Ayça travels to Iran and Iraq, the fi lm eloquently illustrates the often arbitrary power of borders, making it clear that language and politics can be the chief factors separating countries that otherwise have much in common.

—M. Hulot

Director Hüseyin Karabey Producers

Lucinda Englehart, Hüseyin Karabey, Sophie Lorant Screenwriters

Hüseyin Karabey, Ayça Damgaci

Cinematographer A. Emre Tanyildiz

Editor Mary Stephen Cast Ayça Damgaci, Hama Ali Khan, Mahir Gunsiray Print

Source Insomnia World Sales

Turkey/Netherlands/UK 2008 93 MINS

Monday, October 6, 6:00 pm

MYMA06R, Rafael

Wednesday, October 8, 5:15 pm

MYMA08R, Rafael

us cinema

Nocturna

Slip into the fantastical after-hours world of Nocturna , where every creaky fl oorboard and distant meow is carefully orchestrated by trained professionals. When everyone else in his orphanage goes to sleep, Tim is left with his worst fear: being alone in the dark. One night, dashing to the roof to fi nd the shining star he looks to for company, Tim stumbles upon an unseen realm. First he watches “his” star fi zzle out, and then he meets a strange (and cranky) creature called the Cat Shepherd, who tells him to go to bed. Instead, Tim convinces the Cat Shepherd and his wily feline crew to accompany him on a mission to save the stars. Winner of Spain’s Goya Award for best animated feature, Nocturna is a gorgeous, sweet, sometimes spooky journey in which confronting fear is as vital as light in the darkness. Ages 7+

—Deanna Quinones

Director Víctor Maldonado, Adrià García Producers Julio Fernández, Philippe Garell Screenwriters Víctor Maldonado, Adrià García, Teresa Vilardell Editor Félix Bueno Cast Imanol Arias, Carlos Sobera, Natalia Rodriguez Print Source Filmax

Spain/France 2007 80 MINS

Saturday, October 4, 11:00 am NOCT04S, Sequoia Saturday, October 11, 11:15 am NOCT11R, Rafael

Paper Covers Rock

In a game of chance, sometimes you win and sometimes you lose. Scissors cut paper. Rock crushes scissors. Paper covers rock. You make your choice and you live with the outcome; you can’t have it both ways. For Sam, a young single mother just released from the hospital after a failed suicide attempt, waking up in the morning is an arduous choice. Now, staying with her loving, overbearing sister, Sam faces the broken pieces of her life. With each new day, a profound awareness of a second chance swells within her, while the thought of reuniting with her adorable daughter, Lola, shines like a light in the distance. Life is not a game of chance; as Sam confronts the consequences of her past, her fate is again in her hands. Rich with heartfelt performances and hauntingly striking images, this absorbing survival story simultaneously brims with despair and hope.

—Kristine Kolton

Director/Screenwriter Joe Maggio

Producer Matthew Myers

Cinematographer Sam Shinn Editor Seth Anderson Cast Jeannine Kaspar, Sayra Player Print Source IFC Films

US 2008 91 MINS

Saturday, October 4, 7:15 pm

PAPE04T, 142 Throckmorton Tuesday, October 7, 5:15 pm

PAPE07R, Rafael

children’s filmfest

us cinema

The Pleasure of Being Robbed Meet Eléonore: a charmingly spunky young woman with a warm smile and a compulsion to take what isn’t hers. Purses, fruit, a child’s present, a car to go with a found key, it makes no difference. She doesn’t need money. She doesn’t suffer from kleptomania. Why, then, does she steal? Acclaimed short fi lmmaker Josh Safdie’s debut feature creates an entirely original character portrait of a lost young woman searching for meaning through other people’s things. Shot on location in the streets of a Cassavetes-meets–Woody Allen New York, in texturally rich 16mm fi lm with a roving camera and a shoestring budget, The Pleasure of Being Robbed is a refreshingly honest approach to fi lmmaking, simple yet entirely unpredictable. And, brought to life by the lovable Eléonore Hendricks, in a role both innocently humorous and tragically melancholy, Eléonore may steal your purse as well as your heart. You won’t forget her.

—Joshua Moore

Director Josh Safdie Producers Brett Jutkiewicz, Sam Lisenco, Josh Safdie, Zachary Treitz, Casey Neistat Screenwriters Josh Safdie, Eleonore Hendricks Cinematographers Brett Jutkiewicz, Josh Safdie Editors Brett Jutkiewicz, Ben Safdie, Josh Safdie Cast Eleonore Hendricks Print Source IFC Films

US 2008 71 MINS

Saturday, October 4, 9:30 pm

PLEA04T, 142 Throckmorton Friday, October 10, 9:30 pm

PLEA10T, 142 Throckmorton

Three awesomely rad short ﬁ lms by director Josh Safdie (including one codirected by Benny Safdie) will follow.

children’s filmfest

Quest for a Heart (Röllin sydän)

Rollin trolls are all full of tricks, mischief and mayhem. Rolli himself is an exemplary troll—he hates bathing and kissing, and he scares everyone in the forest—until he meets Millie, a beautiful and gentle elf girl who is also great with a bow and arrow. Through Millie, Rolli learns that something is beginning to destroy the Forest of the Elves, and that the only way to stop it is to fi nd a magic heart that is hidden in the Land of Winter. Rolli and Millie set out on an epic adventure to fi nd it. This lively animated feature is based on the wildly popular Finnish television series, Rolli , and two subsequent live-action Rolli fi lms starring Allu Tuppurainen, who became a celebrity in the title role. In English Ages 4+

—John Morrison

Director Pekka Lehtosaari Producer

Marko Röhr Editor Aleksi Raij Cast Allu Tuppurainen, Saija Lentonen Print Source

Finnish Film Foundation

Finland 2007 78 MINS

Saturday, October 4, 1:30 pm

QUES04R, Rafael

Tuesday, October 7, 4:00 pm

QUES07S, Sequoia

Quiet Chaos (Caos calmo)

On the same day he saves a woman from drowning, fi lm executive Pietro (Nanni Moretti, The Caiman , MVFF 2006) returns to his summer home to fi nd his wife has died. Unable to deal with his sorrow or focus on work, Pietro concentrates all his efforts on raising his young daughter, Claudia. Dropping her off at school, Pietro decides to wait all day outside the school for her return. Soon, the now-single father sets up shop in the park outside Claudia’s school, taking offi ce calls from his cell phone, conducting business meetings with stressed-out colleagues on the park bench, appeasing his neurotic sister-in-law (a fi ery Valeria Golino) and making friends with park dwellers. Moretti’s heartfelt performance is the cornerstone of this delightfully refreshing depiction of one man’s response to grief and his subsequent transformation by it into a voice of calm for others in need. US Premiere

—Joshua Moore

Director Antonio Luigi Grimaldi Producer Domenico Procacci Screenwriters Nanni Moretti, Laura Paolucci, Francesco Piccolo Cinematographer Alessandro Pesci Editor Angelo Nicolini Cast Nanni Moretti, Valeria Golino, Isabella Ferrari, Allesandro Gassman, Blu Yoshimi, Hippolyte Giradot Print Source IFC Films

Italy/UK 2008 108 MINS

Saturday, October 4, 6:15 pm

QUIE04S, Sequoia

Wednesday, October 8, 9:30 pm

QUIE08R, Rafael

Real Time

If you had only one hour to live before somebody put a bullet in your brain, would you waste it on overweight hookers and a last meal of greasy fast-food? For compulsive gambler and endearing deadbeat Andy Hayes (Jay Baruchel, Knocked Up ), up to his neck in debt, an hour left to live is just another hour of perpetual bad luck in a squandered life. Hired to kill him, quick-tempered Aussie hitman Reuben (Randy Quaid at his ﬁ nest) offers Andy this last hour in the hope that the guy might actually value his life for once. As the hour winds down, these two very dissimilar men exchange insults, dirty jokes, a trip to grandma’s house and even some words of wisdom in this viciously funny comedic drama that turns the tables on what it means to be lucky in life. Time’s up; better make it count.

—Joshua Moore

Director/Screenwriter Randall Cole Producers Julia Rosenberg, Paula Devonshire, Ari Lantos Cinematographer Rudolf Blahacek Editors Gareth Scales, Michael Pacek Cast Randy Quaid, Jay Baruchel Print Source Maximum Films

Canada 2008 77 MINS

Saturday, October 4, 4:00 pm REAL04S, Sequoia

Friday, October 10, 9:45 pm REAL10S, Sequoia

world cinema

valley of the docs

Religulous

OPENING NIGHT • Politically

Correct comedian Bill Maher is on a global quest to knock some good old-fashioned heretical sense into his targeted opponent: organized religion of all stripes. From his confrontations with a Christian theme-park Jesus and a Muslim mall-vendor of high-fashion women’s burqas (he just barely avoids total verbal engulfment by a motormouthed Orthodox Jew), Maher’s mission seems next to impossible, making it all the more fun to watch. Director Larry Charles ( Borat ) once again turns the mirror of culture back on itself, with hilarious and somewhat unnerving results. Preaching to the converted is not exactly the name of Maher’s game, but putting all preachers, along with all the converted, to the tests of reason, logic and a bit of basic evolutionary biology gives Religulous its delightful, devilish charm.

—Karen Davis

Director Larry Charles Producers Jonah Smith, Palmer West, Bill Maher Cinematographer Anthony Hardwick

Editors Jeffrey M. Werner, Jeff Groth, Christian Kinnard Print Source Lionsgate

US 2008 101 MINS

Thursday, October 2, 7:00 pm

REL02R, Rafael

RocknRolla

When a Russian mobster orchestrates a crooked land deal, millions of dollars are up for grabs, and all of London’s criminal underworld wants in on the action. Everyone from a dangerous crime lord to a sexy accountant, a corrupt politician and down-on-their-luck petty thieves conspire, collude and collide with one another in an effort to get rich quick. US Premiere

Director/Screenwriter Guy Ritchie

Producers Steve Clark-Hill, Susan Downey, Guy Ritchie, Joel Silver Cinematographer David Higgs Editor

James Herbert Cast Tom Wilkinson, Gerard Butler, Thandie Newton Print

Source Warner Bros.

UK 2008 114 MINS

Friday, October 3, 6:45 pm

ROCK03S, Sequoia

Monday, October 6, 7:00 pm

ROCK06R, Rafael

Second

Sight

Over the years, the elders of Scotland’s Isle of Skye have gathered many stories of strange phenomena: phantom cars, headless women, the ghost of a small child. Alison McAlpine’s magical ﬁ lm documents the tales of Gaelic storytellers as they recount the funny, frightening, and weird stories of ghosts, premonitions and odd coincidences that have haunted their idyllic village. McAlpine trains her camera on Donald Angie McLean, a romantic and hardworking octogenarian ex-missionary who lives humbly yet richly among natural beauty and dear friends. With hauntingly beautiful original music and lush imagery, Second Sight is a meditation on the power of storytelling and the degree to which stories, passed down through generations, can explain the mysteries of the physical and spiritual realms. US Premiere

—Nora Isaacs

Director/Producer/Editor Alison McAlpine Cinematographers Alison McAlpine, John Walker, Kim Derko Print Source Second Sight Pictures

Canada 2007 52 MINS

PRECEDED BY Missing

A woman is haunted by visions of her missing husband—he remains just a few yards out of view. . . .

Director Graham Eatough

Scotland/UK 2007 12 MINS

How To Save a Fish From Drowning

Three men sit in an icehouse in the middle of a frozen lake, letting time and silence bind their friendship through the years.

Director Kelly Neal

Scotland/UK 2007 13 MINS

TOTAL PROGRAM 64 MINS

Saturday, October 4, 4:15 pm

SECS04R, Rafael

Monday, October 6, 4:30 pm

SECS06S, Sequoia

valley of the docs

world cinema

world cinema

The Secret Life of Bees

OPENING NIGHT • South Carolina, 1964: Haunted by the memory of her late mother and beset by her father, 14-year-old Lily (beautifully performed by Dakota Fanning)

ﬂ ees with Rosaleen (a very moving Jennifer Hudson) to a small town where she hopes to uncover her mother’s past. Her search leads her to a bright pink house inhabited by the smart, independent Boatwright sisters: the charismatic August (Queen Latifah), a beekeeper and honeymaker; teacher and musician June (Alicia Keys); and the sensitive, kind May (Sophie Okonedo). The Boatwrights take in the two fugitives, and Lily ﬁ nds solace in their mesmerizing world as she learns the mysteries of beekeeping and friendship, life and love. Director Gina Prince-Bythewood perfectly evokes the tone and wisdom of Sue Monk Kidd’s bestselling novel, while her extraordinary cast brings great insight to this story of a girl who sets out to learn about her mother and ends up transforming herself.

—Zoë Elton

Director/Screenwriter Gina PrinceBythewood Producers Lauren Shuler Donner, James Lassiter, Will Smith, Joe Pichirallo Cinematographer Rogier Stoffers Editor Terilyn A. Shropshire Cast Queen Latifah, Dakota Fanning, Jennifer Hudson, Paul Bettany, Alicia Keys, Sophie Okonedo Print Source Fox Searchlight

US 2008 110 MINS

Thursday, October 2, 7:00 pm

SECA02S, Sequoia

Thursday, October 2, 7:15 pm

SECB02S, Sequoia

valley of the docs

Sonic Mirror

This latest offering by renowned director Mika Kaurismäki follows virtuoso percussionist Billy Cobham as he travels the world playing music and studying rhythm. A series of stunning performances culminate in a mind-blowing jazz concert in Helsinki, but what sets this ﬁ lm apart is its exploration of rhythm as language. Best known as the drummer for the Mahavishnu Orchestra and for playing with greats like Miles Davis, Cobham is a person genuinely driven by curiosity. He experiments with old and new musical genres; he discusses the cultural inﬂ ections of rhythm with children in Brazil. In Switzerland, a group of autistic people using percussion instruments to communicate offer Cobham new insight into the nature and power of rhythm. It’s a captivating journey into the life and mind of this brilliant musician, whose openness to the ever-expanding horizons of musicality is truly compelling. North American Premiere

—Sean Uyehara

Director Mika Kaurismäki Producers/ Screenwriters Uwe Dresch, Marco Forster, Mika Kaurismäki

Cinematographer Jacques Cheuiche

Editors Oli Weiss, Uwe Dresch Print

Source Wide Management

Switzerland/Germany/Finland 2007

79 MINS

Friday, October 10, 9:30 pm

SONM10R, Rafael

Saturday, October 11, 4:30 pm

SONM11R, Rafael

valley of the docs

Taking Root: The Vision of Wangari Maathai

ACTIVE CINEMA • Plant trees, educate the people and take back the country: Nobel laureate Wangari Maathai and her Green Belt Movement have done just that, and have dramatically improved the lives of everyday Kenyans in the span of a single generation. Going back to cultivate the land as their ancestors did, these rural women triumphed over deforestation, erosion, malnutrition, illness and poverty caused by cash cropping. With their newfound strength and savvy, they joined human rights activists to preserve public lands, free political prisoners and, ultimately, bring down the dictatorship and establish democratic rule. Directors Merton and Dater deftly portray the magnetic Maathai as one among many extraordinary ordinary people who together nurture the land, embody their ancestral wisdom and courageously support each other. Uplifting and moving, Taking Root scatters seeds of change wherever the natural power and vitality of women and the earth are threatened.

—Carol Harada

Directors/Producers Lisa Merton, Alan Dater Cinematographer Alan Dater

Editors Mary Lampson, Tom Haneke, Jim Klein, Alan Dater Print Source Marlboro Productions

US 2008 80 MINS

Saturday, October 4, 1:45 pm

TAK04R, Rafael

Sunday, October 5, 6:00 pm

TAK05T, 142 Throckmorton

Presented in association with Friends of the Urban Forest.

Sponsored by Bellam Self-Storage & Boxes

world cinema

Teddy Bear (Medvídek)

Acclaimed Czech writing duo Jan Hrebejk and Petr Jarchovsky playfully dissect the foibles, indiscretions and triumphs of the 30-something crowd, gliding through the intersecting friendships of three outwardly steady (yet not so secretly drifting) couples to expose the fl imsy underpinnings of human relationships. As dishonesty and infi delity begin to threaten their peaceful private lives, and middle age looms uncomfortably close, Jirka, a bumbling and underachieving art dealer, takes out his frustrations on his wife, Vanda, and her illconceived bakery business; Johana and her ambassador husband, Ivan, quietly clash over children, food and country of residence; and ob-gyn Roman’s ruse of dual families is unmasked in painfully clear terms to his infertile wife, Anna, who fi nds solace in preparing a delectable teddy-bear shaped treat—which may be the improbable solution to everyone’s problems. Sharp writing and a stellar ensemble cast make this fi lm a treat.

—Ilya Tovbis

Director/Producer Jan Hrebejk

Screenwriters Petr Jarchovsky, Jan Hrebejk Cinematographer Jan Malíﬁ

Editor Vladimír Barák Cast Anna Geislerová, Tána Vilhelmová, Nata‰a Burger, Jiﬁi Machácek, Ivan Trojan, Roman Luknár, Klára Issová, Zuzana Fialová, Jiﬁi Menzel Print Source Menemsha Films

Czech Republic 2007 98 MINS

Thursday, October 9, 9:00 pm

TEDD09S, Sequoia

Saturday, October 11, 2:30 pm

TEDD11R, Rafael

Terra

Happy Mala doesn’t know about her peaceful people’s destructive past. When her planet is invaded by aliens, Mala outwits one and captures him. Then curiosity and friendship overtake her suspicion, and she devises a breathing apparatus for the alien, helps him repair his spacecraft and returns with him to his base ship. There she learns that his people need a new world because war destroyed their own planet, called Earth. Now they threaten to take over Mala’s world, Terra, no matter what it does to the Terrians. In spite of Mala’s new awareness, they cannot prevent the battle for survival that ensues. This richly textured animated feature plays with role reversals of innocence and aggression, challenging assumptions and ideas of loyalty, as the gracefully ﬂ ying Terrians contrast starkly with the remnants of humanity and their disintegrating ship. Ages 6+

—Roberta McNair

Director/Cinematographer Aristomenis Tsirbas Producer Jessica Wu Screenwriter Evan Spiliotopoulos Editors J. Kathleen Gibson, Jim May Cast Evan Rachel Wood, Luke Wilson, Dennis Quaid, Brian Cox, Justin Long, James Garner Print Source Snoot Entertainment

US 2008 79 MINS

Saturday, October 11, 10:30 am TERR11S, Sequoia Sunday, October 12, 11:30 am TERR12R, Rafael

valley of the docs

They Killed Sister Dorothy ACTIVE CINEMA • Deep in the Brazilian rainforest near Esperança (Hope), Sister Dorothy Stang was shot, once from behind and six more times after falling dead. Dorothy’s mission helping poor farmers become the rainforest’s stewards made her as beloved to her movement as she was reviled by clear-cutting, land-grabbing cattle ranchers. When Dorothy’s brother, David, goes to Brazil to mourn with friends and witness her confessed killers’ trial, he hopes that justice will be served for this shocking tragedy. But his North American preconceptions are challenged by the Brazilian court system, and arrest and trial evolve into a drama of intrigue and corruption, with a reallife cast of impassioned, fl amboyant, audacious characters. What would be unbelievable as fi ction plays out as a documented nonfi ction mystery. Suspenseful, uplifting and painful from one moment to the next, this is a story of lives put in jeopardy by ruthless aims.

—Roberta McNair

Director Daniel Junge Producers Henry Ansbacher, Nigel Noble Cinematographers Daniel Junge, Marcela Bourseau Editor Davis Coombe Print Source Just Media

US 2008 94 MINS

Saturday, October 11, 4:45 pm

THEY11R, Rafael

Sunday, October 12, 5:15 pm

THEY12S, Sequoia

Presented in association with Rainforest Action Network.

children’s filmfest

world cinema

Through a Glass Darkly (Såsom i en spegel )

TRIBUTE • Harriet Andersson is extraordinary in Ingmar Bergman’s Oscar-winning drama about a young woman who is overwhelmed by mental illness, even while she is embraced by the love of her family. Karin enjoys a summer holiday with her husband, father (Bergman regulars Max von Sydow and Gunnar Björnstrand) and younger brother (Lars Passgård), but the warm weather, perpetual daylight and close companionship are progressively overshadowed by recurrent schizophrenic episodes. As she begins to believe inner voices are summoning her to an encounter with God, the three men grapple with guilt and their powerlessness to save her. Filming for the ﬁ rst time on Fårö, the remote Baltic island that would later become his permanent home, Bergman and cinematographer Sven Nykvist create a world both sunlit and austere. Crowned by Andersson’s soulful, elemental performance, this ﬁ lm masterpiece is as delicate and precise as a beautiful crystal or a spider’s web.

—Richard Peterson

Director/Screenwriter Ingmar Bergman Producer Allan Ekelund Cinematographer Sven Nykvist Editor Ulla Ryghe Cast Harriet Andersson, Max von Sydow, Gunnar Björnstrand, Lars Passgård Print Source Swedish Institute/ Janus Films

Sweden 1961 91 MINS

Friday, October 10, 7:00 pm

TRIB10R, Rafael

* For Tribute event information see page 50.

With support from Barbro Osher Pro Suecia Foundation

Tricks (Sztuczki)

FOCUS: POLAND • Six-year-old Stefek is content to spend the summer wandering the streets of his town or tagging along with his teenage sister and her erstwhile boyfriend. But he longs for his father, who jettisoned the family for another woman when Stefek was a tot. One day, the boy spots him at the railway station, or so he thinks, setting in motion a marvelously calibrated escapade fraught with gently ominous overtones. In an effort to inﬂ uence the man’s movements and behavior, Stefek tempts fate and taunts chance. Writer-director Andrzej Jakimowski seems to tip his cap to his late, great countryman Krzystof Kieslowski, as well as Czech New Wave icon Jiri Menzel, like whom he buttresses his fable with subtle social commentary. By setting the ﬁ lm in a child’s innocent, anything-is-possible netherworld between imagination and reality, Jakimowski casts the diluted dreams and diminished expectations of the other characters into sharp relief.

—Michael Fox

Director/Producer/Screenwriter

Andrzej Jakimowski Cinematographer Adam Bajerski Editor Cezary Grzesiuk Cast Damian Ul, Ewelina Walendziak, Rafal Guzniczak, Tomasz Sapryk Print Source M-appeal

Poland 2007 96 MINS

Thursday, October 9, 7:15 pm

TRIC09S, Sequoia

Sunday, October 12, 12:30 pm

TRIC12S, Sequoia

Presented in association with PoloniaSF.org.

children’s filmfest

Unna and Nuuk (Unna ja Nuuk)

In Finnish with English subtitles read on our closed headphone system. Unna is an average 11-yearold: She has a cell phone, learns to knit from the internet, handles her single mom with a bit of know-it-all impatience. But when her beloved grandfather suffers a heart attack, Unna discovers she is anything but average. She’s actually a powerful healer, descended from an ancient line of shamans, and she now literally holds her grandpa’s life in her own two hands. With the help of a hidden shaman’s book and magic drum, Unna zips thousands of years back in time, straight into a thrilling escapade beginning with Nuuk, a tribal boy who soon becomes her friend and accomplice. Filmed in the lush forests of Finland, with a resilient pair of heroes and an element of magical fantasy, this mesmerizing adventure for viewers of all ages is a vivid reminder of the importance of friendship and family. Ages 9+

—Deanna Quinones

Director Saara Cantell Producer Pamela Mandart Screenwriters Joona Tenä, Sami Keski-Vähälä Cinematographer Heikki Färm Editor Anne Lakanen Cast Rosa Salomaa, Toni Leppe, Esko Salminen, Meri Nenonen, Jenni Banerjee, Tommi Korpela Print Source Finnish Film Foundation

Finland 2006 83 MINS

Monday, October 6, 4:00 pm

UNNA06R, Rafael

The Wave (Die Welle)

At an unnamed German high school, students prepare for Project Week, a one-week unit covering one of several political theory topics such as anarchy, democracy and autocracy. Instructor Rainer Wenger (Jurgen Vogel), a rebellious type who coaches water polo and wears Ramones T-shirts to work, will teach autocracy, and he decides on a controversial approach. Beginning with well-placed homilies about unity and cooperation, he suggests class uniforms and a group name. Some students switch to another class, disturbed by Wenger’s mode of instruction, while some of those remaining take the lessons to heart in increasingly disturbing ways. The heightening confl ict fi nally erupts with exciting and surprising results. At once a cautionary tale of high school conformity and a chilling allegory of fascism, director Dennis Gansel’s keenly observed fi lm about the need to belong is based on events at a Palo Alto high school in 1967.

—Rod Armstrong

Director Dennis Gansel Producer Christian Becker Screenwriters

Dennis Gansel, Peter Thorwarth Cinematographer Torsten Breuer Editor Ueli Christen Cast Juergen Vogel, Frederick Lau, Jennifer Ulrich, Max Riemelt, Christiane Paul, Elyas M’Barek Print Source Celluloid Dreams

Germany 2007 106 MINS

Monday, October 6, 7:00 pm

WAVE06C, Cinema

Saturday, October 11, 9:15 pm

WAVE11S, Sequoia

Presented in association with GoetheInstitut San Francisco.

Friends of the Festival screening on October 6 is free to members presenting a ticket from the box ofﬁ ce. Friends of the Festival Screening presented by Wells Fargo.

valley of the docs

Where the Water Meets the Sky

ACTIVE CINEMA • In a community in which women rarely get the chance to speak up, 23 young women in northern Zambia did the unimaginable. Directors David Eberts and Helen Cotton had more than fi lmmaking in mind when they traveled to this remote community and handed out video cameras. The plan was to have women document their lives. The results are sad, beautiful and fascinating at every turn. Narrated by Morgan Freeman, the fi lm follows the women as they learn to use the high-tech equipment and create individual stories. With care and confi dence, these rookie fi lmmakers talk about how AIDS, poverty and the culture’s traditional view of women have affected their lives. Despite often tragic stories, their strength and passionate voices shine through with peace and hope.

—Brendan Peterson

Directors David Eberts, Helen Cotton

Producer Helen Cotton Screenwriter Jordan Roberts Cinematographer Jaimie Gramston Editors David Eberts, Saﬁ Ferrah Print Source Camfed

UK 2008 60 MINS

PRECEDED BY Road to Ingwavuma

FOCUS: SOUTHERN AFRICA

• ACTIVE CINEMA • Barbara Rick’s extraordinary documentary follows a group of artists/activists (Alfre Woodard and Samuel Jackson among them) on a tour of postapartheid South Africa.

Director Barbara Rick

US/South Africa 2008 36 MINS

TOTAL PROGRAM 96 MINS Sunday, October 12, 2:45 pm

WHEW12S, Sequoia

Presented in association with the Campaign for Female Education (CAMFED).

v(ision)fest

Who’s Afraid of Kathy Acker?

Kathy Acker (1947–1997) was a literary maverick, a punk intellectual who blasted apart conventions of writing and female propriety.

Austrian director Barbara Caspar approaches Acker’s life and art with a smart, post–riot grrrl sensibility, interspersing documentary with inventive interpretations of Acker’s texts, from animated voice-overs to sentences that veer across the screen. Interviews situate Acker’s infl uences and impact, but most astonishing is the footage of Acker herself. At a 1977 reading, Acker breathes into a microphone, shaggy and bespectacled, while subsequent clips show her transformation into the better-known iconic version—that lean, shaven pirate, grilling William Burroughs; snarling with articulate, dissembling rage; even having sex on camera. But if Acker bared her fl esh and guts in poses provocative, vulnerable and fi erce, Caspar’s documentary ultimately reveals this persona to have been as much an act of defi ant creation as her fi ction.

—Amanda Davidson

Director Barbara Caspar Producers

Annette Pisacane, Barbara Caspar, Markus Fischer Screenwriters

Barbara Caspar, Andrew Standen-Raz

Cinematographer Marco Zimprich

Editors Karina Ressler, Julia Kloiber, Claudia Nussbaumer, Markus Bader Print

Source Deckert Distribution

Austria/Germany 2008 87 MINS

Tuesday, October 7, 7:30 pm

WHOS07R, Rafael

Wednesday, October 8, 9:45 pm

WHOS08T, 142 Throckmorton

valley of the docs

Wolf (Varg)

On the vast frosty borderland between Norway and Sweden, the world of a dogmatic shepherd, Klemens ( Fargo’s Peter Stormare), and his headstrong young nephew, Nejla, comes under threat when their way of life runs afoul of the law. After their herd of reindeer is brutally attacked by a wolf, Nejla takes it upon himself to protect their animals from further assault by killing the predator; wolves, however, are designated an endangered species in Sweden. In the ensuing controversy, Klemens takes the blame, risking imprisonment and the loss of his livelihood to protect his nephew. With stunning panoramic vistas of the Swedish wilderness and intense courtroom drama, Wolf is a powerful contemporary tale of the conﬂ ict between modern society’s encroachment on the natural world and the traditional rural culture struggling to live sustainably within it. US Premiere

—Joshua Moore

Director Daniel Alfredson Producer Anita Oxburgh Screenwriter Kerstin Ekman Cinematographer Jörgen Persson Editor Håkan Karlsson Cast Peter Stormare, Robin Lundberg Print Source Swedish Film Institute

Sweden 2008 95 MINS

Wednesday, October 8, 9:30 pm WOLF08S, Sequoia

The Wrecking Crew

You love the music, you’ve listened to these musicians for years, but likely you don’t know their names. The Wrecking Crew were the studio musicians that made the West Coast sound and groups like the Beach Boys, the Byrds and the Monkees famous. “These Boots Are Made for Walkin,’” “And the Beat Goes On,” “Windy” and theme songs to TV classics like Bonanza , Green Acres , Mash, the original Batman series—they played on practically every recorded hit coming out of Los Angeles in the 1960s. Produced and directed by Denny Tedesco (son of Wrecking Crew guitarist Tommy Tedesco), this sharp, witty ﬁ lm gives us the fascinating careers of these essential, previously unsung players. Insider views from Brian Wilson, Nancy Sinatra and Cher, along with tales from Wrecking Crew members themselves, notably Tommy Tedesco, drummer Hal Blaine and bassist Carol Kaye, round out this unforgettably vibrant musical history. —Sean Uyehara

Director Denny Tedesco Producers Suzie Greene Tedesco, Denny Tedesco, Claire Scanlon, Jon Leonoudakis, Mitchell Linden Cinematographers Rodney Taylor, Trish Govoni Editor Claire Scanlon Print Source Lunch Box Entertainment

US 2007 98 MINS

Monday, October 6, 6:45 pm

WREC06S, Sequoia

Wednesday, October 8, 7:00 pm

WREC08R, Rafael

* For live music event information, see page 25.

Zimbabwe

FOCUS: SOUTHERN AFRICA • ACTIVE CINEMA • Director Darrell

James Roodt ( Sarafi na! , Cry, the Beloved Country ) turns his talents to a low-budget fi lm, partly shot guerilla-style, to address poverty and illegal immigration on the South Africa–Zimbabwe border. A young orphaned woman (the charming Kudzai Chimbaira), symbolically named Zimbabwe, seeks refuge from her aunt near the South African border. Receiving a less than open welcome, the girl decides to try her luck in South Africa. Aided and abetted by an amiable, supportive young guy (Tongayi A. Chirisa), Zimbabwe crosses illegally and fi nds a job as a maid. But exploitation follows, and the challenges and disenfranchisement of working without papers become intolerable. Conceived as a project of the International Organization for Migration, Roodt’s black-andwhite digital camerawork gives an immediacy to his subject that underscores the very real drama of those compelled to cross the border in search of a better life. US Premiere

—Zoë Elton

Director/Screenwriter/Cinematographer

Darrell James Roodt Producers Jeremy Nathan, Nicola Simmonds Editor Kosta Kalarytis Cast Tongayi A. Chirisa, Kudzai Chimbaira, Farai Veremu, Natasha Gandi Print Source DV8

South Africa/Zimbabwe 2008 82 MINS

Thursday, October 9, 7:15 pm ZIMB09R, Rafael

LATE ADDITION!

Slumdog Millionaire

Danny Boyle’s uplifting, masterfully crafted ﬁ lm is an unforgettable tale of two brothers, two lovers, two social castes and two cities that are one and the same but light years apart, old Bombay and modern Mumbai. Young Jamal, (Dev Patel) a lowly call-center chai-wallah, is poised to win instant fame and fortune on India’s most popular TV show, Who Wants to Be A Millionare? But before the ﬁ nal high-stakes round, he’s brutally interrogated by police: How could an unschooled “slumdog” get each answer right? Each question unfurls a wash of memories, from the loss of his mother to the fraught relationship with his gangster brother Salim. But Jamal’s survival instinct centers on a single goal: to be reunited with his one true love, Latika (played, as a young woman, by luminous newcomer Freida Pinto).

Based on a novel by Vikas Swarup (Q & A) and adapted for screen by Simon Beaufroy (The Full Monty), Slumdog Millionaire radiates with the unbeatable spirit of life lived to its fullest.

Director Danny Boyle Producer Christian Colson Cinematographer Anthony Dod Mantle Screenwriter Simon Beaufroy

Editor Chris Dickens Cast Mia Drake, Imran Hasnee, Irfan Khan, Anil Kapoor, Madhur Mittal, Dev Patel, Freida Pinto

US/UK

2008 116 MINS

Monday, October 6, 9:30 pm SLUM06C, Cinema

FILM CALENDAR

74PM5PM6PM7PM8PM9PM10PM11PM PM8PM9PM

Religulous 7:00PM REL02R 101 MINS

Flash of Genius 9:45PM FLAS02R 119 MINS

The Secret Life of Bees 7:00PM SECA02S 110 MINS

The Secret Life of Bees 7:15PM SECB02S 110 MINS

5@5: Either Way I Lose 5:00PM 5AT503S 86 MINS 10PM11PM

Around June 7:15PM AROU03R 92 MINS

Burning the Future: Coal in America

6:45PM BURF03R 89 MINS

Synching Blue 7:00PM SYNC03R 108 MINS

5@5: Images 5:00PM 5AT503R 75 MINS The Bird Can’t Fly 7:15PM BIRD03S 89 MINS

Lotte From Gadgetville 4:45PM LOTT03S 81 MINS

RocknRolla 6:45PM ROCK03S 114 MINS

I’ll Come Running 9:30PM ILLC03R 112 MINS

The Home in My Heart 9:00PM HOMH03R 95 MINS

Frank Dead Souls 9:45PM FRAN03R 97 MINS

Cherry Blossoms 9:30PM CHER03S 127 MINS

The Lost Skeleton Returns Again 9:45PM LOSK03S 90 MINS

Last Days of the Fillmore: A Live Multimedia Event 8:00PM MUSC03T 105 MINS

USCINEMAWORLDCINEMAVALLEYOFTHEDOCSCHILDREN’SFILMFESTV(ISION)FEST5@5&MVFFSHORTSTRIBUTES/SPOTLIGHTSSEMINARS/MUSIC/TBA

10AM11AM12PM1PM2PM3PM4PM5PM6PM7PM8PM9PM10PM11PM

RAFAEL

Hafez 11:30AM HAFE04R 98 MINS

Everything Is Fine 11:15AM EVEF04R 118 MINS

The Snow Queen 11:00AM SNOW04R 100 MINS

Nocturna 11:00AM NOCT04S 80 MINS

The Amazing Osamu Tezuka 12:00PM AMAZ04S 74 MINS

Independent Film: Why the Panic? 11:00AM SEM04T 90 MINS

Taking Root: The Vision of Wangari Maathai 1:45PM TAK04R 80 MINS

Insight Joe Wright: The Soloist 2:00PM JOEW04R 70 MINS

Quest for a Heart 1:30PM QUES04R 78 MINS

Stolen 1:15PM STOL04S 110 MINS

Katyn 2:15PM KATY04S 118 MINS

Découpage Digital 1:00PM DEC04T 78 MINS

Wendy and Lucy 4:00PM WEND04R 80 MINS

Second Sight 4:15PM SECS04R 77 MINS

Brink of Life: A Collection of Swedish Shorts 3:30PM BRIN04R 86 MINS

Real Time 4:00PM REAL04S 77 MINS

Explore 5:00PM EXPL04S 74 MINS

Tribute to Paul Schrader 7:00PM TRIB04R 151 MINS

Fujian Blue 6:30PM FUJ04R 91 MINS

Lost Souls and Malcontent Beasties 6:00PM LOSL04R 85 MINS

Quiet Chaos 6:15PM QUIE04S 108 MINS

Children of the Amazon 7:15PM CHIL04S 72 MINS

Paper Covers Rock 7:15PM PAPE04T 91 MINS

Cumbia Connection 9:00PM CUMB04R 95 MINS

Let the Right One In 8:45PM LETT04S 114 MINS

Hi De Ho Show 9:30PM HIDE04S 120 MINS

The Pleasure of Being Robbed 9:30PM PLEA04T 71 MINS At the River 8:30PM ATTH04R 84MINS

FILM CALENDAR

10AM11AM12PM1PM2PM3PM4PM5PM6PM7PM8PM9PM10PM11PM

RAFAEL

The Amazing Osamu Tezuka 10:30AM AMAZ05R 74 MINS

Lotte From Gadgetville 11:00AM LOTT05R 81 MINS

Skymaster, A Flying Family Fairytale 11:15AM SKYM05R 83 MINS

Reunion 12:00PM REUN05S 67 MINS

Mishima: A Life in Four Chapters 1:00PM MISH05R 120 MINS

God Man Dog 1:15PM GODM05R 119 MINS

Cumbia Connection 1:30PM CUMB05R 95 MINS

The Home of Dark Butterﬂies 2:15PM HOMD05S 105 MINS

Fire Under the Snow 12:15PM FIRE05S 75 MINS

New Movies Lab: Active Cinema Panel 1:00PM SEM05T 120 MINS

Idiots and Angels 2:45PM IDTS05S 78 MINS

All Together Now 5:00PM ALLT05R 84 MINS

TYPECAST: The Art of Film Titles 4:15PM TYPE05R 90 MINS

Stolen 4:00PM STOL05R 110 MINS

Burning the Future: Coal in America 4:45PM BURF05S 89 MINS

Call It Home: Searching for Truth on Bolinas Lagoon 5:00PM CALL05S 71 MINS

Children of the Amazon 4:00PM CHIL05T 72 MINS

Everything Is Fine 6:45PM EVEF05R 118 MINS

At the River 6:30PM ATTH05R 84 MINS

Archeology of Memory: Villa Grimaldi 8:00PM ARCH05R 88 MINS

The Lost Skeleton Returns Again 9:30PM LOSK05R 101 MINS

Hafez 8:30PM HAFE05R 98 MINS

Cactus 7:15PM CACT05S 89 MINS

Jerusalema 7:00PM JERU05S 118 MINS

Taking Root: The Vision of Wangari Maathai 6:00PM TAK05T 80 MINS

Mirageman 9:30PM MIRA05S 87 MINS

Cinemasports 8:15PM CINE05T 120 MINS

USCINEMAWORLDCINEMAVALLEYOFTHEDOCSCHILDREN’SFILMFESTV(ISION)FEST5@5&MVFFSHORTSTRIBUTES/SPOTLIGHTSSEMINARS/MUSIC/TBA

5PM6PM7PM8PM9PM10PM

All Together Now 4:30PM ALLT06R 84 MINS

Unna and Nuuk 4:00PM UNNA06R 83 MINS

5@5: Either Way I Lose

5:00PM 5AT506R 86 MINS

RocknRolla 7:00PM ROCK06R 114 MINS

My Marlon and Brando6:00PM MYMA06R 93 MINS Cherry Blossoms 7:00PM CHER06S 127 MINS Explore 7:15PM EXPL06R 74 MINS

Second Sight

4:30PM SECS06S 77 MINS

5@5: Ne Me Quitte Pas 5:00PM 5AT506S 73 MINS The Wrecking Crew 6:45PM WREC06S 98 MINS

CINEMA The Wave 7PM WAVE06C 106 MINS

Hair: Let the Sun Shine In 9:30PM HAIR06R 95 MINS

Goodnight Irene 8:30PM GOOD06R 98 MINS Jerusalema 9:15PM JERU06R 118 MINS

Guest of Cindy Sherman 9:45PM GUES06S 90 MINS

Fujian Blue 9:30PM FUJ06S 91 MINS TUESDAY OCTOBER 7

A Salute to the Wrecking Crew 9:00PM MUSC06T 120 MINS

RAFAEL

5PM6PM7PM8PM9PM10PM

Spotlight on Sally Hawkins 6:30PM SPOT07R 158 MINS

Paper Covers Rock 5:15PM PAPE07R 91 MINS

5@5: Sinnerman 5:00PM 5AT507R 71 MINS

SEQUOIA

5@5: Four Women 5:00PM 5AT507S 83 MINS

SEQUOIA Quest for a Heart 4:00PM QUES07S 78 MINS

Who’s Afraid of Kathy Acker? 7:30PM WHOS07R 87 MINS 32A 7:15PM 32A07S 89 MINS Idiots and Angels 7:15PM IDTS07R 78 MINS

Cactus 9:30PM CACT07R 89 MINS

Lost Souls and Malcontent Beasties 9:15PM LOSL07R 85 MINS

57000 KM Between Us 9:45PM 57KM07S 82 MINS

Adam Resurrected 7:00PM ADAM07S 106 MINS Máncora 9:30PM MANC07S 93 MINS

Tuesday Night Comedy with Mark Pitta and Friends 8:00PM COME07T 120 MINS

Jodhaa Akbar 7PM JODH07C 213 MINS

5@5: Ne Me Quitte Pas 5:00PM 5AT508R 73 MINS

The Wrecking Crew 7:00PM WREC08R 98 MINS

FILM CALENDAR

5PM6PM7PM8PM9PM10PM

You Can’t Do That! 4:45PM YOUC08S 89 MINS My Marlon and Brando 5:15PM MYMA08R 93 MINS

5@5: I Want a Little Sugar in My Bowl

5:00PM 5AT508S 88 MINS

Burned Hearts 7:30PM BURH08R 84 MINS God Man Dog 9:00PM GODM08R 119 MINS Surveillance 9:45PM SURV08R 97 MINS

Gravity 7:15PM LEAR08S 70 MINS What on Earth Have I Done Wrong? 7:00PM WHAT08S 96 MINS

Synching Blue 7:00PM SYNC08T 108 MINS

9 Quiet Chaos 9:30PM QUIE08R 108 MINS Brink of Life: A Collection of Swedish Shorts 9:45PM BRIN09R 86 MINS The Bird Can’t Fly 4:45PM BIRD09R 89 MINS

SEQUOIA

4:00PM BUTT09R 85 MINS

9:30PM MIRA09R 87 MINS Hello, Stranger 6:30PM HELL09R 113 MINS

9:30PM WOLF08S 95 MINS

Who’s Afraid of Kathy Acker? 9:45PM WHOS08T 87 MINS

OUTDOOR ART CLUB (OAC)

HAPPY HOUR DAILY, OCTOBER 3–12

1 West Blithedale Ave., Mill Valley (across the street from CinéArts@Sequoia theater)

The café, run by Maria Maria Restaurant, will serve a menu of innovative as well as traditional Mexican cuisine. Wine, beer and margaritas will also be available. Live music by talented Bay Area musicians will be featured throughout the Festival. Check the board outside the OAC for the daily schedule.

Happy hour: 6:00–7:00 pm, with free wine.

CAFÉ SCHEDULE:

October 3: 4:00–8:00 pm

October 4: 12:30–8:00 pm

October 5: 12:00–8:00 pm

October 6–9: 4:00–7:00 pm

October 10: 4:00–8:00 pm

October 11: 12:00–2:00 pm

FRIDAY OCTOBER 10

RAFAEL

7:15PM ZIMB09R 82 MINS

5@5: Images 5:00PM 5AT509S 75 MINS

5@5: Four Women 5:00PM 5AT509R 83 MINS Tricks 7:15PM TRIC09S 96 MINS

Fire Under the Snow 7:00PM FIRE09S 75 MINS

9:30PM

118 MINS

USCINEMAWORLDCINEMAVALLEYOFTHEDOCSCHILDREN’SFILMFESTV(ISION)FEST5@5&MVFFSHORTSTRIBUTES/SPOTLIGHTSSEMINARS/MUSIC/TBA

5PM6PM7PM8PM9PM10PM11PM

Tribute to Harriet Andersson 7:00PM TRIB10R 150 MINS

How About You 7:15PM HOWA10R 100 MINS

5@5: I Want a Little Sugar in My Bowl 5:00PM 5AT510R 88 MINS

5@5: Sinnerman 5:00PM 5AT510S 71 MINS

Skymaster, A Flying Family Fairytale 4:00PM SKYM10S 83 MINS

Call It Home: Searching for Truth on Bolinas Lagoon 7:30PM CALL10R 71 MINS

Captain Abu Raed 7:30PM CAPT10S 102 MINS

Mommy Is at the Hairdresser’s 7:00PM MOMM10S 99 MINS

Frank Dead Souls 7:00PM FRAN10T 97 MINS

Let the Right One In 10:00PM LETT10R 114 MINS

Sonic Mirror 9:30PM SONM10R 79 MINS

57000 KM Between Us 9:45PM 57KM10R 82 MINS

Real Time 9:45PM REAL10S 77 MINS

Every Night, Loneliness 9:30PM EVNL10S 83 MINS

The Pleasure of Being Robbed 9:30PM PLEA10T 71 MINS

FILM CALENDAR

10AM11AM12PM1PM2PM3PM4PM5PM6PM7PM8PM9PM10PM11PM

RAFAEL

Lessons in Lice, Language and Lipstick 11:00 AM LESS11R 101 MINS

Four Seasons Lodge 12:00PM FOUR11R 102 MINS

Morning Light 1:30PM MORN11R 105 MINS

Teddy Bear 2:30PM TEDD11R 98 MINS

Nocturna 11:15AM NOCT11R 80 MINS

Terra 10:30AM TERR11S 79 MINS

Máncora 11:00AM MANC11S 93 MINS

THROCK

Goodnight Irene 12:45PM GOOD11S 98 MINS

Lifelines 2:00PM LIFE11R 94 MINS

The Betrayal 1:30PM BETR11S 96 MINS

Tribute to Eric Roth 4:30PM TRIB11R 100 MINS

They Killed Sister Dorothy 4:45PM THEY11R 94 MINS

Sonic Mirror 4:30PM SONM11R 79 MINS

Heart of Fire 3:00PM HEAR11S 94 MINS

The Snow Queen 2:00PM SNOW11T 100 MINS

Hania 7:00PM HAN11R 100 MINS

TBA 7:15PM

Burned Hearts 6:45PM BURH11R 84 MINS

Boogie Man: The Lee Atwater Story 5:30PM BOOG11S 90 MINS

Hair: Let the Sun Shine In 4:00PM HAIR11S 95 MINS

The Home in My Heart 4:15PM HOMH11T 95 MINS

Under Our Skin 6:45PM UNDE11S 103 MINS

Découpage Digital 6:30PM DEC11T 78 MINS

The Guitar 8:00PM GUIT11S 92 MINS

Katyn 9:30PM KATY11R 118 MINS

Hi De Ho Show 9:00PM HIDE11R 120 MINS

The Wave 9:15PM WAVE11S 106 MINS Surveillance 9:45PM SURV11R 97 MINS

Guest of Cindy Sherman 8:45PM GUES11T 90 MINS

USCINEMAWORLDCINEMAVALLEYOFTHEDOCSCHILDREN’SFILMFESTV(ISION)FEST5@5&MVFFSHORTSTRIBUTES/SPOTLIGHTSSEMINARS/MUSIC/TBA

10AM11AM12PM1PM2PM3PM4PM5PM6PM7PM8PM9PM10PM11PM

RAFAEL

Terra 11:30AM TERR12R 79 MINS

The Betrayal 11:00AM BETR12R 96 MINS

You Can’t Do That! 10:30AM YOUC12R 89 MINS

Butterﬂies 10:00AM BUTT12S 85 MINS

How About You 1:45PM HOWA12R 100 MINS

Mommy Is at the Hairdresser’s 1:30PM MOMM12R 99 MINS

New Movies Lab: Cinematographers 12:30PM SEM12R 90 MINS

Tricks 12:30PM TRIC12S 96 MINS

32A 12:45PM 32A12S 89 MINS

Tribute to Alfre Woodard 5:00PM TRIB12R 102 MINS

Under Our Skin 4:00PM UNDE12R 103 MINS

Four Seasons Lodge 2:30PM FOUR12R 102 MINS

Where the Water Meets the Sky 2:45PM WHEW12S 96 MINS

Learning Gravity 3:30PM LEAR12S 70 MINS

Archeology of Memory: Villa Grimaldi 2:00PM ARCH12T 88 MINS

Captain Abu Raed 4:45PM CAPT12R 102 MINS

American Violet 8:00PM AMER12R 102 MINS

What on Earth Have I Done Wrong? 6:30PM WHAT12R 96 MINS

Hello, Stranger 7:00PM HELL12R 113 MINS

Lemon Tree 5:45PM LEM12S 106 MINS

They Killed Sister Dorothy 5:15PM THEY12S 94 MINS

Boogie Man: The Lee Atwater Story 4:15PM BOOG12T 90 MINS

Heart of Fire 6:45PM HEAR12T 94 MINS

Wendy and Lucy 7:45PM WEND12S 80 MINS

TBA 8:30PM

RAFAEL

SEQUOIA

THROCK

PROUD SPONSOR OF THE MILL VALLEY FILM FESTIVAL

What makes Pizza Antica different from most pizzerias is the level of polish and style in both the pizzas and the other items on the menu from starters to desserts. The food is high-end in concept yet reasonable in price. Ingredients taste fresh. A few items in each menu category are seasonally driven. In a word, these eats are smart and stylish.

-Leslie Harlib, Marin Independent Journal

M A R I N

EXTRAORDINARY LIVI NG

$2,095,000

Remodeled 5BD/3.5 BA home –glorious views of Mt. Tam, the Valley and Tiburon. Gourmet Chef’s kitchen. John Vantress (415) 717-5992

$1,450,000

Magical approx. one-acre property in Blithedale Canyon. Park-like setting redwoods, stream, and terraced garden. 3BD/ 2.5BA. Carol Adler (415) 987-1969

$1,195,000

Recently remodeled with high-end amenities, stylish and chic. Approx. 1/3 Acre lot. Unique opportunity. Lou Broderick (415) 297-3575

$935,000

Approx. 1/3 acre + separate parcel with a detached 2-car garage. Redwood shingle home. 3BR/1.5BA Dan Godfrey (415) 847-5015

$1,925,000 3 parcels, approx. one acre estate. This stunning home boasts commanding views across the Bay. 4BD/2.5BA. Rose DeAngelo (415) 686-1380

$1,225,000 This is your chance...panoramic bay and Mt. Tam views. This country home offers spectacular views and spaces. Lyndasue Johnson (415) 515-7010

$1,100,000

Special Property in Tamalpais Park. 3BD/2BA with attic area including bedroom & storage. Legal Studio built in 1988. Carol Adler (415) 987-1969

$699,000

Spacious townhome, ready to move in! Light and bright. Remodeled sunny kitchen. Allison Boswell (415) 987-3377

$1,539,000

Remodeled home in West Blithedale Canyon. All day sun, stunning views, minutes to trailheads and downtown. Rose DeAngelo (415) 686-1380

$1,195,000 5BR/3BA 2-story home perched on a hill above Tam Valley. Beautiful views from 2 decks & large windows. Sandra Fitting (415) 302-2605

$998,000

Stunning, like-new, light/bright home has remodeled kitchen, granite counters, GE Proﬁle SS appliances. Audrey Shimkas (415) 847-8331

Level End Unit 2BR/2BA at Water’s Edge. Ida Baugh (415) 505-1617

Best Beverage Catering

www.icgmagazine.com forup-to-dateinfoonfilmand

Celebrate those beautiful autumn days with a visit to St. Clement. Join us for an exclusive tasting of limited production Single Vineyard wines in our newly renovated Winemaker's Lounge. Enjoy a sunny day on the winery terrace and your choice of five wines. Experience St. ClementFeatured in Best of Napa and Sonoma Valleys Magazine as Best Boutique Winery two years in a row.

“Best Pizza West of NY” — Ralph Barbieri KNBR 680

1242 Fourth Street,San Rafael Between B & C Streets One Block West of The Rafael Theatre 415-455-9777

GIRAFFEX

MVFF THEATRICAL TRAILER

AGENCY

ScheyerSF

CONCEPT

Dennis Scheyer

Christopher C.H. Simmons

CREATIVE DIRECTION/WRITTEN BY

Dennis Scheyer

AGENCY PRODUCER

Lisa Sechser

PRODUCTION AND DESIGN

L.inc Design, Inc.

CREATIVE DIRECTOR

Lisa Berghout

CO-DIRECTORS

Ed Apodaca, Mont Watanasiriroch

EXECUTIVE PRODUCER

Anastacia Maggioncalda

PRODUCER

Valerie Tuffy

PRODUCTION ASSISTANTS

Auggie Apodaca, Keri Nielsen

ACCOUNTING

Hanne Buckmaster

PROPS

The Museum of the Unknown

MINIATURES CURATOR

Mickey McGowan

LIGHTING

Magnetic Image Video

EDITORIAL

Barbary Post

EDITOR

Bob Spector

EXECUTIVE PRODUCER

Kristen Jenkins

ASSISTANT EDITORS

David Anderson, Alana Rees

CREATIVE CREDITS

POSTER DESIGN MINE™

MUSIC/SOUND DESIGN

Dustpan

COMPOSERS

Zack Smith, Scot Stafford

SOUND MIX

Skywalker Sound

RE-RECORDING MIXER

Jurgen Scharpf

SOUND OPTICALS

NT Audio

PRINTS

Technicolor

Technicolor Digital Intermediates

PRODUCER

Dana Ross

COLORIST

Tim Peeler

BAKED BEAN BOY V.O.

Dennis Scheyer

BAKED BEAN GIRL V.O.

Odessa Chen

PUBLICITY

AGENCY

Hamilton Ink

PRINCIPALS

Pam Hamilton, Stephanie Clarke

PUBLICISTS

Serene Moussa, Clara Franco, Gabrielle Harris

AGENCY

Larsen Associates

PRINCIPAL

Karen Larsen

PUBLICIST

Kelda McKinney

2008 FESTIVAL STAFF

FOUNDER/DIRECTOR

Mark Fishkin

DIRECTOR OF PROGRAMMING

Zoë Elton

PROGRAMMING

SENIOR PROGRAMMER

Karen Davis

PROGRAMMERS

Kelly Clement

Janis Plotkin

Amanda Todd

Ilya Tovbis

CFI EDUCATION MANAGER/CHILDREN’S FILMFEST PROGRAMMER

John Morrison

ASSISTANT PROGRAMMER

Joshua Moore

PROGRAMMING ADMINISTRATOR

Holly Roach

PROGRAMMING ASSISTANT

Rachel Aloy

SEMINAR COORDINATOR/PROGRAMMING ASSISTANT

Beverly Thorman

OPERATIONS

FESTIVAL MANAGER

David Owen

OPERATIONS MANAGER

Steven Reder

PRINT TRAFFIC COORDINATOR

Chris Stolebarger

PRINT TRAFFIC ASSISTANT

Ron Jennings

FESTIVAL RECEPTIONIST

Noah Nelson

VOLUNTEER COORDINATOR

Lauren Asmus

ASSISTANT VOLUNTEER COORDINATOR

Jennie-Sue Nuccio

DATABASE MANAGER

Myles Downes

SPECIAL EVENTS

SPECIAL EVENTS MANAGER

Jessika Diamond

SPECIAL EVENTS ASSISTANT

Marcie Hutchings

OUTDOOR ART CLUB MANAGER

Megan Caughey

LOGISTICS MANAGER

Paul Hegarty

LOGISTICS ASSISTANT

Craig Walton

ADMINISTRATION/ DEVELOPMENT

MANAGING DIRECTOR

Scott Rowitz

EXECUTIVE ASSISTANT

Maureen Galliani

FINANCE MANAGER

Connie Chang

CORPORATE DEVELOPMENT DIRECTOR

Liana Bender

FOUNDATION AND INDIVIDUAL GIVING DIRECTOR

Atissa Manshouri

DEVELOPMENT MANAGER

Ema Ripley

MEMBERSHIP MANAGER

John Risos

DEVELOPMENT ASSISTANT

Elizabeth Duran

ADMINISTRATIVE ASSISTANT

Abigail Millikan-States

MEMBERSHIP ASSISTANT

Suzi Hynes

MARKETING/PUBLICITY

MARKETING AND COMMUNICATIONS MANAGER

Maureen Dixon

MARKETING ASSISTANT

Krissy Bailey

MERCHANDISE COORDINATOR

Beth Rader

PRINCIPAL PUBLICISTS

Pam Hamilton/Stephanie Clarke, Hamilton Ink

Karen Larsen, Larsen Associates

PUBLICISTS

Clara Franco

Gabrielle Harris

Kelda McKinney

Serene Moussa

PHOTOGRAPHY COORDINATOR

Tommy Lau

Photo credit: Michael Read

PUBLICATIONS/DESIGN

MANAGING EDITOR

Laurie Koh

GRAPHIC DESIGNERS

Rose DeHeer

Michele Johnston

John Mavroudis

Justin Yang

COPY EDITOR

Carrie Pickett

PRODUCTION

Kenneth Lockerbie

Richard Repas

PROOFREADER

Robert Avila

DIGITAL PREPRESS

Richard Repas

PRINT ADS

Winifred MacLeod

DATABASE DESIGNER

Sandy Gow

GUEST SERVICES

GUEST SERVICES MANAGER

Joni Cooper

HOSPITALITY COORDINATORS

Jill Spinelli

Diana Vanderburg

TRANSPORTATION COORDINATOR

Benj Jenkin

THEATER/TECHNICAL OPERATIONS

THEATER OPERATIONS MANAGER

Deanna Williams

TECHNICAL DIRECTOR

Hal Rowland

FESTIVAL THEATER MANAGERS

Kate Aragon

Brittany Cole

Sharon Shay Sloan

TECHNICAL ASSISTANT

Jon Bastian

TECHNICAL ADVISOR

Marty Brenneis

2008 FESTIVAL STAFF

TECHNICAL ADVISOR/EDITOR

Marcus Pun

BOX OFFICE COORDINATOR

Jay Wertzler

BOX OFFICE MANAGEMENT

In Ticketing

SENIOR PROJECTIONISTS

Zoe Cohen

Kara Herold

Nathan Hoffman

Maria Judice

David Krah

Nayt Myers

Doug Nadeau

Max Savage

Jake Waddell

PROJECTIONISTS

Ariel Lopez

Eric Piil

Vee Xu

THEATER STAFF

Chalena Alston, Bianca Arkeen, Annie Barr, Stephanie Behasa, Michael Beuttler, Jacob Brown, Abbey Byers, Sue Campbell, RJ Ciccaglione, Grifﬁ n Couillard, Alberto Diaz, Saundra Efron, Rory Flay, Ian Franklin, Riordan Harlib, Chase Harris, Michael Hawk, Rachel Hill, Suzi Hynes, Tim Isom, Maria Jones, John Kemmeter, A.T. Lynne, L. Jeffrey Moore, Hayley Nenadal, Mario Osoteo, Jennifer Preissel, Dyan Redford, Phoebe Ross, Natalie Schoch, Cole Sutton, Alysanne Taylor, Jane Weber, Becky West, Patricia White

CHRISTOPHER B. SMITH RAFAEL FILM CENTER

DIRECTOR OF PROGRAMMING

Richard Peterson

MANAGER

Dan Zastrow

PROGRAMMING AND PUBLICITY ASSOCIATE

Maureen Dixon

PROGRAM CONSULTANT

Jan Klingelhofer

ASSISTANT MANAGER

Tim Fross

SHIFT MANAGER

Emily Hill INTERNS

PROGRAMMING INTERNS

Kate Hupp

Erik Piil

Kate Roessler

Matthew Smith

Asalle Tanha

Blake Thorman

Vee Xu

COMMUNITY OUTREACH INTERNS

John Ahlers

Shevaun Stapp

SPECIAL EVENTS INTERN

Julie Le

Carole Meyer

Jennifer Oberti

Michelle Wilson

EDUCATION INTERNS

Brooke Dooley

Joanne Sorresse

Stacy Yip

DEVELOPMENT INTERN

Beverly Sterry

CFI INTERNS

Gary Flatow

Muriel Hammond

Murray Hammond

Betsy Abendroth

Jannike Åhlund

Nicolette Aizenberg

Ioan Allen

Gunnar Almér

Brian Auger

Janaki Bakshi

Richard Barker

Jerry Barrish

Nat Baruch

Danielle Bélanger

Brian Belovarac

Peter Belsito

Dan Berger

Chuck Berghofer

Andrea Bertolini

Elvin Bishop

Linda Blackaby

Hal Blaine

Ehud Bleiberg

Ann Brebner

Marty Brenneis

Broken Drum Brewery & Wood Grill

Jeffrey Brown

Tom Bruchs

Desiree Buford

Kristina Bünger

Rita Cahill

California Newsreel

Sarah Cathers

CFI Advisory Board

CFI Board of Directors

CFI Emeritus Board

CFI Founding Board

Micheline Chau

Chicago Film Festival

Cima Media International

Stephanie Clarke

Jonathan Clyde

Bill Cobham

Howard Cohen

Cassandra Cosby

Peter Coyote

Danish Film Institute

Ninfa Dawson

Valerie de la Pena

Austin de Lone

Aurora Dennis

Kristi Denton Cohen

Denver Film Festival

Stephen Dobbs

Dolby Laboratories

Dot

Elizabeth Duran

Lauren Dutton-Breen

Ingrid Eggers

Jens Carl Ehlers

Moy Eng

Explore

Kim Facas

Farabi Cinema Foundation

Michael Farmer

Emily Feingold

David Fenkel

Doug Ferguson

Film Finders

Filmtecknarna

Sarah Finklea

The Finnish Film Foundation

Lindsay Fishkin

Lorrie Fishkin

Nancy Fishman

Gary Flatow

Jim Flavell

Andreas Fock

Ben Fong-Torres

Julie Fontaine

Michael Fox

Fox Searchlight Pictures

Neil Friedman

Sid Ganis

Mark Garwood

Felecia Gaston

Daven Gee

Susan Gerhard

John Goddard

Dan Godfrey

John Godsey

Goethe Institute

Brian Gordon

Leonard Gordon, M.D.

Laurel Graver

Nancy Gribler

Gillian Grisman

David Guastavino

Lynne Hale

Gary Hamilton

Pam Hamilton

Muriel Hammond

Muriel and Murray Hammond

Hilary Hart

JoAnn Hastings

Bob Hawk

David Haydon

Eva Haydon

Lars Hedenstedt

Anna Heidinger

Ron Henderson

Bob Hoffman

Holland Film

Douglas Holmes

Karen Holmes

Melissa Howden

Mary Hrize

Marcus Hu

Marc Huestis

Suzi Hynes

Richard and Susan Idell

Imcine

Joel Jaffe

Terri Jaffe

Aliya Jaffe Whitney

Perry Jeff

Michele Johnston

Juanita Jones

Jin Woo Joo

Marit Kapla

Betsy Kenney

Nancy Klasky

Jeffrey Klein

Jan Klingelhofer

Melody Kornbrot

ACKNOWLEDGMENTS

Rose Kuo

Claudia Landsberger

Jay Lane

Pascale Langlois

Karen Larsen

Larry Lautzker

Graham Leggat

Sydney Levine

Lee Lewis

Mitchell Linden

LionsGate Entertainment

Ken Lockerbie

Bill Longen

Bruce Lowry

Mickey Luckoff

Monique Luddy

Tom Luddy

Jennifer MacCready

Becky MacDonald

John MacLeod

Ray Manzarek

Van and Lydia Maroevich

Dan Martin

Scott Mathews

Peter McLaughlin

Wendy McLaughlin

Bill McLeod

Roger McNamee

Denise Meehan

Ann Marie Melanephy

Menemsha Entertainment

Lucy Mercer

Gary Meyer

Mill Valley Library

Mill Valley Merchants

Anita Monga

Anne Montgomery

Moonalice

Cornelius Moore

Julie Morgan

Brighde Mullins

Sue Muzzin

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Baldossari, Wyna J. Barron, Marcus Benedetti, Barbara Jane Benedict, Virginie Berger, Jan Berry-Kadrie, Brian Bettini, Pam Bird, Patricia Blau, David Blaza, Teresa Blok, Katherine Bloodworth, Elizabeth Bolton, Patricia Bonfi lio, Melinda Booth, Ed Boyce, Jennifer Bradley, Girija Brilliant, Charles Bronson, Ronald Brown, Carla Buchanan, Patricia Cahill, Jill Callahan, Carney Campion, Louise Capozzi, Helga Carlton, Caroline Chapman, Leonard Charles, James Chenney, Janet Coleman, Frank Colin, Leslie Connarn, Richard C. Conrad, Carlene Cordova, Betsey P. Cutler, Peter Daly, Alicia Corbett Davis, Lana Davis, Susie Decigaran, Julie Demaestri, Renée Des Tombe, Thomas E. Dorsaneo, Bette Dunham, Susan Durbrow, Nancy Econome, Kristen Eimiller, Carol Ekelund, Eric Engstrom, Annabella Erikson, Nancy Farese, David Farey, Aaron Ferguson, Elizabeth Fernbacher, Joanne Ferro, Shawn Fitzpatrick, Justin Flake, Scott France, Margot H. Fraser, Joan R. Freidman, Doris Friedman, Ruth Friedman, Holly Gadsby, Beth Galaif, Sue Galassi, Lawrence Gelb, Debbie Geller, Elissa Giambastiani, RK Gin, Amiram Givon, Marie M. GoffTuttle, Paul C. Goldsmith, Peter Goodman, Sylvia Goodman, Ken Gosliner, Frances Gray, Robert Greber, David Green, Marilyn Greenblat, Clara Greisman, George Gund III, Mary Halbert, Jane Hall, Phyllis Hancock, Kathe N. Hardy, Kimberly Harmon, Eric Henry, Nancy Hilty, Lisa Himelstein, Eileen H. Hinkson, Jacquelyn Hoffner, Stephen Hollinsworth, Krista M. Inchausti, Chuck Isen, Richard C. Johnson, Jennifer Johnston, Brandon Katcher, Virginia Keeley, Francesca Kennedy, Alyson Kernohan, Amy Keroes, Ashok Khanna, Nino Kiraly, Carolyn Klenk, John Klock, Stanley Krippner, Jack Kronfi eld, Judith Layne, Robert Lea, Alexandra Lederer, Neil Lehrman, Barbara Lekisch, Karen Lievense, Maika Llorens, Shirley Long, Barbara Luttig-Haber, Merrill Mack, Robert W. Macke, Dianne Maher, Melvyn Mark, Laura Marks, Gloria Martinez, Joshua Masse, Robert T. Matthew, Yvonne Mcallister, Paulette McDevitt, Marie McEnnis, Deborah McNeil, Gail M. Meblin, Barbara Meislin, Stephanie Mendel, Mary-Ann Milford-Lutzker, Marvin Miller, Mary Miner, Joanie Misrack, Robert Morgan, Dorothy Mott, Fraser Muirhead, Dennis Mulqueeney, Catherine Munson, Bill Murray, Al H. Nathe, Frank Nelson, Sharon Nevins, Kate Novak, Laura O’Malley, Wulfrin Oberlin, Cindy Ostroff, Barbara Z. Otto, Jay Owens, Steven Padover, Leigh Page, Judy Patton, Joyce Pavlovsky, Larry Pearson, Anne Pelletier, Linda Penzur, Jeff Perry, Jessie Peterson, Susan Piallat, Stephen Piatek, Peter Pike, Dennis Poggenburg, Lisa Polson, Thomas W. Price, Susan Proctor, Michael B. Proudfi t, Billie Purdie, Shahla Raffl e, Lidia Rajeff, Lewis Rasky, Douglas Reilly, Ulla Reilly, Annie Roney, Mel Ronick, Hal Rowland, Jillian Rudman, Susan M. Saks, Tom Sargent, Charyf Sayre, Judy Schaefer, Daniel L. Scher, Jon Schmidt, Andrea Schnitzer, Nathalie Schreier, Andrea Schultz, Barbara Schwartz, Sidney Schwartz, Robin Scott, Terry Seligman, LaLene Shepard, Skip Sikora, Esther J. Sinclaire, Angelo Siracusa, Susan A. Sklar, Fiske Smith, Lisa Smith, Judy Somers, Charles Spaulding, Marcia Sperling, Sandra Stawbridge, Leonard Stecklow, Cynthia Sullivan, Beverly Tanner, Caryn Tantilla-Lentz, Robert Tollen, Nora Turner, Stan Vail, Constance Vandament, Maria Villani, John Wallace, Bruce Walters, Tanis Walters, Suzanne Warner, Jon Wedereit, Marlena Weinstein, Jeffrey Weissman, Louis Weller, Anita Welter, D. Werdegar, Barbara Wilkes, Ann D. Williams, Jeanne Wilson, John W. Wilson, April Wolcott, Jim Wright, Marina Wright, Simon Yung, Andrew Zabko, Claudia Zani

GOLD STAR

Pam Abendroth, Elaine Accampo, Claire Adams, Jack Adams, Chris Adessa, Amiee Alan, Karen Albini, Terry Anderson, Janice Anderson-Gram, Nancy H. Angelo, Carole Angermeir, Douglas Ascher, Claire Auslen, Janet Austin, Madeleine Austin, Fabio Aversa, Maria Aversa, Anne Baele-Kouns, Georgia Bailey, Stanley Bailis, Diane Baker, Richard Baker, Suzanne Baker, Renee Balmert, Kathryn Barcos, Amy Barnett, Theodore H. Barnett, Carol Batte, Robert Becker, Martina Bedar, Jean M. Bedecarrax, Madeleine B. Behle, Bahram (Bob) Behray, Patricia Hale Belden, Melissa Belli, Liana Bender, Sue Bennett, Paul Benson, Marshall Bentley, Gina Berg, Ernest M. Bergman, Linden Berry, Robert Berry, Paurvi Bhatt, Sita Bhaumik, J. Tim Biddle, Adrienne Biggs, Shahram Bijan, Arthur Bjork, Franklin Blackford, Jude Blake, Earl Blauner, Nancy Bloom, Margaret Blunt, Jacqueline Bly, Nancy

Bobby, Leilani Borenstein, Alan Boyar, Gray Boyce, Jim Boyce, Rick Bradley, Robert Bradshaw, Daniel Brady, Mimi S. Brasch, Bernadette Bray, Mara Brazer, Anji Brenner, Dick Bright, Lisa G. Brow, David Brown, Jane Brown, Martin Brownstein, Nanci Buck, Janet Buder, Judy Burgio, Gary Burke, Machelle L. Burkstrand, Marilyn S. Burns, Robert Burton, Kathy Burwell, Robert Butler, Cia Byrnes, Loreley Caetano, Bill Cahill, Jane Calbreath, Peter Cane, Joan Capurro, Lynne Carmichael, Marilyn Carreras, Cathleen Carter, Donna Casella, Padma Catell, Tania Celante, Brian Chadbourne, Nancy Chandler, Jane Cheshire-Allen, Kirk Citron, Stephanie Clarke, Marilyn Cleland, Barbara Clifford, Leslee Coady, Ann Coffey, Richard Cogan, Harris Cohen, Janet Mercer Cohen, Nina R. Cohen, Paul Cohen, Robert Cohen, Don Cohon, Cayla Coleman, Frank Collin, Ted Congdon, Frank Connell, Cecilia Conte, Pali Cooper, Wayne Cooper, Ron Cope, Jacqueline Cormier, Marju couris, Molly Coye, Will Csaklos, Jeff Cullen, Gatian Cunningham, Richard Cunningham, Nancy Curley, Diane Curtis, Linda Curtis, Violaine D’Amour, Catherine Dahlstrom, Cynthia L. Daifotis, Robert Dalva, Gail Danchig, Abby Danielson, Gayle Dansky, Jennifer Dardis, Melinda Darlington-Bach, Leslie Davidson, Drusie Davis, Peter Davis, Robert Dawson, Vickie J. Day, Kathryn Deems, Warren J. DeGraff, Kathy DeLeon, John Dellaverson, Janine DeMartini, Matthew DeMenno, Nikole Denton, Anne Desmond, Mari Jon Di Basilio, Victoria Diotte, Janeanne Doar, Hillary D. Don, Gillian Donahey, CR Douglas, Ruth Downing, Kathryn Drake, Daniel Drasin, Brian Duggan, Susan Duncan, James Dunn, Sheila Dutton, Marla Lee Eaton, Mary Edwards, Richard Einstein, Dinna Eisenhart, Nancy Ellenbogen, Lisa Ellis, Suzanne Engelberg, Steven Englander, Robert Engman, Monique Epstein, Ruth Epstein, Judith D. EtsHokin, Anna Everest, Joseph A. Faimali, R Thomas Fair, B.F. Falk, Tom Farmer, Richard Farrell, Bill Farrer, Verenna Faulkner, Richard Favaro, Saul Feldman, Josh Felser, Carol Felton, Eric Fenster, Alan Feren, George Fernbacher, Rachel Ferrier, Lynda Fiesel, Virginia L. Fifi eld, Richard Fikes, Cheryl Finley, Gary Flatow, Phillip Fleishman, Carl Flemming, JeanLouis Forcina, Arlene Ford, Cheri Forrester, Jan Foster, Chris Fouts-Stanton, Abbi K. Fox, Deborah Fox, Federick Fox, Lynne Frame, Bruce Frantzis, Gerald Fraser, Jessica Frederick, Janet Gay Freed, Michael Freed, Jeffrey Freedman, Richard Fregulia, Jeffrey Freiberg, Sheldon Freisinger, Jeffrey French, Mark Friedlander, Ruth E. Friend, Lisa Frisch, Lindsey W. Fross, Stephanie Fuelling, Candice Fuhrman, Jack Futoran, Michael Gaines, Peter Gamez, Frank Gamma, Meredith Gandy, Sanford Garfi nkel, Mark Garwood, Peter Gavin, David Geisinger, Warren George, Rita Gershengorn, Jacqueline Gerson, Lewis Gibbs, Dennis Gilardi, Jeffrey E. Gilliam, Nina Gladish, Candice Gold, James Goldberg, Barbara Golden, Larry Goldfarb, Shelley M. Gordon, Lenore J. Gordon-Kokjer, Bernard Z. Gore, Linda Gore, Ned Gorman, Catherine T. Goshay, Lori Grace, Linda Graham, Etty Green, George M. Green, Frank Greene, Zane Gresham, Courtenay Griffi th, Linda K. Groah, Maureen Groper, Daniel L. Grossman, Sabrina Grossman, Nancy Grover, Diane Grubb, Ralph Guggenheim, David Guggenhime, Mike Hadley, Randall Hagar, Stuart Hagmann, Kathleen Hahn, Carie Haimovitch, Lynne Hale, Fran Halperin, Marvin Halpern, Pam Hamilton, Muriel Hammond, Joan Hansen, Chelsea Hardesty, Karen Hardesty, Tom Hardle, Garry Hare, Steve Harnsberger, Kevin Haroff, Lauri Harper, Elizabeth Harrington, Steven Harris, Gayle Hartsook, Fern Hassin, Reilly Hayes, Helen Hebert, Michael Hebert, Charles Hemminger, Abigail Hemstreet, Tom Herington, John Hess, Jane Hills, Faye Hinze, Elizabeth Hockinson, Tara Hoddy, Bob Hoffman, Cheryl Hogan, James Holden, Jill Holden, Patricia Holden, Holly S. Hollenbeck, Deborah Holley, Karen Holmes, Lori Holmgren, Eliot Holtzman, Terryl Holzinger, Derek Hooper, Philip Hordiner, Peter C. Houser, James Howard, Jo Howard, Jim Howey, Trevor Hughes, Suzi Hynes, Michael Ingerman, Mitzi Inglis, Patricia Irwin, Jeff Ivarson, Susan Jacobs, Dennis Jaffe, Helene Jaffe, Joel Jaffe, Kristin Jakob, Lisa James, Grace Janho, Michael Jantze, Nick Javaras, Roberta Jeffrey, Janet Jennings, Robert Jennings, Buz Johanson, Jill C. Johnson, Jyll Johnstone, Brian Jones, K. Mary Jones, Lawrence Jordan, Diane Jorgensen, Laura Jorgenson, Alison Juestel, Roshan Kaderali, Jeanette Kadesh, Laurie Kahn, S. David Kalish, Gail Kane, Lynda Kanzler, Lawrence Kaplan, Raymonde Kaplan,

Dan Kasman, Peggy Katcher, Suzanne Kavert, Alan J. Kay, Barry Kay, Marju Keane, Gillian Keirle, David Kell, Gregg Kellogg, Todd Kendall, Tom Kernan, Russ Kiernan, Julie Kimball, Kathleen King, Gail Kirst, Christina Kitze, William Kleinecke, Donna S. Kline, Michelle Klurstein, Claire Koffel, Craig Kolb, Howard Kopit, Bruce Koren, Kathleen Korth, Josephine Kreider, Kishore Kriplani, Jeff Kroot, K.H. William Krueger, Robert Kustel, Suellen Lamorte, Renee Lande, Monica Lange, Nancy Lange, Jeffrey Lapic, Siobhan LaPlaca, Jean Larette, Patrice Larkins-Jones, Karen Larsen, Melissa Lasky, Michael Lasky, Larry Lautzker, Kathryn Lazzaretti, Eileen Leatherman, Peter Lenn, Louis C. Lenzen, Ellen Lerner, Myla Lerner, Leslie Leslie, David Lesnini, David Levine, Susan B. Levine, Warren Levinson, Bob Levy, Mark Levy, Valerie Lindsay, Scott Lindstrom-Dake, Mark Litwin, Ruth Livingston, Trudie london, James Long, Ellen Loring, Ed Lowe, J Mitchell Lowe, Jennifer Lucas, Angela Luchini, Michael Luckoff, Bruce Lusignan, Marijane Lynch, Cheryl S. Lyons, Jim Lyons, John MacLeod, Anastacia Maggioncalda, Charles Maher, Jan Maisel, Lori Malm, Michael Malone, Gordon Manashil, Bill Manheim, Lisa Mannheimer, Michele Manos, Jeanette Margolin, Gordon Marks, Michael Marron, Diane Martin, Susan ‘Sioux’ Matson-Krings, Tom McAuliffe, John R. McCabe, Trish McCabe, John McCauley, Alice McCulloh, Carla McDonald, Berta McDonnell, Bill McKeon, Cameron McKinley, C. McKown, Stephen McMahon, Steve McNamara, Wallace McOuat, Nancy Meden, Paige Medina, Ann Marie Melanephy, Bob Mendelsohn, Laura Merlo, Miriam Meshel, Lauren Metzroth, Merle Meyers, Kathleen Mikkelson, Chris Miller, Abigail Millikan-States, Madhav Misra, Stephen Mizroch, Kathleen Moore, Kathryn Moore, Sheila Moore, Jann Moorhead, Penelope More, Julie Morgan, Richard H. Morgensen, Barbara Morrison, Dianne Morrison, David Mount, Katie Mullowney, Linda Munoz, Theresa Munoz, Russell Munsell, Walter Murch, Dennis Muren, Jeffrey L. Myer, Alice Nadler, Louise F. Nave, Anita Naylor, Dan Nelson, Mark Nelson, Linda Nero, Meg Newcomer, Robert Newcomer, Bea Newhall, Abby Margolis Newman, Thomas Newman, Lisa Nicholls, Marianne Nishifue, Dan Nishimura, Suzanne Noe, Katherine Norby, Mark Northcross, Thomas O’Connell, Rudi O’Meara, Richard W. Odgers, Carol Olwell, Paul Orbuch, Marilyn Oronzi, Steve Oroza, David Ortez, Georgette L. Osserman, Trish Ottens, David Owen, Michael Painter, Shiva Pakdel, John Palmer, David Parisi, Cynthia Parker, Gerald Parsons, Robert Pedrin, Bob Peisert, Debra Pellinacci, Melanie Pena, Glenn Perelson, Kelli Petersen, Neil Peterson, Paul Peterzell, Gary Phillips, Tyana Pierce, Patricia Pignan, Janne Platt, Michael Polaire, Denise Polt, Marie Porti, Andrew Poulain, Jeanne H. Price, Madeleine Provost, Sarah Pruden, Paul Prusiner, Christa Quinn, Beth Rader, John Rader, Mary Lou Ragghianti, Katherine Randolph, Barbara Raymond, Margaret Redﬁ eld, Frank Rettenberg, Susan Reutern Prokuski, Stephanie Richards-Brown, Philip Richardson, Peter Richmond, Richard S. Riede, Steve Riffkin, Ema Ripley, John Risos, Jeanne Rizzo, Susan RoAne, Diane Robak, Val Robichaud, Ken Robin, Jill Robinson, Cathleen Roche, Peter Rodgers, Alexandra Rome, Thomas Rosbrow, Richard B. Rose, Louis Rosenbaum, Beth Rosener, Dan Ross, Stewart Ross, Morton Rothman, Richard Rozen, Jonathan T. Rubens, Stuart Rudick, Fred Rudow, Susanna Russo, Carole Rutherford, Helen Rutledge, Donna Saberman, Mark Sachs, Benny Sadeh, Gretchen Saeger, Lito Saldana, Tom Sampson, Mark Sanders, Frank Sarmir, Patricia Sarris, Maggi Saunders, Naomi Saunders, Cynthia Sawtell, Deborah Scales, Jeffrey M. Scales, Rob Schacter, Jack Schafer, Mark S. Schatz, Lois Scheinberg, Rudi Schmid, Elizabeth A. Schmitt, David Schnapf, Jeffrey Schneider, Lorin Schneider, Roseann Schneider, David Schrader, Donald J. Schuerholz, Herb Schuyten, Bruce Scott, Jane Scott, Steve Scott, Jeff Sears, Keven A. Seaver, Karen Serlin, Carol Shagoury-Harper, Peg Shalen, Joseph G. Shanks, Ann Shaw, Lynda Sheehan, Shannon Sheppard, Kathleen Shore, Eileen Siedman, Dan D. Siegel, Michael Silberstein, Harold Silen, Ivan Silverberg, Gail Simmonds, David Simoni, Jon Sinclaire, Jane V. Singer, Harriet Sirota, Marcus Siu, Franz Skinner, Helen T. Sklov, Matthew Slepin, Charles Slutzkin, Caroline Smith, Dina Smith, Judy Smith, Lee Smith, Martin A. Smith, Antoinette Snyder, Vivian C. Snyder, Ben Soldinger, Joan Sommer, Judith Sommer, Leonard M. Sperry, Bonnie Spiesberger, Michele Spitz,

CFI MEMBERS

Bettina Sporkenbach, Kate Stanton, Steve Starkey, Gail Cohon Stein, Molly Sterling, Richard Stern, Beverly Sterry, Saor Stetler, Barbara Stewart, Joe Stewart, Alan Stier, Kathleen Stone, Norman Stone, Terry Strauss, Steve Stromberg, Chuck Stuckey, Virginia Sturdevant, Charles Sugarman, Barbara Summers, Susan T. Sutton, Sandy Sverdloff, Sanford Svetcov, Jay Sweet, Toby Symington, Julia Sze, Peter Tabet, Cheryl D. Tallman, Carole Talmage, Laura Tauber, Sari Taylor, Rochelle Teising, Donna Terdimon, Mary Terrill, Phyllis Thelen, Ellen F. Thomas, John Thomas, Kathleen Thompson, Will Thompson, Tom Thorner, Anne Tillotson, Jon Tomashoff, Barbara Tomber, Richard Torney, Trudy Totty, Peggy Tuescher, Mel Tukman, Michael Ian Turan, Nanci Turnbull, Gene Turtle, Janna Ullrey, Alan Unger, Susan Upshaw, Kevin Uriu, Kirk Usher, Chris Valentino, Richard Vance, Linda Waddington, John Wahl, Martha R. Walters, Deirdre A. Warin, Christina Warren, Clare Wasserman, Jessica Wasserman, Robyn Ross Watson, Elizabeth (Betsy) L. Waud, Benjamin Wayne, Barbara Webb, Phyllis Weber, Milton Weiss, Steven Weiss, Jean Claude West, Jim Wetherby, Mary Jane Wets, Susan Wheel, Lawrence White, Sandy White, Frances Whitnall, Chris Wilson, Jody M. Wilson, Thomas D. Wilson, Tiana Wimmer, Lynne Windfeldt, Monique Winkler, Mordechai Winter, Nancy Wiser, Najean Witt, Stephanie Witt, Stephanie Witt, Entela B. Wolberg, Amber Wong, Kirke Wrench, Christine Wright, Deborah Wright, Thomas Wright, Annella Wynyard, Kenji Yamamoto, Joan You, Jerry Young, Sylvia Young, Kate Zawistowski, Kelly Zecherle, Ami Zins, Anne Zishka

DIRECTOR’S CIRCLE

Toni Albert, Ioan Allen, Mark Anderson, Trent W. Anderson, Yvonne Angelo, Elliott Baim, Helen A. Baldovinos, Julie Ballard, Greg Batlin, Joanna Beard, Mark E. Bettini, Albert J. Boro, Gina Brewer, Delia Brinton, Michael Bronshvag, Kelly Browning, Edwin Train Caldwell, Anne Caple, Linda Carter, Joel Coopersmith, Bridget Cunningham, Mary Diamond, George Diruscio, Cassius Downs, Kevin Duncan, Julian Eggebrecht, Mary Farmer, Dennis Fisco, James H. Forsell, Neysa Furey, Leonard Gordon, Richard Gordon, Alice Gray, Nancy Gribler, Charlotte Gurin, Richard Harris, Alfred Heller, Allan Herzog, Marcelo Hirschler, Clarke Holland, Bettina Hughes, Kimberly Hughes, Allan E. Jackman, Chuck Kavitsky, Doug Ley, Janice J. Link, William Lowe, Christina McArthur, Tim McCarthy, James McElwee, Nion McEvoy, Andrew M. Mecca, Melinda Moore, Glee Murphy, Sue Muzzin, David Nasaw, Jacklyn E. Ng, Melanie Nichols, Ellen Obstler, Philip Ouyang, Robin Parer, Jan Pinkava, Russ Pratt, Dianne Provenzano, Bruce Raabe, Wini Ragus, Marty Rayman, Gary Rifkind, Rosemary Roach, Courtney Roberts, Nancee Rubinstein, Edwin P. Sabrack, Mark Sandoval, Dorene Schiro, Carolyn W. Shaw, Sharon Sherrard, Bradford Simkins, Jenny Smith, Carol Solomon, Georgia A. Stapleton, Blake Thorman, Kathryn Thyret, Evelyn Topper, Marjolaine Tremblaysilva, Diane Wakelin, Judy Webb, Penny Whiting, Richard Wimmer, Bruce Wintroub, Connie Yang, Sherry Zagunis, Martin Zankel

PREMIER PATRON

Stewart Boxer, Virginia Brenner, William Burkart, Tom Cohen, Denver Coleman, Doug Ferguson, Kathleen Gaines, Roy C. Hardiman, Lynn Holton, Tony Hooker, Michael Jackson, Elisabeth Jaffe, Michael Kasman, Pamela Levy, William Love, Carol Marshall, Patricia C. McDowell, Tamra Mobley, Kevin O’Malley, Thomas Obletz, Susan Pearlstine, James Redford, Kirsten Shilakes, Mary Lee Strebl, J. Dietrich Stroeh, Ray Taylor, Mary Walsh, Eileen West, Brian Wilson

CINEMA BENEFACTOR

Michael Besselievre, John Blockey, Joe Carlomagno, Russ Colombo, Judy Doherty, Joanne Dunn, Steve Edelman, Larry Eilenberg, Paul M. Elliott, Melissa Fairgrieve, Joseph Fink, Mark Fishkin, Sharon A. Fox, Yolanda Gibson, Joan Gilbert, Paul Ginsburg, Michelle Grifﬁ n, Nannette Griswold, Leslie Hansen, Richard Idell, Kristine Jaeger, Kathryn E. Johnson, Doug Kaye, Carole S. Kennedy, Anne LaFollette, Lisa Layne, Victoria Love, Deborah Matthies, James Mochizuki, Harold Parker, Dwight R. Peterson, James Plessas, Chuck Pratt, Ellie Price, Art Rothstein, Steve Shane, Bradley Shore, Francoise Stone, Peter Trethewey

Event and LimousinesParty

10 Italian Lessons

SF Art & Film 415 864 2026 rchase@chaseartﬁ lm.com ﬁ lmworkshopsf.org

32A

Beta Film Gmbh

+49 89 673 49 823 +49 89 673 469 888 delphine.eon@betaﬁ lm.com betaﬁ lm.de

57000 KM Between Us Les Films du Poisson +331 4202 5480 +331 4202 5472

The Absence

Neemtree Productions +361 202 1916 +361 212 9279 tamara@neemtree.net neemtree.net

Adam Resurrected

Bleiberg Entertainment

310 273 0003 310 273 0007 info@bleibergent.com bleibergent.com

Adventures of Josh Wolf: Activist

Video Blogger

Donna Lee 510 919 0291 ddlee33@gmail.com

Alexandra HI Film

+4 021 252 4866 ofﬁ ce@hiﬁ lm.ro

All Together Now Apple Corp

+011 44 207 761 9600 jonathan@applecorpsltd.com

American Violet Mitropoulos Films 310 567 9336 mj@mitropoulosﬁ lms.com

Archeology of Memory: Villa Grimaldi

Interfaze Educational Productions, Inc. 510 548 2515 marilynmulford@yahoo.com

Around June Fog City Pictures

415 522 1200 415 522 1200 jb@sfdigiﬁ lm.com

Ask Me No Questions

FilmTecknarna

+46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

Aston’s Stones Swedish Film Institute petter.mattsson@sﬁ .se

At the River Odesa Film Studio

38 048 233 95 92 sales2@odessaﬁ lm.net

Bachelorette, 34 Kara Herold 415 307 5272 karaherold@gmail.com karaheroldmedia.com

The Bee SF Art & Film 415 864 2026 rchase@chaseartﬁ lm.com ﬁ lmworkshopsf.org

Benji and Judah Pundit Productions 510 846 4378 hguggenheim@comcast.net punditproductions.com

The Betrayal Isotope Films 212 659 3738 646 216 4201 jaclyn@isotopeﬁ lms.com

Betty + Johnny Ellen Lake 510 595 0525 ellenlake@hotmail.com ellenlake.com

The Bird Can’t Fly East West Film Distribution ofﬁ ce@eastwest-distribution.com

Bloodsucker Program in Documentary Film, Stanford University 413 335 3002 emailmeghan@yahoo.com meghanohara.com/bloodsucker

Boogie Man: The Lee Atwater Story InterPositive Media 917 450 3847 stefanforbes@earthlink.net

Boulevard l’Océan Petrouchka Films 0033 1 4340 5691 petrouchka.ﬁ lm@infonie.fr

Breath

Hsiao-wen Chiu +886 953 919 006 B88206007@ntu.edu.tw

Broken Down Film Les Films du Paradoxe +33 1 46 49 33 33 +33 1 46 49 32 23 ﬁ lms.paradoxe@wanadoo.fr ﬁ lmsduparadoxe.com

Burned Hearts KS Visions +331 46 28 14 13 virginie@ksvisions.fr ksvisions.fr

Burning the Future: Coal in America

Odessa Films 718 832 7272 718 832 7273 dnovack@nyc.rr.com

Butterﬂ ies Swedish Film Institute petter.mattsson@sﬁ .se

Button-Up

SF Art & Film 415 864 2026 rchase@chaseartﬁ lm.com ﬁ lmworkshopsf.org

Cactus Open Space Films 61417695822 jasmine@openspaceﬁ lms.net

Cairn

Norwegian Film Institute +47 22 27 45 73 +47 22 47 45 97 amb@nﬁ .no

Call It Home: Searching for Truth on Bolinas Lagoon Chayes Productions 707 782 9131 707 782 9131 billchayes@gotsky.com chayesproductions.com

Campﬁ re Song Sarah Klein 415 310 4225 thesarahklein@yahoo.com sarahklein.com

Captain Abu Raed Gigapix Studios 818 592 0755 dpritch2003@yahoo.com

Carlos Catani Cinecantina.com 646 546 6175 marcos@cinecantina.com

Centigrade Collingwood Management centigradethemovie.com

Chainsaw f-reel pty ltd

61 3 9510 1880 61 3 9529 1079 info@junglepictures.com.au

Checkooo

FilmTecknarna

+46 8 442 7300

+46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

Cherry Blossoms Strand Releasing 310 836 7500 310 836 7510 marcus@strandreleasing.com

Children of the Amazon ZDFILMS 415 378 7436 denise@zdﬁ lms.com zdﬁ lms.com, childrenoftheamazon. com

Chronicles of Lady Recycla and Captain Compost

SF Woman’s Media Arts Project 510 235 0709

scarlett@womensﬁ lmfestival. us.sfwff.com

Combat Lover

FilmTecknarna

+46 8 442 7300

+46 8 442 7319

ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

The Coyote and the Tortoise FatCat Animation Studios 602 540 0456 480 838 0102 joeh@fatcatanimation.com fatcatanimation.com

PRINT SOURCES

Cumbia Connection René U. Villarreal renevich@gmail.com

Dance-a-Bet CP Collaborations 415 479 5709 415 499 5704 cpepperdance@aol.com cynthiapepper.com

A Day Late in Oakland Zachary Stauffer 415 420 3032 zachary.stauffer@gmail.com

A Day’s Work Umlaut Films 415 777 0123 415 777 4123 sparrowfall@mac.com

Delhi Handkerchief

Large Scale +44 116 2741 661 steve@largescaleﬁ lm.co.uk

Dreaming My Place education@caﬁ lm.org caﬁ lm.org

Drive Away My Heart FilmTecknarna +46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

È Finita la Commedia Helicotronc 0032 2 539 23 57 anthony@helicotronc.com

The Elephant Garden Concrete Kudzu 917 327 4896 sasiesealy@gmail.com stage.itp.tsoa.nyu.edu/~apw217/ FINAL/sasie/homepage.html

Ella and the Astronaut Robert Machoian 530 574 4896 rodrigo_ojeda_beck@csumb.edu

English Language (with English subtitles)

Tim Plester 00 44 2083431541 tim@timplester.com

Every Night, Loneliness CMI +98(21)22548032 +98(21)22551914 cmi@cmi.ir

Everything Is Fine Séville Pictures

+1 514 841 1910 x294 +1 514 841 8030 pascalel@sevillepictures.co sevillepictures.com

Fire Under the Snow Argot Pictures 718 389 1180 jim@argotpictures.com argotpictures.com

The First Day FilmTecknarna

+46 8 442 7300

+46 8 442 7319

ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

Flash of Genius Universal Pictures primemovie.net

Four Seasons Lodge Four Seasons Project 212 343 2011 mlavine@fourseasonsmovie.org

Frank Dead Souls

Citizen Cinema 510 527 7217 510 528 4770 rnilsson@robnilsson.com robnilsson.com

Fujian Blue

Spier Films

+44 207 326 8461 +44 207 326 8464 mayagspierﬁ lms.com spierﬁ lms.com

The Future is Green Ariel Sultan 415 383 0283 415 383 0283 swordﬁ re99@yahoo.com

The Games of Night Lo Dagerman 301 367 0975 lo.dagerman@gmail.com

Garantia and the Shooting Star Swedish Film Institute +46 8 665 1100 +46 8 666 3698 gual@sﬁ .se sﬁ .se

Giants Centro Sperimentale di Cinematograﬁ a +39 06 72294353 elisabetta.bruscolini@csccinematograﬁ a.it

God Man Dog Fame Universal Entertainment Ltd 85292573619 85227931258 ramychoi@gmail.com fameuniversal.com

God Only Knows Mark V. Reyes 415 994 3029 markreyes@yahoo.com

Goodnight Irene Films Do Tejo II +351 21 3234400 +351 21 3471087 sofi asousa@fi lmesdotejo.pt fi lmdesotejo.pt

The Great Escape Samantha Youssef 514 497 1781 samantha_youssef@hotmail.com

Grin and Bear It Eternal Motion Pictures 253 337 0885 cory.j.bishop@gmail.com youtube.com/eternalmp

PRINT SOURCES

Guest of Cindy Sherman

Paul H-O 917 783 5337 paulﬁ lmlike@gmail.com

The Guitar Lightning Entertainment 310 255 1202 mmeyer@lightning-ent.com

Hafez Bitter Ends, Inc.

+81 3 3462 0345 +81 3 3462 0621 bitters.co.jp

Hair: Let the Sun Shine In Binding Light, Inc. 212 620 0029 polsrap@gmail.com blindinglightﬁ lms.com

Handprints

Oliver Whitcroft 415 652 7067 ollie122@gmail.com

Hania

Janusz Kaminski 818 464 5769 independentmediainc.com

Happy-Go-Lucky Miramax Films 917 606 5565 debra.kriensky@miramax.com miramaxpublicity.com

Head Nods: A Lexicon of Indian Head Shakes

Ivan Jaigirdar 415 571 9262 ivan@atasite.org

Heart of Fire

Seventh Art Releasing

323 845 1455 323 845 4717 nick@7thart.com 7thart.com

Hello, Stranger Indiestory 822 722 6051 822 722 6055

Hollywood Jerome Salaam Shalom Productions/ Freydesignproductions 773 248 2190 frey@freydesignproductions.com Freydesignproductions.com

The Home of Dark Butterﬂ ies Solar Films Inc.

+358 9 417 44 700 +358 9 417 44 744 markus.selin@solarﬁ lms.com solarﬁ lms.com

Hot Dog Plymptoons 212-675-6021 212-741-5522 plymptoons@aol.com plymptoons.com

How About You

Strand Releasing

310 836 7500 310 836 7510 marcus@strandreleasing.com

How to Save a Fish From Drowning

Scottish Screen 44 141 3021756 44 141 3021778 bryony.mcintyre@scottishscreen. com scottishscreen.com

Hunting Film Studio “Animacijas Brigade” ab.studija@apollo.lv

I Just Wanted to Be Somebody Jay Rosenblatt 415-641-8220 415-641-8220 jayr@jayrosenblattﬁ lms.com jayrosenblattﬁ lms.com

I’ll Come Running ﬁ lmscience 917 501 5197 anish@ﬁ lmscience.com

The Ice Plant

Scottish Screen 44 141 3021756 44 141 3021778 bryony.mcintyre@scottishscreen. com scottishscreen.com

Idiots and Angels

Bill Plympton Studio 212 741 0322 212 741 5522 biljana@plymptoons.com

In Love With an Angel FilmTecknarna

+46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

In My Heart: A Child’s Hurricane Katrina Story

Esteé Blancher 510 717 8156 estee@ﬁ lmkatrina.com ﬁ lmkatrina.com

India’s Song (And the Vanishing Art of Listening)

The Annenberg Foundation 310 209 4560 310 209 1631 tom@explore.org explore.org

Jerusalema

Muti Films Suite 69 Private Bag X9 Melville Johannesburg 2109 South Africa +27 83 279 7306 tendeka@mutiﬁ lms.co.za

Jodhaa Akbar

UTV Communications (USA) Llc

310 496 5767

310 634 0400

Jumping

Les Films du Paradoxe

+33 1 46 49 33 33

+33 1 46 49 32 23

ﬁ lms.paradoxe@wanadoo.fr

ﬁ lmsduparadoxe.com

K Hector Films Ltd. 020 7734 8330 020 7734 8330

info@hectorﬁ lms.co.uk hectorﬁ lms.co.uk

Katyn TVP SA

48 22 547 6774

48 22 547 8070 festivals@tvp.pl international.tvp.pl

Kick Like a Girl

Jenny Mackenzie Films 801 554 6489 jenmackenz@comcast.net jennymackenzieﬁ lms.com

Kokua Hawaii Foundation

The Annenberg Foundation 310 209 4560 310 209.1631 tom@explore.org explore.org

Laban the Little Ghost Swedish Film Institute

46 8 665 11 34

46 8 666 36 98

Learning Gravity

Little Bird, Ltd. 35316131710 00353 1 6624647 littlebird.ie

Legend of the Forest Les Films du Paradoxe

+33 1 46 49 33 33

+33 1 46 49 32 23

ﬁ lms.paradoxe@wanadoo.fr

ﬁ lmsduparadoxe.com

Lemon Tree

IFC First Take 212 324 4635 646 273 7250 nabaruch@ifciﬁ lms.com ifcﬁ lms.com

Let the Right One In Magnolia Pictures 212 924 6701 mcowal@magpictures.com

The Letter “Q” Melinda- Darlington Bach mbindibach@comcast.net

Lifelines

Different Duck Films, LLC 714 348 5964 732 842 8299 differentduckﬁ lms@hotmail.com

Lipstick

SF Art & Film 415 864 2026 rchase@chaseartﬁ lm.com ﬁ lmworkshopsf.org

The Loneliness of the Short-Order Cook

Marcel Sawiki 510 289 2461 marcel@marcelsawiki.com

The Lost Skeleton Returns Again Larry Blamire 818 845 0465

Lotte From Gadgetville Atrix Films +49 711 479 36 66 +49 711 479 26 58 atrixﬁ lms@gmx.net atrix-ﬁ lms.com

Maestro Magyar Filmunió +31 1 351 7760 +31 1 352 6734 kati.vajda@ﬁ lmunio.hu ﬁ lmunio.hu

Maggie and Mildred Holly Klein 503 206 8746 maggieandmildred@hotmail.com hollyklein.com

Máncora

Cinema Libre International 786 200 4581 305 577 4977 diego@hispaﬁ lms.com

Mirageman Magnolia Pictures 212 924 6701 mcowal@magpictures.com

Mishima: A Life in Four Chapters Schrader Productions schraderproductions@gmail.com

Missing Scottish Screen 44 141 3021756 44 141 3021778 bryony.mcintyre@scottishscreen .com scottishscreen.com

Missing Rose Petal Canal Alliance 415 454 2640 415 454 3967 pamelav@canalalliance.org

Mommy Is at the Hairdresser’s Séville Pictures +1 514 841 1910 x294 +1 514 841 8030 pascalel@sevillepictures.co sevillepictures.com

Mompelaar T42 Films +32 2 626097-0 +32 2 626097-9 prod@t42ﬁ lms.com

Morning Light Walt Disney Studios Motion Pictures disney.com

Mosaic Mecanique Tingle Tangle Films 415 285 1026 415 826 1390 tiffanydoesken@earthlink.net

murmur Peter Byrne 585 461 3983 pjbfaa@rit.edu

My Date From Hell Filmakademie BadenWuerttemberg *49/ 7141 969 103 eva.steegmayer@ﬁ lmakademie.de mydatefromhell.com/

My Happy End Milen Vitanov 493021802111 milen_vtn@yahoo.com

My Marlon and Brando Insomnia World Sales 33 1 43 58 08 04 33 1 43 58 09 32 contact@insomnia-sales.com

My Uncle Loved the Colour Yellow FilmTecknarna +46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

Never Practice Alchemy With a Microwave Tamalpais High School 415 389 0546 lovesterlaw@earthlink.net

No Bikini

Claudia Morgado-Escanilla cmorgado7@shaw.ca

No Child Is Born a Terrorist The Annenberg Foundation 310 209 4560 310 209 1631 tom@explore.org explore.org

Nocturna Filmax +34 64 864 1572 +34 91 389 6631 l.blanco@ﬁ lmax.com ﬁ lmax.com

On the Assassination of the President Adam Keker 415 421 4121 415 421 4121 akeker@earthlink.net

On the Line Academy of Media Arts Cologne +49 221 201 89- 206 cafﬁ @mac.com

Once Upon A Cherrox Norwegian Film Institute +47 22 47 45 00 + 47 22 47 45 97 torils@nﬁ .no

ONeHeADWOrD PrOteCtiON Storyteller Pictures Inc. 647 272 3241 paul@storytellerpictures.ca storytellerpictures.ca

Outdoor Life

FilmTecknarna +46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

Outsource Daniel Trezise 310 593 4047 dantrezise@mac.com

PAL/SECAM Dreamus Film 718 387 0004 dreamusﬁ lm@gmail.com

Paper Covers Rock IFC Films 546 273 7209 kakalyka@ifcﬁ lms.com

Parachute Paul Grellong 917 848 1618 contact@parachutemovie.com Parachutemovie.com

The Phone Book

Kurt Kuenne 818 567 4950 kkuenne@earthlink.net

Pink Wrap

Xanadu Entertainment, LLC 415 479 5709 415 499 5704 cpepperdance@aol.com cynthiapepper.com

The Pleasure of Being Robbed IFC Films 546 273 7209 kakalyka@ifcﬁ lms.com

Poison Arrow Frogs

Swedish Film Institute 468 665 1134 468 666 3698

Pure Jacob Bricca 203 782 9534 860 685 2221 jbricca@wesleyan.edu

Quest for a Heart

Finnish Film Foundation

+358 9 6220 3032 +358 9 6220 3050 jenni.siitonen@ses.ﬁ ses.ﬁ

Quiet Chaos IFC First Take 212 324 4635 646 273 7250 nabaruch@ifciﬁ lms.com ifcﬁ lms.com

R.I.P.

My Place 415 526 5113 education@caﬁ lm.org caﬁ lm.org

Real Time

Maximum Films 416 960 0300

Deanne@maximumﬁ lms.ca

Recollections

David Oh 909 524 8838 davidh.oh@gmail.com

Religulous Lionsgate 310 449 9200

Reunion

Uncle Brother Productions 415 460 0728 tamcentennial@mac.com

Rex Barrett and the Eye of God Flying Pirate Productions 310 977 5049 rustin1138@gmail.com rexbarrettmovie.com

Rindin the Puffer FatCat Animation Studios 602 540 0456 480 838 0102 joeh@fatcatanimation.com fatcatanimation.com

Road to Ingwavuma Out of the Blue Films, Inc. info@outofteblueﬁ lms.com

Roald Dahl’s Three Little Pigs

Martha Celis Mendoza 525550784261

RocknRolla Warner Bros. 415 591 9610 415 837 0930 sspicer@thaweb.com terryhines.com

The Royal Treatment SF Art & Film 415 864 2026 rchase@chaseartﬁ lm.com ﬁ lmworkshopsf.org

The Sandpixies Balance Film

+49 351 490 37 80 +49 351 490 37 82 info@balanceﬁ lm.de balanceﬁ lm.de

Seeds of In Good Heart: Soil and the Mystery of Fertility

Lily Films 415 383 0553 415 383 6852 info@lilyﬁ lms.com

Second Sight Second Sight Pictures 416 539 8642 alison.mcalpine@gmail.com alisonmcalpine.com

Secret Apocalyptic Love Diaries

Enid Baxter Blader 323 717 2929 831 687 0211

The Secret Life of Bees Fox Searchlight 310 369 2016 Russell.Nelson@fox.com foxsearchlight.com

Self Portrait

Les Films du Paradoxe +33 1 46 49 33 33 +33 1 46 49 32 23 ﬁ lms.paradoxe@wanadoo.fr ﬁ lmsduparadoxe.com

Self-Portrait Emma Strebel 415 824 3843 415 824 7949 estrebel@urbanschool.org

Shiver MPI Media Group 708 873 3111 708 873 3177 nmikuzis@mpimedia.com mpimedia.com

Skip Tamalpais High School 415 388 3292 415 380 3526 aimteachers@mac.com tamaim.com

Skymaster, A Flying Family

Fairytale

Danish Film Institute

+ 45 32 54 34 56 lars@ﬁ lmlageret.dk

Slow Kurt Kuenne 818 567 4950 818 567 4950 kkuenne@earthlink.net

The Smile SF Art & Film 415 864 2026 rchase@chaseartﬁ lm.com ﬁ lmworkshopsf.org

Smile, My Friend!

Film Studio “Animacijas Brigade” +371 6752 0770 +371 6754 2939 ab.studija@apollo.lv

The Snow Queen

Total Eclipse Television Limited 44 1306 731 466 david.a.mercer@virgin.net thesnowqueenpkj.com

Snowtime

Axis Animation

44 141 572 2816 44 141 572 2819 dana.dorian@axisanimation.com

A Song for the Everyday Wesley Wetherington 813 689 0555 wesleymix@verizon.net

Sonic Mirror

Wide Management

+33 1 53 95 04 64 +33 1 53 95 04 65 wide@widemanagement.com widemanagement.com

Stolen Maya Entertainment 213 534 3856 carmelitab@ mayaentertainmentgroup.com mayereleasing.com

Sunshine Bob Dandy Dwarves 415 300 6592 festivals@thedandydwarves.com

Surveillance Magnolia Pictures 212 924 6701 mwendel@magpictures.com magpictures.com

Synching Blue

Sarah Wylie Ammerman 859 361 0108 thisiswa@gmail.com

Taking Root: The Vision of Wangari Maathai

Marlboro Productions 802 257 0743 802 257 0743 mﬁ lmpro@sover.net

The Tale of Little Puppetboy

Swedish Film Institute

+46 0 31 423 560 j.nyholm@bredband.net johannes.hopto.org

PRINT SOURCES

Teddy Bear Menemsha Films 310 452 1775 310 277 6602 neilf@menemshaﬁ lms.com

Terminus JTF Productions 604 696 6862 604 696 6863 trevor@theembassyvfx.com

Terra Snoot Entertainment 323 937 0808 323 937 0550 charding@snoot.com terramovie.net/press

There Is No There There Samuel Stout 609 558 8923 samuelstout@gmail.com

They Killed Sister Dorothy Just Media 303 871 9015 303 871 9085 catherine@just-media.org theykilledsisterdorothy.com

This Is a Story About Ted and Alice Teressa Tunney 917 385 5394 teressa.tunney@gmail.com

Through a Glass Darkly Swedish Institute

+46 8 453 78 00 +46 8 20 72 48 si@si.se Janus Films janusﬁ lms.com

Through These Trackless Waters Elizabeth Henry 970 945 8430 ehenry@du.edu

Through Your Eyes Baba Hillman 571 278 8289 bhillman@hampshire.edu

Tile M for Murder

FilmTecknarna

+46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

The Treehouse Song

FilmTecknarna

+46 8 442 7300 +46 8 442 7319 ft@ﬁ lmtecknarna.se ﬁ lmtecknarna.se

Tricks

M-appeal

49 30 6150 7505

49 30 2758 2872 m-appeal.com

Trip

Future Shorts

+44 (0) 207 734 3883 katie@futureshorts.com futureshorts.com

TYPECAST: The Art of Film Titles

Design Films 415 252 7972 david@designﬁ lms.org designﬁ lms.org

Under Our Skin

Open Eye Pictures

415 332 3266 415 332 3256 andy@openeyepictures.com openeyepictures.com

Unna and Nuuk Fiinnish Film Foundation +358 9 6220 3032 +358 9 6220 3060 ses.ﬁ

Waiting for Rusty The Sunshine Kids 415 488 4547 huckabeehouse@hotmail.com

The Wave Celluiloid Dreams +33 1 49 70 85 64 +33 1 49 70 03 71 pascale@celluloid-dreams.com

Wendy and Lucy Oscilloscope Pictures 212 219 4029 dan@oscilloscope.net oscilloscopepictures.com

Westi Scottish Screen 44 141 302 1756 44 141 302 1778 bryony.mcintyre@scottishscreen.com scottishscreen.com

What on Earth Have I Done Wrong? Fame Universal Entertainment Ltd. +852 9257 3619 +852 2793 1258 ramychoi@gmail.com

Where the Water Meets the Sky CAMFED 415 963 4489 us.camfed.org

Who’s Afraid of Kathy Acker? Deckert Distribution +49 341 215 6638 +49 341 215 6639 info@deckert-distribution.com deckert-distribution.com

Wolf Swedish Film Institute +46 8 665 1100 +46 8 666 3698 gual@sﬁ .se sﬁ .se

Woman in Burka Jonathan Lisecki info@womaninburka.com

The Wrecking Crew Lunch Box Entertainment 818 884 6654 818 884 6265 dennyted@mac.com

The Yellow Bird Ein Aus Animation 612 781 7600 tschroeder@mcad.edu

The Zeppelin Parable SvetShop 510 541 7406 kph@svetshop.com

Zimbabwe DV8 Films +27 11 880 0191 +27 11 880 0192 jeremyl@dv8.co.az

www.drinkhint.com

The * symbol indicates a ﬁ lm is concerned with that country, even though it originates in another.

AUSTRALIA

Cactus Chainsaw

AUSTRIA

Heart of Fire

Who’s Afraid of Kathy Acker?

BELGIUM

Boulevard l’Océan

È Finita la Commedia

Mompelaar

BRAZIL

Children of the Amazon

CANADA

All Together Now Centigrade

Everything Is Fine

The Great Escape

Mommy Is at the Hairdresser’s No Bikini

ONeHeADWOrD PrOteCtiON

Real Time

Second Sight

The Snow Queen

Terminus

TYPECAST: The Art of Film Titles*

CHILE

Archeology of Memory: Villa Grimaldi*

Mirageman

CHINA

Fujian Blue CZECH REPUBLIC

A Day’s Work

Teddy Bear

DENMARK

I’ll Come Running

Skymaster, A Flying Family Fairytale

ERITREA

Heart of Fire*

ETHIOPIA

Heart of Fire*

FINLAND

The Home of Dark Butterﬂ ies

Quest for a Heart

Sonic Mirror

Unna and Nuuk

FRANCE

57000 KM Between Us Boulevard l’Océan

Cherry Blossoms

Heart of Fire

Nocturna

Through Your Eyes

GERMANY

32A

Cherry Blossoms

Four Seasons Lodge*

Heart of Fire

Lotte From Gadgetville

My Date From Hell

My Happy End On the Line

The Sandpixies

Sonic Mirror

The Wave

Who’s Afraid of Kathy Acker?

The Absence Maestro

ONeHeADWOrD PrOteCtiON

INDIA

Head Nods: A Lexicon of Indian Head Shakes*

Jodhaa Akbar

IRAN

Every Night, Loneliness Hafez

IRELAND

32A

The Bird Can’t Fly How About You

Learning Gravity

ISRAEL

The Lemon Tree No Child Is Born a Terrorist ITALY

10 Italian Lessons

Giants

Heart of Fire

Quiet Chaos The Smile

JAPAN

The Amazing Osamu Tezuka

Astro Boy: Expedition to Mars

Broken Down Film

Fire Under the Snow Hafez

Hollywood Jerome*

Jumping

Legend of the Forest

Mishima: A Life in Four Chapters*

Self Portrait

A Song for the Everyday*

JORDAN

Captain Abu Raed

LAOS

The Betrayal

LATVIA

Hunting

SMILE, MY FRIEND!

KENYA

Taking Root: The Vision of Wangari Maathai*

KOREA

Recollections*

Synching Blue*

MEXICO

Around June*

Cumbia Connection

Roald Dahl’s Three Little Pigs Stolen

MOROCCO

Burned Hearts

NETHERLANDS

The Bird Can’t Fly

My Marlon and Brando

NORWAY

Cairn

Once Upon a Cherrox

PERU

Máncora

PHILIPPINES

God Only Knows

POLAND

Four Seasons Lodge*

Hania

Katyn

The Loneliness of the ShortOrder Cook

PORTUGAL

Goodnight Irene

ROMANIA

Alexandra

RUSSIA

FILMS BY COUNTRY

Four Seasons Lodge*

PAL/SECAM

SCOTLAND

How to Save a Fish From Drowning

The Ice Plant

Missing

Westi

SOUTH AFRICA

The Bird Can’t Fly

Frank Dead Souls

Jerusalema

Road to Ingwavuma

Zimbabwe

SOUTH KOREA

Hello, Stranger

SPAIN

Máncora

Nocturna

Shiver

SWEDEN

Ask Me No Questions

Aston’s Stones

Brink of Life: A Collection of Swedish Shorts

Butterﬂ ies

Checkooo

Combat Lover

Drive Away My Heart

The First Day

The Games of Night*

Garantia and the Shooting Star

In Love With an Angel

Laban the Little Ghost

Let the Right One In My Uncle Loved the Colour

Yellow

Outdoor Life

Poison Arrow Frogs

The Tale of Little Puppetboy

Through a Glass Darkly

Tile M for Murder

The Treehouse Song

Wolf

SWITZERLAND

On the Line

Sonic Mirror

TAIWAN

God Man Dog

What on Earth Have I Done Wrong?

Tibet

Fire Under the Snow*

Turkey

My Marlon and Brando

All Together Now

Delhi Handkerchief

English Language (with English subtitles)

Happy-Go-Lucky

How to Save a Fish From Drowning

My Marlon and Brando

Quiet Chaos

Roald Dahl’s Three Little Pigs*

The Snow Queen

Snowtime

Trip

TYPECAST: The Art of Film

Titles*

Where the Water Meets the Sky

UKRAINE

At the River

10 Italian Lessons

Adam Resurrected

Adventures of Josh Wolf: Activist Video Blogger

American Violet

Archeology of Memory: Villa Grimaldi

Around June

Bachelorette, 34

The Bee

Benji and Judah

The Betrayal

Betty + Johnny

Bloodsucker

Boogie Man: The Lee Atwater Story

Breath

Burning the Future: Coal in America

Button-Up

Call It Home: Searching for Truth on Bolinas Lagoon Campﬁ re Song

Carlos Catani

Children of the Amazon

Chronicles of Lady Recycla and Captain Compost

Cinemasports

The Coyote and the Tortoise

Dance-a-Bet

A Day Late in Oakland

Dreaming

The Elephant Garden

Ella and the Astronaut Fire Under the Snow Flash of Genius

Four Seasons Lodge

Frank Dead Souls

The Future is Green

The Games of Night

God Only Knows Grin and Bear It Guest of Cindy Sherman

The Guitar

Hair: Let the Sun Shine In Handprints

Hania*

Head Nods: A Lexicon on Indian Head Shakes

Hollywood Jerome

Hot Dog

How to Save a Fish From Drowning*

I Just Wanted to Be Somebody

I’ll Come Running

Idiots and Angels

In My Heart: A Child’s

Hurricane Katrina Story

Insight Joe Wright: The Soloist

Kick Like a Girl

Kokua Hawaii Foundation

Learning Gravity*

Lipstick

The Lost Skeleton Returns

Again

Maggie and Mildred

Mishima: A Life in Four Chapters

Missing Rose Petal

Morning Light

Mosaic Mecanique

murmur

Never Practice Alchemy With a Microwave

No Child Is Born a Terrorist

On the Assassination of the President

Outsource

PAL/SECAM

Paper Covers Rock

Parachute

The Phone Book

Pink Wrap

The Pleasure of Being Robbed

Pure

R.I.P.

Recollections

Religulous

Reunion

Rex Barrett and the Eye of God

Rindin the Puffer

Road to Ingwavuma

The Royal Treatment

Scenes From In Good Heart: Soil and the Mystery of Fertility

Secret Apocalyptic Love

Diaries

The Secret Life of Bees

Self-Portrait

Shiver*

Skip

Slow

The Smile

A Song for the Everyday Sunshine Bob

Surveillance

Synching Blue

Taking Root: The Vision of Wangari Maathai

Terra

There Is No There There

They Killed Sister Dorothy

This Is a Story About Ted and Alice

Through These Trackless Waters

TYPECAST: The Art of Film Titles*

Under Our Skin

Waiting for Rusty

Wendy and Lucy

Wherever You Are

Who’s Afraid of Kathy Acker?*

Woman in Burka

The Wrecking Crew

The Yellow Bird

The Zeppelin Parable

VIETNAM

The Betrayal*

ZIMBABWE

Zimbabwe

Tricks

HUNGARY

RocknRolla

The Letter “Q”

FILMS BY FILMMAKER

Abraham, Marc

Flash of Genius

Adams, Alexandra

10 Italian Lessons

Alfredson, Daniel

Wolf

Alfredson, Tomas

Let the Right One In

Andersson, Kjell-Åke

Butterﬂ ies

Anna, Threes

The Bird Can’t Fly

Annenberg Weingarten, Charles

.84

.90

.101

.90

.81

.80

India’s Song (And the Vanishing Art of Listening)

Kokua Hawaii Foundation

No Child Is Born a Terrorist

Bergman, Ingmar

Through a Glass Darkly

Bishop, Cory

Grin and Bear It

Black, Cathal

Learning Gravity

Black, Julia

Handprints

Blader, Enid Baxter

.83

.99

.90

The Secret Apocalyptic Love Diaries .83

Blamire, Larry

The Lost Skeleton Returns Again . . . .91

Blancher, Esteé

Chiu, Hsiao-wen

Breath .

Christmann, Kai

.91

TYPECAST: The Art of Film Titles . . . .99

Cimermanis, Janis

Hunting

Cole, Randall

Real Time

Collette, Jean-Julien È Finita la Commedia

Cotton, Helen Where the Water Meets the Sky .

Crowder, Paul Morning Light

Cruz, Quique Archeology of Memory: Villa Grimaldi

Cunningham, Colin Centigrade

Dagerman, Dan Levy The Games of Night

Dailly, Madevi Westi

Darlington-Bach, Melinda The Letter “Q”

Dater, Alan Taking Root: The Vision of Wangari Maathai

de Montreuil, Ricardo Máncora

102

.94

.77

.101

.93

.79

Friendship, Steve Delhi Handkerchief

Gansel, Dennis The Wave

García, Adrià Nocturna

Garcia, Deborah Koons Seeds of In Good Heart: Soil and the Mystery of Fertility

Geffenblad, Lotte Aston’s Stones

Gibbs, Julian The Snow Queen

Goldman, Becca Handprints

Goldstein, Michael Reunion.

Gowarik, Ashutosh Jodhaa Akbar

Grellong, Paul Parachute

Grimaldi, Antonio Luigi Quiet Chaos.

Guggenheim, Hannah Benji and Judah

H-O, Paul Guest of Cindy Sherman

.98

.83

100

.93

.81

102

.96

.90

.95

.89

.77

.94

.88

.85

Jonsson, Karolina

The First Day

Jude, Radu

Alexandra

Junge, Daniel They Killed Sister Dorothy .

Kaminski, Janusz

Hania .

Karabey, Hüseyin

My Marlon and Brando.

Karukoski, Dome

The Home of Dark Butterﬂ ies

Kaurismäki, Mika

Sonic Mirror

Keker, Adam

On the Assassination of the President

Kim Dong-Hyun

Hello, Stranger

Klein, Holly Maggie and Mildred

Klein, Sarah Campﬁ re Song

Kreuter, Delphine 57000 KM Between Us

Kuenne, Kurt The

Hagelback, Johan Poison Arrow Frogs

102

Kukula, Ralf The Sandpixies

Bracht, Tom

My Date From Hell

Bricca, Jacob

Pure

Buharov, Ivan

ONeHeADWOrD PrOteCtiON

Burton, Kate

The Ice Plant

Byrne, Anthony

How About You

Byrne, Peter murmur

Cafﬁ , Reto On the Line

Cantell, Saara

Unna and Nuuk

Caspar, Barbara

Who’s Afraid of Kathy Acker?

Cawood, Trevor Terminus

Charles, Larry Religulous

Chayes, Bill

Call It Home: Searching for Truth on Bolinas Lagoon

Chen, Singing God Man Dog

.88

In My Heart: A Child’s Hurricane Katrina Story.

.91

.83

.77

.88

.83

.76

100

.101

.77

.95

.81

.85

Diaz Espinoza, Ernesto Mirageman

Disney, Tim American Violet

Doesken-Polos, Tiffany Mosaic Mecanique

Donahue, Tom Guest of Cindy Sherman

Dorian, Dana Snowtime

Dörrie, Doris Cherry Blossoms

Eatough, Graham Missing

.83

.85

.82

.95

Eberts, David Where the Water Meets the Sky . . . .101

El Maanouni, Ahmed Burned Hearts

Ernits, Heiki Lotte From Gadgetville

Falorni, Luigi Heart of Fire

Feldman, Edward A Day’s Work.

Fleischer, Lucas Parachute

.80

.91

.87

.76

.77

Forbes, Stefan Boogie Man: The Lee Atwater Story . .80

Fournier, Yves Christian Everything Is Fine

Hansen, Kristian The Zeppelin Parable

Henn, Matt Skip

.76

.90

Henry, Elizabeth Through These Trackless Waters . . . .83

Herold, Kara Bachelorette, 34

Hﬁebejk, Jan Teddy Bear

Hillman, Baba Through Your Eyes

Hines, Andre R.I.P.

Hoffman, Frey Hollywood Jerome

Holmgren, Magnus Tile M for Murder

Jacobs, Andrew Four Seasons Lodge

Jaigirdar, Ivan Head Nods: A Lexicon of Indian Head Shakes

Jakimowski, Andrzej Tricks

Jalili, Abolfazl Hafez

Janbu, Hävard Haukeland

Once Upon a Cherrox. .

Jaworski, Alicja

.83

Laban the Little Ghost

.86

.98

.83

.90

.76

.80

.84

.95

.99

.86

102

.96

Kuras, Ellen The Betrayal

Lake, Ellen Betty + Johnny.

Larsen, Hanne Cairn

Law, Thomas Never Practice Alchemy With a Microwave

Lee, Donna Adventures of Josh Wolf: Activist Video Blogger

Lehtosaari, Pekka Quest for a Heart

Leigh, Mike Happy-Go-Lucky

Limón, Kristen Missing Rose Petal

Lisecki, Jonathan Woman in Burka.

Llerena, Rebecka Garantia and the Shooting Star .

Lucas, Alicia Waiting for Rusty

Lynch, Jennifer Surveillance

Machoian, Robert Ella and the Astronaut

Mackenzie, Jenny Kick Like a Girl

Maggio, Joe Paper Covers Rock

Maldonado, Víctor Nocturna

Mandoki, Luis Stolen

Margolies, Rob Lifelines

Marinou-Blanco, Paolo Goodnight Irene

Matalqa, Amin Captain Abu Raed

McAlpine, Alison Second Sight

.81

.93

.97

.91

.85

.82

.95

McEachen, Scott Rex Barrett and the Eye of God . . . . .91

Meconi, Marcos Carlos Catani

Mendora, Arandelly Handprints

Merton, Lisa Taking Root: The Vision of Wangari Maathai

Mollo, Fabio Giants

Monroe, Mark Morning Light

Morgado Escanilla, Claudia No Bikini

Mulford, Marilyn Archeology of Memory: Villa Grimaldi.

Neal, Kelly

.76

.90

.98

.76

.93

.81

.79

How to Save a Fish From Drowning . .95

Neymann, Eva At the River

Nilsson, Rob Frank Dead Souls

.79

.84

Niu, Doze Chen Zer What on Earth Have I Done Wrong? . . 100

Novack, David Burning the Future: Coal in America.

Novák, Kristóf The Absence

Novel, Céline Boulevard l’Océan

Nyholm, Johannes The Tale of Little Puppetboy

O’Hara, Meghan Bloodsucker .

Oh, David Recollections

Ojeda-Beck, Rodrigo Ella and the Astronaut . .

Olin, Chuck

Call It Home: Searching for Truth on Bolinas Lagoon

.81

.90

.76

.91

.80

.76

.83

FILMS BY FILMMAKER

.81

Olsson, Mats Olof My Uncle Loved the Colour Yellow . . .80 Ortiz, Isidro Shiver

Pahle, Christopher

Once Upon a Cherrox.

Parsons, Spencer I’ll Come Running.

Pepper, Cynthia

Dance-a-Bet

Pink Wrap.

Persson, Lasse

Laban the Little Ghost

Peters, David TYPECAST: The Art of Film Titles

Phrasavath, Thavisouk The Betrayal

Plester, Tim

English Language (with English subtitles)

Plympton, Bill Hot Dog

Idiots and Angels

Põldma, Janno Lotte From Gadgetville

Pool, Léa

Mommy Is at the Hairdresser’s

Povolotsky, Dmitry

PAL/SECAM.

Prince-Bythewood, Gina

The Secret Life of Bees

Quinn, Marian 32A

Rapaport, Pola

Hair: Let the Sun Shine In.

Rasmussen, Steen Skymaster, A Flying Family Fairytale

Rauch, Dav

TYPECAST: The Art of Film Titles

Redford, Amy The Guitar

Reichardt, Kelly Wendy and Lucy

Renfors, Magnus

Ask Me No Questions

Drive Away My Heart

In Love With an Angel

The Treehouse Song

Reyes, Mark God Only Knows

Reygaert, Wim Mompelaar

Rick, Barbara Road to Ingwavuma.

Rídúze, Dace SMILE, MY FRIEND!

Riklis, Eran Lemon Tree

Ritchie, Guy RocknRolla

.96

.89

Roels, Marc Mompelaar

Romero, Nohemi Dreaming

Roodt, Darrell James Zimbabwe .

Rosenblatt, Jay I Just Wanted to Be Somebody

Rosenlund, Erik Checkooo

Rubin, Sam The Bee

Lipstick

Sadrameli, Rasoul Every Night, Loneliness

Safdie, Josh

The Pleasure of Being Robbed

.95

.76

.90

. 102

.86

.80

.90

.83

.94

Legend of the Forest

Thompson, Piers K

Tollet, Olivier È Finita la Commedia

Toth, Geza M. Maestro .

Trezise, Daniel Outsource

Tsirbas, Aristomenis Terra.

Tunney, Teressa This Is a Story About Ted and Alice . . .76

Tupicoff, Dennis Chainsaw

Vargas Celis, Enrique Roald Dahl’s Three Little Pigs .

Villarreal, René Cumbia Connection

.90

.91

.92

.77

.86

Samzelius-Valenitin, Soﬁ a Chronicles of Lady Recycla and Captain Compost

Sasa, Makoto

Fire Under the Snow.

Savoca, James Around June

Sawicki, Marcel

The Loneliness of the Short-Order Cook.

Schrader, Paul

Adam Resurrected

Mishima: A Life in Four Chapters .

Schroeder, Tom The Yellow Bird

Sealy, Sasie

The Elephant Garden

Simmons, Christian Sunshine Bob

Simon, Len

.90

.84

.79

.77

.78

.92

.91

.76

Vitanov, Milen My Happy End

Wajda, Andrzej Katyn

Weimann, Tim My Date From Hell

Weng, Robin Shouing Fujian Blue

Wennstrom, Hakan Outdoor Life

Wetherington, Wesley A Song for the Everyday

Whitecroft, Oliver Handprints

Wikke, Michael Skymaster, A Flying Family Fairytale

Wills, Adrian All Together Now

102

The Coyote and the Tortoise . . . . . 102 Rindin the Puffer

Sokoloff, Max Button-Up .

The Smile .

Stauffer, Zachary A Day Late in Oakland

Stout, Samuel

There Is No There There .

Strebel, Emma

Self-Portrait.

Strebel, Max

The Royal Treatment.

Sultan, Ariel

The Future is Green

Tedesco, Denny

The Wrecking Crew .

Tezuka, Osamu

.90

.88

.83

.90

Wilson, Andy Abrahams Under Our Skin.

Wontae, Seo Synching Blue.

Woodlock, Carole murmur

Wootliff, Harry Trip

Youssef, Samantha The Great Escape

Yuen-Carrucan, Jasmine Cactus

Ziman, Ralph Jerusalema

Zimmer, Martin Once Upon a Cherrox.

Zmekhol, Denise Children of the Amazon

The Amazing Osamu Tezuka . . . . . . .78

Astro Boy: Expedition to Mars.

Broken Down Film

Jumping

.78

.97

EXPLORE

ESCAPE

EXPERIENCE

ADVERTISER

20/20 Optical

A Party Center

Acqua Hotel

Adolph Gasser Inc.

All Seasons Catering

Amici’s East Coast Pizzeria

AMP Consulting

Angelica Limousines

Arrowood Vineyards & Winery

AT&T

AT&T Yellow Pages

Balboa Cafe

Bank of Marin

Barbary Post

Baskin Robbins

Bellam Self-Storage & Boxes

Best Beverage Catering

Blanc.

Bogie’s Cafe/From Soup to Nuts Catering

Boxofﬁ ce Magazine.

Bradley Real Estate

Cavallo Point

CBS 5 and the CW

Coldwell Banker

Comcast

Cosentino Signature Wines

Crystal Geyser Water Company

Delicious! Catering

Dolby Laboratories

Dominican University

Dorothy Slattery, DDS

Dr. Kimberly Henry

Dustpan

East Bay Express

Eastman Kodak Company

ETC Catering

Extended Stay Deluxe Hotel

Fabrizio Ristorante

Final Draft.

Fireman’s Fund Insurance Company

Fiske Video Productions

Focus Features

Fort Docs

Framecrafters Gallery

Frantoio Ristorante & Olive Oil Co..

Frogs.

Frosting Bakeshop

Galliani Dental

.19

.149

.56

.156

114

.135

.70

.159

.120

.115

.139

.152

IFC

.128

.158

.69

.126

.35

.132

.165

.125

.136

.121

.28

.113

.158

.119

.150

.56

.16

.152

.60

.156

.132

.47

.146

.128

.158

.150

.71

.158

.46

.64

.134

.42

.60

Giraffex

Helen Baldovinos-Morgan Stanley .

HINT essence water

Holiday Inn Express

Hornblower Cruises & Events

Hotel Sausalito

ICG Magazine

Idell & Seitel

Idllywild Arts

Il Davide

ImageMovers Digital

In Ticketing

Joie de Vivre Hotels

Judy’s Breadsticks

Kathleen Dughi Jeweler

KDFC Classical 102.1 FM

KGO Newstalk AM810

KidSpeak, Inc

KQED

L.inc Design

La Ginestra

Leslie Olson Interiors

Lexus of Marin

LRG Capital Group.

Lucasﬁ lm Ltd.

Margritha Fliegauf

Marin Acura

Marin Community Foundation

Marin French Cheese Co.

Marin Independent Journal

Marin Magazine

Marin Oriental Rugs

Marin Suites Hotel

Maroevich, O’Shea & Coghlan

Marty M Clothing.

Mill Valley Chamber of Commerce

Mill Valley Flowers

Mill Valley Inn

Mill Valley Public Library

Mill Valley Services

MilVali Salon & Cosmetics

MINE SF

Montecito Shopping Center

.142

.34

.164

.134

.73

.OBC

.132

.61

.112

.124

.122

111

Qantas Airways

Rafael Film Center

TITLE INDEX

5@5: Either Way I Lose

5@5: Four Women

5@5: I Want a Little Sugar in My Bowl

5@5: Images

5@5: Ne Me Quitte Pas.

5@5: Sinnerman

10 Italian Lessons

32A

57000 KM Between Us

The Absence

Adam Resurrected

Adventures of Josh Wolf: Activist Video Blogger

Alexandra

All Together Now

The Amazing Osamu Tezuka

American Violet

Archeology of Memory:

Villa Grimaldi

Around June

Ask Me No Questions

Aston’s Stones

Astro Boy: Expedition to Mars

At Home, At Sea

At the River

Bachelorette, 34

The Bee

Benji and Judah

The Betrayal

Betty + Johnny.

The Bird Can’t Fly

Bloodsucker.

Boogie Man: The Lee Atwater Story

Boulevard l’Océan

Breath

102

Brink of Life: A Collection of Swedish Shorts

Broken Down Film

Burned Hearts

Burning the Future: Coal in America

Butterﬂ ies.

Button-Up

Cactus

Cairn

Call It Home: Searching for Truth on Bolinas Lagoon

Campﬁ re Song

Captain Abu Raed

Carlos Catani.

Centigrade

Chainsaw

Checkoo

Cherry Blossoms

Children of the Amazon

Chronicles of Lady Recycla and Captain Compost

Combat Lover

The Coyote and the Tortoise

Delhi Handkerchief

Dreaming . .

Drive Away My Heart

È Finita la Commedia

The Elephant Garden

Ella and the Astronaut

English Language (with English Subtitles) .

Every Night, Loneliness

Everything Is Fine

Explore

Fire Under the Snow

The First Day

Flash of Genius

Four Seasons Lodge

Frank Dead Souls

Fujian Blue .

The Future Is Green

The Games of Night

102

Garantia and the Shooting Star . . . 102

Giants

God Man Dog

God Only Knows

Goodnight Irene

The Great Escape .

Grin and Bear It

Guest of Cindy Sherman

The Guitar

Hafez.

Hair: Let the Sun Shine In .

Handprints .

Hania

Happy-Go-Lucky

. 102

. 86

Learning Gravity

Legend of the Forest . . . .

Lemon Tree .

Lessons in Lice, Language and Lipstick

Let the Right One In

The Letter “Q”

Lifelines . . . . . .

Lipstick . . .

The Loneliness of the Short-Order Cook

The Lost Skeleton Returns Again

. 90

. 78

102

. 91

Lost Souls and Malcontent Beasties: Animated Shorts

Lotte From Gadgetville .

Maestro

Maggie and Mildred

Máncora

Mirageman

Mishima: A Life in Four Chapters .

Missing

Missing Rose Petal

102

. 92

Mommy Is at the Hairdresser’s . . . . 92

Mompelaar

Morning Light.

Mosaic Mecanique

102

The Royal Treatment

The Sandpixies .

Seeds of In Good Heart: Soil and the Mystery of Fertility

The Secret Apocalyptic

83 murmur

My Date From Hell

My Happy End

My Marlon and Brando .

My Uncle Loved the Colour Yellow

The Neon Knights

Head Nods: A Lexicon of Indian Head Shakes

Heart of Fire .

Hello, Stranger

Hi De Ho Show

Hollywood Jerome

The Home in My Heart

The Home of Dark Butterﬂ ies

Hot Dog

How About You

How to Save a Fish From Drowning.

Hunting

I Just Wanted to Be Somebody

I’ll Come Running

The Ice Plant

Idiots and Angels

In Love With an Angel

In My Heart: A Child’s Hurricane Katrina Story

India’s Song (And the Vanishing Art of Listening)

Insight Joe Wright: The Soloist

Jerusalema

Jodhaa Akbar

Jumping

102

Never Practice Alchemy With a Microwave

No Bikini

No Child Is Born a Terrorist

Nocturna

On the Assassination of the President.

On the Line

Once Upon a Cherrox

ONeHeADWOrD PrOteCtiON .

Outdoor Life.

Outsource

PAL/SECAM

Paper Covers Rock

Parachute

The Phone Book

Pink Wrap

102

The Pleasure of Being Robbed . . . . 94

Poison Arrow Frogs

Pure

Quest for a Heart

Quiet Chaos

Real Time

Recollections .

Religulous

Reunion

102

. 76

Dance-A-Bet

A Day Late in Oakland

A Day’s Work

Découpage Digital

102 Cumbia Connection

102

Katyn

Kick Like a Girl

Kokua Hawaii Foundation .

Laban the Little Ghost

Last Days of the Fillmore: A Live Multimedia Event

. 96

Rex Barrett and the Eye of God . . . . 91

Rindin the Puffer . . . . . .

R.I.P.

Road to Ingwavuma . . .

Roald Dahl’s Three Little Pigs

RocknRolla

102

. 90

. . 101

. 90

DAVID DUNCAN LIVINGSTON, PHOTOGRAPHER

MVFF31 Program 2008

Sharing the Road to Success

CONTENTS

DRAKE'S WAY LARKSPUR, CA

DIRECTOR’S NOTE

WELCOME TO THE 31ST MILL VALLEY FILM FESTIVAL

PROCLAMATION DECLARING OCTOBER 2–12, 2008, “MILL VALLEY FILM FESTIVAL DAYS”

CFI BOARD OF DIRECTORS

SPONSORS

FESTIVAL EVENTS SPONSORS

PRODUCTS

HOTEL

PROMOTIONAL

IN-KIND DONORS

A CFI Green Initiative Led by Programs

People

Facilities

FESTIVAL INFORMATION

PARKING

PUBLIC TRANSPORTATION

MEMBERSHIP INFORMATION

FESTIVAL SHOPS

ETIQUETTE

PHOTOGRAPHY, VIDEO AND RECORDING

RESERVED SEATING

■ BUYING TICKETS

■ FESTIVAL VENUES

From Gold Dust To Star Dust

Wells Fargo Is Proud To Recognize The Mill Valley Film Festival

There’s No Mistaking Great Film

CFI MILESTONE CAMPAIGN

Zaentz Media Center a

THE BIG PICTURE

SECURING

MILL VALLEY

SAVING THE SEQUOIA

Proud Supporters of the Mill Valley Film Festival

OPENING NIGHT

OPENING NIGHT GALA

CLOSING NIGHT

LIVE PERFORMANCES AT 142 THROCKMORTON THEATRE

NEW MOVIES LAB

WORKSHOPS ON THE ART, TECHNOLOGY AND BUSINESS OF FILMMAKING

MODERATOR

CINEMASPORTS

INSIGHT: A MASTER CLASS WITH JOE WRIGHT

CINEMATOGRAPHER AND DIRECTOR

INVITED GUESTS

MODERATOR

OUTDOOR ART CLUB

CAFÉ SCHEDULE

CHILDREN’S FILMFEST

CHILDREN’S FILMFEST PROGRAMS

ABOUT SUBTITLES

High School Film Program

YOUNG CRITICS JURY

YOUTH REEL

CALIFORNIA FILM INSTITUTE EDUCATION

BUILDING THE NEXT GENERATION OF FILMMAKERS AND AUDIENCES

IN-SCHOOL

SELECTED SCREENINGS FOR SCHOOLS

YOUNG CRITICS JURY

A PLACE IN THE WORLD

MY PLACE

TEACHING MEDIA LITERACY IN THE CLASSROOM

THINKING IN PICTURES

TRIBUTE : PAUL SCHRADER

TRIBUTE : PAUL SCHRADER

SELECTED FILMOGRAPHY

TRIBUTE : PAUL SCHRADER

STEPPING INTO OTHER PEOPLE’S SHOES

SPOTLIGHT : SALLY HAWKINS

SELECTED FILMOGRAPHY

Happy-Go-Lucky

TRIBUTE : HARRIET ANDERSSON

WHEN HARRIET MET INGMAR

TRIBUTE : HARRIET ANDERSSON

SELECTED FILMOGRAPHY

INGMAR BERGMAN EXHIBIT

TRIBUTE : ERIC ROTH