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6.9 pe Scara Richter
A humble Romanian actor in his 40’s, hardly surviving between a complicated part in a musical, a depressed and pathologically jealous wife, obsessed with an imminent, devastating earthquake, becomes the willing victim of his manipulative father who appears in his life for the very first time.
A comedy which is “partly realistic, partly unrealistic” according to writer-director Nae Caranfil, ‘6.9 on the Richter Scale’ is the story of a young theatre actor who has a hard time balancing his complicated part in a musical comedy, a jealous wife bordering on depression, and the obsession with a great and devastating earthquake, announced as imminent by all the experts. But the true “earthquake” for him turns out to be the unexpected reappearance of his own father after decades of absence. Manipulative and amoral, he takes over his son’s world, turning his whole existence upside down. His leading role in Orpheus in the Underworld perfectly mirrors his chaotic life on the verge of collapsing. The parallel, musical world turns his apocalyptic thoughts into an explosion of sheer vitality. One of the rare box-office successes in the recent Romanian cinema, the movie has it all: uplifting storyline (boy finally realizes that he loves girl), inspired directing, a plethora of diverse characters, and a talented cast - with a plus for Lurentiu Branescu's singing. (Subtitles)
2017 Romania Nae Caranfil 117m
Celebrating the 25th anniversary of Jane Campion's landmark film, the winner of three Academy Awards as well as the Palme d’Or at Cannes (with Campion becoming the first female director to do so), this extraordinary, female-centric masterpiece is presented digitally restored.
Holly Hunter gives a majestic silent performance as Ada McGrath, a mute Scotswoman and talented pianist who arrives with her young daughter Flora (Anna Paquin) in the New Zealand wilderness in the 19th century. She is to marry frontiersman Alisdair Stewart (Sam Neill), but takes an immediate dislike to him after he refuses to carry her beloved piano home with them, instead selling it to his overseer George Baines (Harvey Keitel). Attracted to Ada, Baines agrees to return the piano in exchange for lessons that gradually become a series of erotically charged sexual encounters. Soundtracked by Michael Nyman’s evocative score, the film won Oscars for Hunter and Paquin and Best Screenplay for Campion’s script. Concerning itself with Campion’s prevailing theme of women on the edge of societal norms, ‘The Piano’ is perhaps her most definitive work, and is long overdue for revisiting and remains as urgent and tremendous as ever.
Australia 1993 Jane Campion 121m
Ellen Cheshire, author of her new book “In the Scene: Jane Campion,” will briefly introduce the film.
An intriguing documentary about Hassan Sharif, the founder of the conceptual art movement in the UAE, and the most unique, influential and controversial artist of the region.
At that time, he was considered a destructive artist but with time he has become a legendary figure not only in the UAE art scene, but also in the whole region. Life has changed around him, however he has remained sincere to his sharp tools that have been used for making his significant artworks. His philosophy stayed enveloped in his work, as well as another aspect that will be unfolded for the first time in this film. Director Nujoom Alghanem is an Emirati artist, poet, scriptwriter and multi award-winning film director.
UAE 2017 Nujoom Alghanem 84m
The Art of Acting: Daniel Day-Lewis
An illustrated talk by Ian Haydn Smith
Like Chaplin and Jannings, through Grant and Dean, to Brando and Pacino, understanding Daniel Day-Lewis’ genius as an actor is to witness another step in the way Screen acting has evolved. In this illustrated talk, Ian Haydn Smith will look at how styles of acting have changed over the decades since the appearance of cinema, before focusing on Day-Lewis’ own body of work. The talk will include the many examples of Day-Lewis’ best work and show how generous a performer he is with his peers.
Isabelle Huppert's timid science teacher unleashes a dark, powerful alter ego in this amusing fable from Serge Bozon, very loosely based on the novel ‘The Strange Case of Dr. Jekyll and Mr Hyde’ by Robert Louis Stevenson.
High school science teacher Mrs. Géquil (Isabelle Huppert) is struck by lightning on the night of a harvest moon. The woman begins to embody a powerful alter ego, Mrs. Hyde, that instils a newfound confidence in her. However, the new persona is dangerous and must be controlled. The gender-swap from the book is not really Bozon investigating the idea of a woman’s empowerment but with ‘Mrs. Hyde’, he is most interested in critiquing the unfairness and inertia of the French school system, and in investigating what it really means to be a teacher. It’s a fascinating role in an uneven but frequently insightful movie riddled with amusing asides and enigmatic developments, partly because Huppert doesn’t undergo a radical transformation. Instead, she subtly finds herself at war with her inner confidence, and it’s often hard to tell which side has the upper hand. The most unusual movie in the Festival. (Subtitles)
France 2018 Serge Bozon 95m
Christy Brown, (Daniel Day-Lewis) born with cerebral palsy, learns to paint and write with his only controllable limb - his left foot.
The true story of the artist and writer Christy Brown who based his autobiography on his experiences of living with cerebral palsy. It recounts the many problems he faced growing up in his native Ireland, and charts the ways in which he developed the use of his left foot - the only limb over which he had any control - to achieve success as an artist. With the help of his strong-willed and dedicated family and his own sheer courage and determination, Christy not only learns to grapple with life's simple physical tasks and complex psychological pains, but he also develops into a brilliant painter, poet and author. Day-Lewis and Brenda Fricker give Oscar winning performances in an emotional tale of life, love and one family's incredible sense of courage. Also star Declan Croghan, Ray McAnally, Hugh O'Connor, Fiona Shaw, and Ruth McCabe. The film won two Academy Awards for Best Actor (Day-Lewis) and Best Supporting Actress (Brenda Fricker). UK/Ireland 1989 Jim Sheridan 104m
The Beatles agree to accompany Captain Fred in his Yellow Submarine and go to Pepperland to free it from the music hating Blue Meanies.
Yellow Submarine is a fantastic tale brimming with peace, love, and hope, propelled by Beatles songs, including ‘Eleanor Rigby’, ‘When I’m Sixty-Four’, ‘Lucy in the Sky with Diamonds’, ‘All You Need Is Love’, and ‘It’s All Too Much’. When the film debuted in 1968, it was instantly recognised as a landmark achievement, revolutionising a genre by integrating the freestyle approach of the era with innovative animation techniques. The film has been restored in 4K digital resolution for the first timeDue to the delicate nature of the hand-drawn original artwork, no automated software was used in the digital clean-up of the film’s restored photochemical elements. This was all done by hand, frame by frame.
UK 1968 George Dunning 90m
When former journalist Martin Sixsmith is dismissed from the Labour Party in disgrace, he is at a loss as to what do. That changes when a young Irish woman approaches him about a story of her mother, Philomena, who had her son taken away when she was a teenage inmate of a Catholic convent. Martin arranges a magazine assignment about her search for him that eventually leads to America. Along the way, Martin and Philomena discover as much about each other as about her son's fate. Furthermore, both find their basic beliefs. ‘Philomena’ is a much richer and deeper experience than anyone may have suspected. Anchored by a never-better Judi Dench and Steve Coogan in his most mature and substantial dramatic role to date. Stephen Frears subversively backtracks to his sparky best for an adaptation of BBC scapegoat Sixsmith’s 2009 chronicle. The result was one of the films of 2013, a sure-fire crowd-pleaser.
UK 2013 Stephen Frears 98m
We are delighted to welcome Steve Coogan to introduce the film, and following the screening in conversation with producer Andrew Eaton.
Watch the Sunset, an Australian crime-drama made in one shot, takes the viewer on an emotionally charged ride through a man’s struggles to reconnect with his family due to his violent, troubled past.
Danny, played by co-director and co-writer Tristan Barr, is a man on the edge. The sprawling scenery, measured pacing and economic dialogue serves nicely to develop his anxiety and tension – there is barely a word uttered in the first 15 minutes. Over time, we learn that Danny is desperate to reconnect his deeply damaged relationship with his ex-partner, Sally (Chelsea Zeller), and their daughter, Joey (Annabelle Williamson). During their reparative chatter, Joey is taken by two dangerous looking-thugs and it looks like things will never be the same for this struggling family. Danny is now faced with the overwhelming task of facing his past, whilst dragging the woman he loves further into the chasm of blackness he was so desperate to escape from – all in the pursuit of saving their beloved child. At around 80 minutes in length, the film’s greatest asset – in addition to the “one shot” element – is its tautness: it never overreaches or turns in directions it shouldn’t, and remains economical and focused in its objectives. Directors Tristan Barr & Michael Gosden know what they want to portray and how they want it portrayed.
Australia 2017 Tristan Barr & Michael Gosden 79m
Sandome no Satsujin
This metaphysical crime thriller from the maestro of Japanese family life, Hirokazu Kore-eda (who won the Palme d’Or in Cannes for ‘Shoplifting’ this May) will leave audiences with more mysteries to ponder than simply whodunnit.
This is a complex death-sentence drama which tells of one man s hunt for the truth whilst investigating the murky events of a gruesome murder. Leading attorney Shigemori (Masaharu Fukuyama) takes on the defence of murder-robbery suspect Misumi (Kôji Yakusho) who served jail time for another murder 30 years ago. Shigemori s chances of winning the case seem low - his client freely admits his guilt, despite facing the death penalty if he is convicted. As he digs deeper into the case and hears the testimonies of the victim s family and Misumi himself, the once confident Shigemori begins to doubt whether his client is the murderer after all. (Subtitles)
Japan 2017 Hirokazu Kore-eda 125m
We hope to welcome back Steve Coogan to briefly introduce the film.