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DAILY NEWS: AFI Announces Galas, RESFEST Unveils Programs and The Film Society of Lincoln Center Sc

DAILY NEWS: AFI Announces Galas, RESFEST Unveils Programs and The Film Society of Lincoln Center Sc

DAILY NEWS: AFI Announces Galas, RESFEST Unveils Programs and The Film Society of Lincoln Center Screens Tarkovsky Series

by Matthew Ross and Brian Brooks/indieWIRE

>> AFI 2002 Readies Upcoming International Event in L.A. with Three Galas

(indieWIRE: 09.18.02) — The AFI unveiled its three gala films for its
2002 Fest opening November 7 in Los Angeles. Denzel Washington‘s directorial
debut, “Antwone Fisher,” which screened recently in Toronto, will kick off
the event (making its U.S. Premiere), while Canadian Atom Egoyan‘s latest
Ararat” will also have its U.S. premiere on November 12. “Antwone” focuses
on a troubled sailor, Fisher (Derek Luke) who is ordered to see a naval
psychiatrist (Denzel Washington) about his explosive behavior. Their
relationship eventually becomes close and Fisher learns to reconcile with
his love, played by Joy Bryant. Fox Searchlight will release the film in

Miramax‘s “Ararat” is the story of two families, with 18-year old Raffi
(David Alpay) the center of the narrative. He attempts to investigate family
secrets held by his mother Ani (Arsinee Khanjian), an art history professor.
Raffi returns to Canada with cans of 35mm film, and a customs official,
played by Christopher Plummer, attempts to solve the secret the film holds.
AFI Fest will close with the West Coast premiere of Spanish director Pedro
‘s “Hable con Ella” (Talk to Her). The veteran director’s latest
looks at the complex relationship between two men whose lovers are both
lying unconscious in the same hospital. Almodovar’s previous film, “All
About My Mother
” also closed AFI Fest, and “Hable” will close the upcoming
New York Film Festival. The film will be released by Sony Pictures Classics
in November.

“What a thrill to have the work of such exemplary directors, writers and
actors presented at AFI Fest 2002,” said festival director Christian Gaines
in an event release. “I hope that it’s a happy reminder to the people of Los
Angeles that the extraordinary range and diversity still found in world
cinema should be treasured and savored.” Also scheduled for the festival,
which ends November 17, is a showcase of international competition of
features, docs, and shorts in addition to the event’s regional world cinema
focus sections including Asian New Classics, European Film Showcase, Latin
Cinema Series, American Directions, and its Made in Germany series. [Brian

>> RESFEST Announces Shorts, Vids, and a Retro

(indieWIRE: 09.18.02) — Following the announcement for this year’s RESFEST
shorts lineup, RES Media Group has announced the music video, feature,
and retrospective programs for its annual touring digital film festival.

Music videos will be programmed in two categories: Cinema Electronica, which
“showcases the results of collaboration of top electronic musicians and
innovative filmmakers,” and “Videos That Rock,” a new program described as
celebrating “directors who translate guitars ‘n’ vocals energy into some
other form.”

Highlights of this year’s “Cinema Electronica” program include Wong
‘s video of DJ Shadow‘s “Six Days,” Nick Knight‘s uncensored version of Bjork‘s “Pagan Poetry,” and the RES-commissioned Zero 7 video “Destiny,” by Tommy Pallotta, and Shynola‘s “Eye for an Eye” for UNKLE. “Videos that Rock” will feature 20 rockin’ short form gems, including The White Stripes‘ “Fell in Love with a Girl” by Michel Gondry, StyleWar‘s “Sweet N Sour,” for
the John Spencer Blues Explosion, and Josh Melnick and Xander Charity‘s “Movie Script Ending,” for Death Cab for Cutie.

Feature films screening at RESFEST include Joey Garfield‘s documentary
Breath Control: The History of the Human Beat Box,” and Johnny To‘s Hong Kong actioner “Full Time Killer.” In addition, the festival will present a
retrospective of music video maven Chris Cunningham. For a complete list of
programs and tour dates, visit www.resfest.com. [Matthew Ross]

>> Fall 2002 in NYC a Must for Die-Hard Tarkovsky-ites

(indieWIRE: 09.18.02) — “Great artists go their own ways. And the
photographer’s role is to yield, it is always the director’s wisdom that
counts — if indeed he knows what he wants. And Tarkovsky knew what he
wanted.” — cinematographer Sven Nykvist, on his collaboration with Andrei
on “The Sacrifice“.

Most young fans of Russian filmmaker Andrei Tarkovsky in the U.S. discovered
the director in the screening rooms of college or graduate level film
classes, and not at their local art-house video store. Why not video?
Because Tarkovsky’s movies are simply unwatchable on a small screen.
Intellectually rigorous, thematically dense, delicately composed, and, of
course, usually very long, the challenging magic of Tarkovsky can only exist
in a cinema, when all other distractions disappear and the viewer’s
attention has nowhere else to hide.

And while Tarkovsky’s work will never have huge cross-over potential, his
dedicated fans have an enthusiasm that verges on the occult. Beginning last
Friday, and running through September 27, the Film Society of Lincoln Center
launched a complete Tarkovsky retrospective to mark the 70th anniversary of
his birth. What’s more, the series, which is presented by distributor Kino International, features four new prints (with new subtitles) of the master’s work, including the uncut version of “Andrei Rublev” (1969), “The Mirror” (1975), “Ivan’s Childhood” (1962), and “Solaris” (1972). For those that won’t be able to make the September screenings, FilmForum has booked one-week runs of “Andrei Rublev” and “Solaris” in October.

“There are aspects of Takovsky’s work that were very avant garde, but his
sensibilities were very conservative,” FSLC program director Richard Pena
told indieWIRE. “I think when people — especially agnostics — confront
faith on such a deep level, it can be very unnerving experience. I think he
had a very deeply held religious passion, and in a way he’s a little bit

“He’s a filmmaker who was able make flesh seem other-worldly,” Pena
continued. “One of the things about his work is that it’s not only exciting
on the cognitive level bit also on the physical level. The films are
exhausting. His work is as vital today as it was 10 years ago. His place in
film history has only gotten stronger.” For more information, visit
www.filmlinc.com or www.filmforum.com. [Matthew Ross]

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