Belgium’s official bid for the Best Foreign Language Film award at next year’s Oscars, and Isabelle Huppert’s latest, “Copacabana,” will bookend the 23rd edition of the AFI European Union Film Showcase, that takes place November 4 – 23 at the AFI Silver Theater in Silver Spring, Maryland. This year’s Showcase will feature over 40 feature films drawn from all 27 countries of the European Union.
The Belgian opener, Olivier Masset-Depasse’s refugee drama “Illegal,” debuted in the Director’s Fortnight sidebar in Cannes earlier this year, and tells the story of Tania, a Russian immigrant living in Belgium illegally with her son Ivan. Deppasse’s film tracks Tania’s struggle to find her son after being found out by the authorities. Marc Fitoussi’s “Copacabana” meanwhile pairs Huppert with her real-life daughter, Lolita Chammah, in a family dramedy in which Huppert tries to win back her daughter’s approval after living a wayward life.
Other high profile films include the three Centerpiece Screenings: Mona Achache’s award-winning adaptation of French novelist Muriel Barbery’s bestseller, “The Hedgehog;” Spain’s “Me Too” (Yo Tambien) from director Antonio Naharro; and Abbas Kiarostami’s Cannes winner “Certified Copy.”
“The EU Film Showcase always gives Washington, DC area film lovers their first chance to see some of the best new films from Europe, straight from the world’s premier film festivals,” said Todd Hitchcock, Film Programmer, AFI Silver Theatre and Cultural Center in statement. “Our 2010 lineup includes many award-winning, highly anticipated films, and perhaps even a few surprises.”
Below is the complete lineup, with synopses provided by AFI:
“[A] fascinating study of perseverance in the face of subhuman treatment.” —Boyd Van Hoeij, Variety. Tania (Anne Coesens), a Russian immigrant living illegally in Belgium, is willing to do whatever it takes to prevent her son and herself from being deported. When Tania’s illegal status is discovered, she is arrested and sent to a detention center, where she meets other illegals like herself, struggling to stay in their adopted homeland. Things soon spiral out of control when she claims a false name and finds herself in the middle of a complex deportation situation. Winner, Society of Dramatic Actors and Composers’ SACD Prize, 2010 Cannes Directors’ Fortnight.
Writer-director Mona Achache makes an impressive feature debut with her masterly adaptation of Muriel Barbery’s bestselling novel. Precociously cynical Paloma (Garance Le Guillermic), observing that the adult world is absurd and joyless, decides she will end her life on her 12th birthday. Paloma delights in tormenting her mother and moody teenage sister, but also discovers that the grumpy concierge in her building, Renee (Josiane Balasko), leads a secret life as a passionate lover of literature, a fact also discovered by new neighbor Mr. Ozu (Togo Igawa). As Paloma and Renee form a friendship, and Mr. Ozu and Renee kindle the beginnings of a romance, Paloma begins to see the possibilities in life for the first time.
From Rotterdam to Sundance, this film has attracted attention for the real-life story of its lead actor, Pablo Pineda, who plays the main character, Daniel. Pablo was the first person with Down syndrome in Europe to receive a university degree. In the film, Daniel is also a college graduate and social service worker who falls for his hardliving but vulnerable colleague Laura (Lola Duenas, THE SEA INSIDE). As their co-workers and friends watch disapprovingly, the two build a relationship that is as deeply felt as it is unconventional. Intelligently written and smartly acted, this is a winning twist on the modern romantic comedy.
Abbas Kiarostami’s first feature film made outside of Iran playfully asks questions about art, life and love; originality and imitation; and the alchemy of cross-cultural understanding (or misunderstanding). British intellectual William Shimmell meets French shopkeeper Juliette Binoche after giving a lecture in a Tuscan town. Walking and talking their way through the beautiful surroundings, the pair begin to play act as lovers, a charade they carry to surprisingly great lengths. The similarity to Rossellini’s VOYAGE TO ITALY is entirely intentional, as are, perhaps, the resemblances to IN THE MOOD FOR LOVE, BRIEF ENCOUNTER, BEFORE SUNSET, Kiarostami’s own films and any number of others. Best Actress Award for Binoche, 2010 Cannes Film Festival; Official Selection, 2010 Telluride and New York Film Festivals.
Free-spirited Babou (Isabelle Huppert) has spent her life living the bohemian lifestyle, moving from one place to another without any major life responsibilities. However, when she learns her 22-year-old daughter, Esméralda (played by Huppert’s real-life daughter, Lolita Chammah), is so ashamed of her that she does not want her at her upcoming wedding, Babou is determined to prove she can be a responsible adult. This prompts her to accept a job selling time-shares in Ostende, Belgium. To everyone’s surprise, Babou has a knack for real estate and soon becomes a star employee. But is it enough? Can a leopard really change its spots? “Kind-hearted realism and spirited thesping are very much the fashion in COPACABANA, a wryly observed sophomore dramedy.” —Jordan Mintzer, Variety.
Based on the real-life escapades of the Austrian bank-robbing marathoner Johann “Pump-Gun Ronnie” Rettenberger, this film moves from breathtaking action sequences into a moody, existential exploration of his motives. In jail, Rettenberger (Andreas Lust) runs obsessively but tells parole officer Markus Schleinzer that he’s tired of running in circles in the prison yard. The newly paroled Lust begins to train for an upcoming marathon and dutifully attends classes at the job center, where he rekindles a romance with social worker Franziska Weisz. But Lust just can’t stay on the straight and narrow, and soon he’s robbing banks again, the thrill of the chase during his narrow escapes seemingly as much of a goal as the loot.
In 2092, science has conquered aging and death, and the last living mortal is a 118-year-old man, Nemo Nobody (Jared Leto). Interviewed about the life he’s led, Mr. Nobody instead describes multiple lives. When his parents divorced, did he stay in England with his dad (Rhys Ifans) or move to Canada with his mom (Natasha Little)? Did he find love with Anna (Diane Kruger) or lose her forever? Did he marry the troubled Elise (Sarah Polley) or the loving Jeanne (Linh Dan Pham)? Did he become rich or poor? Did he actually die many years earlier? Mysteriously, Mr. Nobody insists that all of these possible lives occurred, and this extraordinary, visionary film explores the mind-blowing possibilities of existence.
Two directionless brothers discover the need for human connection in writer-director Kamen Kalev’s accomplished debut. Impressionable teen Georgi (Ovanes Torosian) falls in with a gang of skinheads. When the gang hassles a Turkish family on the street, the man who comes to their aid turns out to be Georgi’s older, estranged brother Christo, nicknamed Itso (Christo Christov). An artist and recovering drug addict, Itso is surprised to discover newfound motivation after this incident, reconnecting with his brother and bonding with the beautiful Isil (Saadet Isil Aksoy), whose family he defended.
“The Last Homecoming”
Cyprus, 1974. During an otherwise idyllic Mediterranean summer, a Greek Cypriot family faces changes and challenges, from within and without. Even as the local production of Euripides’ tragedy The Trojan Women poses an ominous warning to those who would make war, the political winds portend an imminent conflagration. Two brothers become separated by politics, even as they fall in love with the same woman.
“3 Seasons in Hell”
1947. Nineteen-year-old Ivan (Kryštof Hádek) is the embodiment of the dreams and ideals of the period. The self-satisfied and confrontational poet finds understanding with freethinking Jana (Russian actress Karolina Gruszka), and together they experience the end of hope: After February 1948, the communist regime reveals its repressive side. Tomáš Mašín’s debut feature is loosely inspired by the autobiography of leftist underground guru Egon Bondy.
The lineup continues on page 2…
“Men In Rut”
The mayor and business leaders of Mourinov, a town in a remote corner of South Moravia in the Czech
Republic, hatch a scheme to improve their fortunes by hosting a European championship for stag calling.
They hope to impress their local MP enough to put their town on the map—literally—by convincing him to apply for EU funds to build a new highway connecting them with the wider world. But first, the mayor needs to settle his feud with the local stag calling champ, keep the MP drunk, and figure out what to do with a bunch of drag queens brought in specially from Prague. Gentle humor meets trenchant political satire in this utterly charming tale.
Rikard Rheinwald (Jesper Christensen) is the last in a line of five generations of prosperous Copenhagen bakers (“Purveyors to the Royal Court”!). Diagnosed with inoperable brain cancer, the proud man decides that his daughter Ditte (Lene Maria Christensen) should take over the family business. But Ditte has her hands full with her successful art gallery, a dream job offer in New York and difficulties with her boyfriend, Peter (Pilou Asbaek). The conflicting demands of family and tradition, an aging father and a determined daughter, are given powerful dramatic treatment in the latest film from Pernille Fischer Christensen (A SOAP, 2008 AFI European Union Film Showcase).
Recipient of the Audience Award at the Karlovy Vary Film Festival, this gentle comedy finds 50-something Vagn living alone and stuck in a rut. With only his soccer teammates for friends, Vagn looks forward to their annual bus trip to Sweden, where this year they will take on a group of retired policemen. The trip goes awry, however, when Vagn is left behind at a filling station and hitches a ride with an ex-con maladroitly staging a holdup. As the loquacious, book-loving criminal and the reserved loner take to the road, the two discover the power of friendship and new beginnings.
“The Temptation of St. Tony”
Veiko Õunpuu’s follow-up to the award-winning AUTUMN BALL (2008 AFI European Union Film Showcase) confirms him as one of Europe’s brightest young talents. Filmed in striking widescreen black and white, Õunpuu’s tale follows the passive, put-upon Tony (hangdog Taavi Eelmaa) through increasingly surreal tableaux: his father’s funeral procession, interrupted by a car crash; a bourgeois dinner party disrupted by vagrants; the shuttering of a factory and firing of its workers; and a rural police station manned by comically grotesque cops from which Tony, on a whim, helps a mysterious young beauty to escape. Following her to a sinister cabaret, Tony may have discovered the heart of darkness of today’s Eastern Europe.
Sixteen years ago, appeals court judge Mikael (Ville Virtanen) underwent an acrimonious divorce; he left with his young son and his wife left with their daughter. After years of no contact, the teenage daughter, Tilda (Pihla Viitala), reappears in Helsinki and reconnects with her brother, Dani (Lauri Tilkanen). However, to Mikael’s alarm, the teens begin to develop a fondness for each other that goes beyond that of a brother and sister. Fearing that a moral crisis has broken out in his own home, the controlling Mikael takes drastic measures.
“The City Below”
Roland (Robert Hunger-Buehler) is the powerful CEO of a Frankfurt bank, a hard-working man who has a fascination with dangerous behavior. He meets Svenja (Nicolette Krebitz) at an art exhibit, and recognizes the kind of thrill seeker he’s drawn to. He’s initially rebuffed by the married Svenja, but her husband, Olli (Mark Waschke), works as a junior executive under Roland, and Roland thinks he’d be perfect for a position in the Jakarta office that just opened up… Christoph Hochhäusler’s sly, sardonic portrait of high-powered business, lowdown dirty tricks and the mysterious urges that drive people fascinates on multiple levels.
Growing up in East Germany, best pals Tom (Matthias Schweighöfer) and Veit (Friedrich Mücke) were cheerfully oblivious to many of the deprivations around them, preferring to escape into the fantasy world of amateur moviemaking. With the fall of the Berlin Wall in 1989, they set out on an epic road trip across the US, in search of Veit’s dad in San Francisco, with little knowledge of English and even less cash. Many comic high jinks ensue in Markus Goller’s high-spirited and sweet-natured buddy comedy, a box-office smash in Germany, based in part on producer Tom Zickler’s own experience as an Ossi in America after the Wall came down.
“With Heart and Soul”
Veteran director Pantelis Voulgaris has been making films in his native Greece since 1965, and his most recent is one of the most ambitious yet, tackling the massive subject of his country’s civil war. The year is 1949, and as the fighting rages on in the Macedonian mountains, two young brothers find themselves on opposing sides of the struggle, 17-year-old Anestis with the government and 15-year-old Vlasis with the communists. Valued for their familiarity with the area, the two guide their respective armies through the battlefields, coming ever closer to each other and the fate they both share. Intimate and lyrical yet mythic and majestic, this film is a moving triumph.
The happy home of Katalin Varga (Hilda Péter) is disrupted after her husband (László Mátray) discovers that their 11-year-old son, Orbán (Norbert Tanko), is not his, but in fact resulted from a rape that Katalin kept secret. With Orbán in tow, Katalin sets off for her home village in Transylvania, intent on wreaking vengeance on her rapist after all these years. Though contemporary in setting, the primitive, seemingly medieval conditions in the country combined with Katalin’s single-minded pursuit of revenge imbue the story with a timeless, mythic quality.
Mona returns to Romania after a long absence abroad to claim her young daughter from child protective services. Asked to plead her case, she regales the social worker with a fantastic tale of mind control and sexual slavery. Mona’s misadventures are shown in an extended, phantasmagoric flashback wherein she falls under the spell of a charismatic criminal and is sold into the sex trade at the Bibliothèque Pascal brothel in Liverpool. How much of this really happened, and how much is a coping mechanism for what Mona endured? Writer-director Szabolcs Hajdu (WHITE PALMS) finds the mythic truth in the story of one woman’s descent into and escape from madness.
Written and directed by John Carney (ONCE) and his brother Kieran, this is the tale of one man’s desire to do as little as possible. An alcoholic who has just escaped from rehab finds himself in a quaint Irish hamlet, passed out in the living room of the dense but charitable Cassidy family. Realizing an opportunity when he sees one, he becomes Zonad, an alien observer in a skintight red vinyl suit. Zonad is soon living the good life—girls, free beer and more girls—but when a jealous inmate tracks him down, Zonad must defeat his arch-nemesis Bonad. Hilarious and strange, this film is gleefully bawdy in the best UK tradition.
“The Double Hour”
Guido (Filippo Timi), a widower and former cop, is a luckless veteran of the speed-dating scene in Turin. But, much to his surprise, at his latest session he meets Slovenian immigrant Sonia (Ksenia Rappoport), they hit it off, and a passionate romance develops. The two leave the city for a romantic getaway in the country, and it’s here where things suddenly take a dark turn, with the film rapidly shifting from romance into a neonoir thriller.
Anna (Alba Rohrwacher) is a successful accountant for an insurance company with an easygoing live-in boyfriend. Domenico (Pierfrancesco Favino) works for a catering company and has a wife and two young children. When Domenico’s company caters a function at Anna’s office, the two are introduced. An immediate attraction is formed, resulting in a steamy love affair. The situation soon spirals out of control, leaving both Anna and Domenico with serious, life-changing choices to make. Cinematographer Ramiro Civita’s “confident, mature lensing is perhaps the film’s most memorable element, from tempered handheld work to terrific closeups that aim to get inside the characters’ confusion.” —Jay Weissberg, Variety.
Construction foreman Claudio (Elio Germano) has a good job, a beautiful wife (Isabella Ragonese), two young boys and a third on the way. But tragedy strikes when his wife dies giving birth. Now child care and the explosive demands of his job—a complex web that includes highly leveraged loans from the neighborhood pimp (Luca Zingaretti), the hiring of illegal immigrant workers and blackmailing his boss to get a prized contract—have him working harder than ever. The latest from Daniele Luchetti (MY BROTHER IS AN ONLY CHILD, 2008 AFI European Union Film Showcase) explores everyday melodrama in a working-class milieu.
“The Four Times”
This sleeper hit of the 2010 Cannes Film Festival is almost impossible to synopsize. Focusing initially on the day-to-day routine of an elderly shepherd in the Calabria region of Italy, the near-wordless film eventually expands its view to include every facet of nature, as man becomes dust, baby goats get lost, villagers celebrate the changing of the seasons and (in one of the most memorable scenes of the year) a dog interrupts a religious ceremony. A subtle, wondrous meditation on life, death and rebirth, this film is a stunning debut.
A congenial country bar is ground zero for four open-ended stories that come to center on the town cop as the missing link in the cryptic narrative. A hunting party sets out on an early fall morning while an irritable delivery man adds a lethal ingredient to a shipment of local brew, marathon runners get lost in the woods and a home for unwed mothers based in a railroad car makes its daily pass along the tracks. Chance is the determining factor in this surreal story, and director Andis Mizišs has a knack for maintaining a magical edge.
Both lyrical and starkly realistic in its chronicling of the Lithuanian generation that lived through the early Soviet era, this film recalls some of the great filmmaking from the Soviet Union of the late 1960s with its stunning widescreen black-and-white photography and epic scope. Juzik is a young man from the country who experienced great loss during his youth but has nonetheless grown up maintaining his essential goodheartedness and faith in others. But after he enters the workforce at a quarry on the Baltic coast run by corrupt party bosses, and when he becomes involved with two very different women—the boozy Klara and the moody Maska—Juzik is for the first time faced with the difficult choices of adulthood.
In Nazi-annexed Luxembourg during WWII, some young men faced with conscription into the German army opted to hide out and join the resistance. In Nicolas Steil’s directorial debut, “going underground” takes on a literal meaning as the resistance members hide deep in an abandoned iron mine. Disgusted with the German control of his country, child-of-privilege François (Grégoire Leprince-Ringuet) joins the ragtag resistance fighters. Initially regarded with suspicion because of his background—his collaborator father was assassinated by the resistance—François starts to gain their trust as he volunteers for ever more dangerous missions above ground.
“I Was, Already”
Free-spirited artist Karl returns to his hometown in Malta after years living abroad. Reconnecting with long-lost friends, visiting his old haunts in Gozo and reuniting with a former lover allow him to answer questions that have been gnawing at him about his identity and place in the world. With a new love, Anna, in his life, Karl is now seeing life through new eyes. But can Malta become a home again for the footloose Karl?
A sweeping melodrama loosely based on the lives of three young women who traveled on the KLM flight that won the last Great Air Race from London to Christchurch, New Zealand, in 1953. Dubbed the “Bride Flight,” many of its passengers were young Dutch women on their way to join their already-settled fiancés. Shy country girl Ada, sensible Marjorie and sophisticated Esther are from different backgrounds and have different motivations for emigrating, but quickly become friends as they adjust to their new lives. Fifty years later, at the funeral of a fellow “Bride Flight” passenger, Frank, they learn just how intertwined their lives have really been.
“All That I Love”
Set in 1981, just as Poland’s Solidarity movement was about to become an active force for social and political change, writer-director Jacek Borcuch’s film blends elements of an American ’80s teen sex comedy, a Romeo and Juliet-style romance and raucous punk rock into a thoroughly winning story. In an industrial port town on the Baltic coast, Jacek (Mateusz Kosciukiewicz), the teenaged son of a navy captain, and his friends court controversy by forming a punk rock band. Jacek begins a tentative romance with schoolmate Basia (Olga Fryz), whose father is a union leader. As events come to a head, and the young lovers find their families in opposition, Jacek and his band, backed by the town’s youth, take a stand for freedom.
“The Dark House”
After the death of his wife, Edward Srodon (Arkadiusz Jakubik) accepts a job in another town working at a state farm. When his bus breaks down on the way, he finds shelter in a small country house occupied by an old man and his much younger wife. After an evening of drinking, the night turns violent … and deadly. Flash forward to a few years later when Edward is the chief witness (and suspect) in the police investigation of the events of that night. Political corruption and greed leave a taint on the inquiry and stand in the way of the truth. “Entirely satisfying in psychological and sociological terms, this evocatively shot, vividly acted, brilliantly written film was the Polish critics’ choice for top domestic film of 2009.” —Alissa Simon, Variety.
In 1952 Warsaw, shy Sabina (Agata Buzek) prefers the world of books to the dating regime her mother (Krystyna Janda) and grandmother (Anna Polony) champion. But after the dashing Bronislaw (Marcin Dorocinski) rescues her from a mugging, she believes she has finally found a suitable mate, thrilling her mother and grandmother. Bronislaw is mysterious about his work, but when it’s revealed that he works for the secret police, the women become much less enthusiastic and take extreme measures to end the romance. “Rich with references to Polish culture and cinema history, the genre-juggling feature debut of Borys Lankosz is clever, complex and spiked with a special kind of black humor.”—Alissa Simon, Variety Winner, Best New Director, 2010 Seattle Film Festival, FIPRESCI Prize, 2009 Warsaw Film Festival and seven awards, 2009 Gdynia Polish Film Festival.
“The Strange Case of Angelica”
Director Manoel de Oliveira, 101 years old and still going strong, returns with one of his most celebrated films in recent years. The family members of a recently deceased young woman, Angelica (Pilar López de Ayala), summon young photographer Isaac (Ricardo Trêpa, de Oliveira’s grandson) in the middle of the night and ask him to take her death photo. But viewed through his camera lens, the beautiful Angelica seems very much alive. Even in his developed photos of her, she appears animated. This strange phenomenon takes hold of Isaac, who soon begins receiving visits from her in his dreams and falling in love with a ghost. Official Selection, 2010 Cannes, Toronto and New York Film Festivals.
“Tuesday, After Christmas”
Writer-director Radu Muntean’s follow-up to BOOGIE (2008 AFI European Union Film Showcase) presents another portrait of a middle-class Romanian man approaching middle age conflicted about the life he has chosen. Whereas BOOGIE’s protagonist tended to avoid conflict and hard choices, here, Paul (Mimi Branescu), a man torn between his wife and his mistress, is all about the lead-up to a difficult decision and its unpredictable aftermath. Branescu is excellent, but it’s the performances by Maria Popistasu as his girlfriend and Mirela Oprisor as his wife that resonate the strongest. Using extremely long takes, Muntean allows the characters’ difficult interactions to play out for maximum dramatic effect. Official Selection, 2010 Cannes Film Festival.
“If I Want to Whistle, I Whistle”
After four years in juvenile detention, Silviu is just five days away from freedom. He steers clear of conflict with the more hardened inmates and is doing well in his release training, having taken a shine to his student teacher, Ana. But when his vagabond mother unexpectedly shows up, informing Silviu that she has moved to Italy and plans to take her younger son Marius with her, Silviu’s mood darkens. Unable to convince the warden to assist with his case, Silviu resorts to drastic action. First-time director Florin S‚erban delivers a taut and penetrating character study, sparked by non-pro actor George Pistereanu’s strong performance as the conflicted Silviu. Winner of the Jury Prize and Alfred Bauer Prize, 2010 Berlin Film Festival.
Set in a small town divided by the border of Ukraine and Slovakia, this documentary tells the emotional story of the men and women who have had to endure decades of forced physical separation from their loved ones on the other side of the military-enforced demarcation line. “Jaroslav Vojtek’s moving documentary reveals the pain caused by this illogical rupture, demonstrating how today’s political expediency is hardly superior to yesterday’s Cold War gerrymandering.” —Jay Weissberg, Variety.
“A Call Girl”
Ljubljana college student Aleksandra (Nina Ivanisin) earns much-needed cash as an online call girl, with the screen name “Slovenian Girl.” With the heat on from the police, who want to question her about an EU MP who died of a coronary while with her, and pressure from two pimps who want a piece of the action, not to mention an ex-boyfriend with hurt feelings and a big test coming up, Aleksandra goes home to Krsko to regroup, but the bleak situation there offers little relief. This latest film from Slovenian auteur Damjan Kozole is one of his best, offering rueful wisdom on the economic imperatives governing contemporary life. Official Selection, 2009 Toronto and Sarajevo Film Festivals.
“Three Days With the Family”
Returning home to Catalonia from school in Bordeaux for the funeral of her grandfather, Léa (Nausicaa Bonnín) must endure the empty rituals and bad behavior of her tradition-bound, bourgeois family. Her emotionally repressed father, Josep Maria (Eduard Fernández), and her alcoholic mother, Joelle, have been separated for ages but keep up appearances in front of others; her uncles Toni and Pere are stereotypically snobby, upper-class twits, and her sister, Virginia, who has written a roman à clef based on her family’s history, is now shunned by the others. First-time director Mar Coll’s keenly observed dramedy of manners won Best Director, Actor (Fernández) and Actress (Bonnín) awards at the 2009 Málaga Film Festival, and Coll won Best New Director at the 2010 Goya Awards.
“Behind Blue Skies”
Martin (Bill Skarsgård, son of Stellan), a 17-year-old growing up in mid-1970s Sweden, is a good-hearted, wide-eyed young man with a troubled home life. When he’s given the opportunity to live and work at a resort on the Stockholm archipelago for the summer, he leaps at the chance. There he is taken under the wing of restaurant manager Gösta (Peter Dalle), who seems to appreciate Martin’s innocence, even as he recruits him for work in illegal sidelines ranging from hookers to drugs to worse. Hannes Holm’s clever coming-of-age comedy has real heart and soul, with young Skarsgård delivering a star-making turn as Martin and Josefin Ljungman shining as Jenny, his restaurant co-worker and budding love interest.
“Cameraman: The Life and Work of Jack Cardiff”
Jack Cardiff shot some of the most visually dazzling films in screen history, working for great directors like John Huston, Alfred Hitchcock and Michael Powell, earning equal praise from his leading men (John Wayne, Kirk Douglas, Charlton Heston) and his leading ladies (Marilyn Monroe, Sophia Loren, Audrey Hepburn). Craig McCall’s accomplished documentary illuminates the cinematographer’s art and provides a rare insight into the workings of the movie world. With a wealth of film clips from Cardiff’s seven decades of cinematography, including BLACK NARCISSUS, THE RED SHOES and THE AFRICAN QUEEN, this film demands to be seen on the big screen. “We have to keep making films like this one.” —Martin Scorsese.
“Made in Dagenham”
Dagenham, England, 1968. Forced to take a pay cut after management reclassifies them as unskilled labor, Ford factory seamstresses organize behind young Rita O’Grady (Sally Hawkins, HAPPY-GO-LUCKY) and union rep Albert (Bob Hoskins) to air their grievances. Discovering a voice she didn’t know she had, Rita calls for a one-day strike in her department, and soon the entire 50,000-worker factory is shutting down and Rita is fielding calls from Secretary of State Barbara Castle (Miranda Richardson) about what to do. Directed by Nigel Cole (CALENDAR GIRLS) and based on true events surrounding the landmark sexual discrimination labor dispute.