2009 Souvenir Program Guide - California Film Institute
2009 Souvenir Program Guide - California Film Institute
2009 Souvenir Program Guide - California Film Institute
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MILL VALLEY FILM FESTIVAL 32<br />
CONTENTS<br />
2 Mayor’s Proclamation<br />
3 Director’s Note<br />
6 CFI Milestone Campaign/<br />
Major Donors<br />
7 CFI Board of Directors<br />
9 CFI Sponsors<br />
15 CFI Green Initiative<br />
19 CFI Membership<br />
21 Festival Information:<br />
Maps and Venues<br />
23 Opening Night<br />
25 Closing Night<br />
27, 29 Live Performances at<br />
142 Throckmorton<br />
31 New Movies Lab<br />
33 Screening the Future<br />
37 Children’s <strong>Film</strong>Fest<br />
39 Youth Focus<br />
41 CFI Education<br />
47 Spotlight on Clive Owen<br />
53 Tribute to Uma Thurman<br />
OCTOBER 8–18, <strong>2009</strong><br />
59 Spotlight on Jason Reitman<br />
65 Tribute to Woody Harrelson<br />
71 Tribute to Anna Karina<br />
77 Active Cinema<br />
81 MVFF <strong>2009</strong> <strong>Film</strong> Selections<br />
82 <strong>Film</strong>s A to Z<br />
113 <strong>Film</strong> Calendar<br />
117 The Tao of <strong>Film</strong><br />
122 Festival Staff<br />
128 In Memory: Pam Hamilton<br />
129 Creative Credits<br />
131 Additional Acknowledgments<br />
143 CFI Members<br />
148 Outdoor Art Club/<br />
MVFF Hospitality Lounge<br />
155 Print Sources<br />
161 <strong>Film</strong>s by Country<br />
164 <strong>Film</strong>maker Index<br />
167 Advertiser Index<br />
168 <strong>Film</strong> Title Index
MAYOR’S PROCLAMATION<br />
PROCLAMATION DECLARING OCTOBER 8–18, <strong>2009</strong><br />
“MILL VALLEY FILM FESTIVAL DAYS”<br />
WHEREAS, the Mill Valley <strong>Film</strong> Festival has presented outstanding<br />
local and international fi lms in this community for 32 years; and<br />
WHEREAS, the Mill Valley <strong>Film</strong> Festival fulfi lls the important func-<br />
tion of providing fi lmmakers an audience for their works; and<br />
WHEREAS, international fi lmmakers and the fi lm community in<br />
Marin County enhance our cultural life by participating in the<br />
Mill Valley <strong>Film</strong> Festival; and<br />
WHEREAS, fi lmmakers, volunteers, sponsors and fi lmgoers join<br />
together to make the <strong>Film</strong> Festival one of the Bay Area’s social and<br />
cultural highlights of the year; and<br />
WHEREAS, the City of Mill Valley has proudly supported<br />
independent fi lmmaking and the Mill Valley <strong>Film</strong> Festival for 32 years;<br />
NOW, THEREFORE, I, Andrew Berman, Mayor of the City of<br />
Mill Valley, take great pleasure in supporting the 32nd Annual Festival<br />
by proclaiming October 8–18, <strong>2009</strong>, as Mill Valley <strong>Film</strong> Festival Days<br />
in Mill Valley.<br />
ANDREW BERMAN<br />
Mayor of Mill Valley<br />
2
In the 1960s there was a popular saying, “You<br />
can’t trust anyone over 30.” When it comes to<br />
the Mill Valley <strong>Film</strong> Festival, however, that fl atly<br />
isn’t the case. In our role as “trusted curator,”<br />
the Mill Valley <strong>Film</strong> Festival has been recognized<br />
both here and abroad for the depth and breadth<br />
of its innovative and consistently excellent programming,<br />
and—now a genuine 30something—<br />
continues to focus on bringing the highest caliber<br />
fi lms to our loyal, spirited audiences. Will our<br />
32nd MVFF result in discoveries like Slumdog<br />
Millionaire, which last year screened at Telluride,<br />
Toronto and Mill Valley? Who knows, but isn’t the<br />
search for discovery a reward in itself?<br />
Bay Area fi lmmakers have been an integral part<br />
of our vision from the Festival’s inception, of<br />
course, and this year is no exception. From the<br />
astounding concentration of gifted fi lmmakers<br />
here in our little corner of the world, the Mill Valley<br />
<strong>Film</strong> Festival continues to showcase the best<br />
of Bay Area fi lmmaking. The 35 Bay Area–centered<br />
fi lms represented this year include Imbued,<br />
the new work from American independent–fi lm<br />
icon and MVFF stalwart Rob Nilsson (and featuring<br />
the great Stacy Keach); a lyrical and local<br />
meditation on music and devotion called<br />
Miracle in a Box: A Piano Reborn, the latest<br />
from West Marin’s Academy Award–winning<br />
fi lmmaker John Korty; Michael Anderson’s moving<br />
dramatic feature Tenderloin, fi lmed on location<br />
in the heart of the titled neighborhood; a<br />
crucial world premiere exposé of the pressures<br />
faced by our country’s school children in Vicki<br />
Abeles’ Race to Nowhere; and still another riveting<br />
and timely account in Rick Goldsmith and Judy<br />
Ehrlich’s inspiring documentary-cum–political<br />
thriller, The Most Dangerous Man in America:<br />
Daniel Ellsberg and the Pentagon Papers.<br />
This year’s Festival opens with two incredibly<br />
powerful and poignant fi lms. Scott Hicks’ The<br />
Boys Are Back is impressive in its humanity and<br />
vision, being at once exhilarating, deeply moving<br />
and unfl inchingly humorous in its look at the<br />
travails and joys of a newly widowed single father<br />
(warmly embodied by our Spotlight honoree<br />
Clive Owen). MVFF is also leading off with Precious:<br />
Based on the Novel “Push” by Sapphire,<br />
in which director Lee Daniels bravely tackles diffi<br />
cult subject matter with an uplifting honesty and<br />
humanity, bringing his insightful vision to those<br />
too easily overlooked in our society, and reveal-<br />
tickets 877.874.6833<br />
ing the beautiful and resilient soul residing there.<br />
Winner of the Grand Jury Prize at the Sundance<br />
<strong>Film</strong> Festival, Precious promises to be one of<br />
this year’s defi ning fi lms and we’re honored to<br />
showcase it. Our Closing Night fi lms include Ken<br />
Loach’s wonderful new soccer-centric workingclass<br />
dramedy, Looking for Eric, which recently<br />
scored points with audiences at Cannes; as well<br />
as The Young Victoria, a sharp and contemporaryfeeling<br />
fi lm featuring an indelible performance by<br />
Emily Blunt as the teenage queen.<br />
We are proud to honor three exceptional actors<br />
with Tributes this year. The Tributes are a complete<br />
evening’s entertainment, including career<br />
clip-reels, onstage interviews, fi lm screenings<br />
and sparkling receptions with our guests. Uma<br />
Thurman, who has delighted audiences worldwide<br />
for over 20 years, will be honored and feted<br />
in conjunction with a screening of her new fi lm,<br />
Motherhood. Also this year comes our Tribute<br />
to Woody Harrelson, a gifted, dynamic actor<br />
who invests the most varied of roles and fi lms<br />
with exceptional truth and heart. Accompanying<br />
Harrelson’s Tribute will be a screening of his powerful<br />
new fi lm, The Messenger. As we were going<br />
to print, we learned that our Tributee, legendary<br />
French New Wave icon Anna Karina, is unable<br />
to join us due to a recent accident. She will join<br />
us for her Tribute in Spring 2010, at a precise<br />
time to be announced. In the meantime, the Festival<br />
will go forward with the North American premiere<br />
of her new fi lm, Victoria, which she wrote,<br />
directed and stars in. Her producer, Héjer Charf,<br />
will attend the screening. MVFF is also screening<br />
DIRECTOR’S NOTE<br />
WELCOME TO THE 32nd MILL VALLEY FILM FESTIVAL<br />
Pierrot le fou, Karina’s 1965 collaboration with<br />
then-husband Jean-Luc Godard.<br />
Other highlights include two Spotlight programs,<br />
each a not-to-be-missed evening of festivities.<br />
Our Spotlight on Clive Owen begins with retrospective<br />
clips and an onstage interview, followed<br />
by a screening of his breakout fi lm Croupier and<br />
a reception with the actor and invited guests. In<br />
honor of his contribution to the art of cinema,<br />
Owen will be presented with the Mill Valley <strong>Film</strong><br />
Festival award. In our second Spotlight program,<br />
the MVFF award will also be presented this year<br />
to Jason Reitman, who at 32 already has two<br />
Academy Award nominations under his belt: Best<br />
Director and Best Motion Picture (Juno, 2007).<br />
Of Reitman’s bold and deeply felt new fi lm, which<br />
will screen as part of this year’s program, Anne<br />
Thompson of Variety predicts, “Up in the Air will<br />
fl y,” and aptly notes that as “awards season beckons—this<br />
one’s in the hunt.”<br />
During the next 11 days, you’ll have the opportunity<br />
to view features, shorts, documentaries,<br />
panels, workshops, special programs, Spotlights<br />
and Tributes. You will be transported to different<br />
countries, different time periods, different homes<br />
and homelands. There are some 41 countries<br />
represented in over 140 fi lms. I am proud of the<br />
fact that the Mill Valley <strong>Film</strong> Festival has a reputation<br />
for a well-balanced range of fi lms, with something<br />
for everyone; a good fi lm can affect the way<br />
we look at ourselves, each other and the world.<br />
It’s with that truth always in mind that the Festival<br />
has earned its audience’s trust, even as it inches<br />
past that old 30-year peg. So sit back and enjoy<br />
the fl ight!<br />
I would like to thank everyone who has played<br />
a part in making our 32nd MVFF possible: our<br />
generous donors and sponsors, our dedicated<br />
staff, our Board of Directors, our hard-working<br />
volunteers and, most of all, the extraordinary artists<br />
who share their work with us.<br />
MARK FISHKIN<br />
MVFF Founder-Director<br />
3
For more than three decades, the <strong>California</strong> <strong>Film</strong> <strong>Institute</strong> has enriched<br />
the cultural lives of Marin County and Bay Area residents.<br />
As we celebrate the 10th anniversary of the Christopher B. Smith<br />
Rafael <strong>Film</strong> Center, and the 32nd edition of the Mill Valley <strong>Film</strong> Festival,<br />
we continue to work to secure the legacy of this exceptional cultural<br />
organization by making it fi nancially sustainable. In taking these steps<br />
now, we ensure that future generations—and future audiences—will be<br />
able to enjoy the rich and varied offerings of the <strong>California</strong> <strong>Film</strong><br />
<strong>Institute</strong>’s three core programs: the Smith Rafael <strong>Film</strong> Center, the Mill<br />
Valley <strong>Film</strong> Festival and CFI Education.<br />
Through the generous support of our Milestone Campaign donors, we<br />
are able to:<br />
• Continue the high quality, innovative programming that has earned<br />
CFI its international reputation.<br />
6<br />
CFI MILESTONE CAMPAIGN<br />
• Bring Bay Area audiences into contact with the world’s most<br />
celebrated and visionary fi lmmakers.<br />
• Expand CFI Education to offer more media-literacy and hands-on<br />
filmmaking programs to Bay Area students and bring more<br />
fi lmmakers into local schools.<br />
• Increase our creative and financial support of filmmakers, both<br />
through fi lm exhibition and through a new model for nonprofi t fi lm<br />
distribution.<br />
CFI WOULD LIKE TO THANK THE FOLLOWING INDIVIDUALS AND FOUNDATIONS<br />
FOR THEIR GENEROUS SUPPORT OF THE MILESTONE CAMPAIGN.<br />
LEADERSHIP CIRCLE<br />
Christopher B. and Jeannie Meg Smith<br />
INVESTOR CIRCLE<br />
Jennifer Coslett MacCready<br />
Gruber Family Foundation<br />
PLATINUM CIRCLE<br />
Richard Barker<br />
Nancy and Rich Robbins<br />
Henry Timnick<br />
Christine Zecca Foundation<br />
GOLD CIRCLE<br />
Anonymous<br />
Jackie and Ken Broad<br />
William Hudson and Nora Gibson<br />
Katz Family Foundation<br />
K.C. and Steve Lauck<br />
Monahan Parker, Inc.<br />
Terese and Robert Payne<br />
Robin Wright Penn and Sean Penn<br />
Lente Louw and Eric Schwartz<br />
Susan and Michael Schwartz<br />
Lois and Mel Tukman<br />
SILVER CIRCLE<br />
Anonymous (2)<br />
Jennifer Barker<br />
Kamala Geroux-Berry and David Berry<br />
Alice Corning<br />
Leonard Eber<br />
Dennis P. Fisco and Pamela Polite Fisco<br />
Margaret E. Haas<br />
Susan and Richard Idell<br />
Andrée Poirier Jansheski<br />
Fred M. Levin and Nancy Livingston,<br />
The Shenson Foundation<br />
Bobbie Meyer<br />
Kristin Otis and James Boyce<br />
Gordon Radley<br />
Heidi Richardson and Michael Dyett<br />
Ruth and Alan Scott<br />
Saul Zaentz<br />
Marlies and Zach Zeisler<br />
For more information about how you can support the<br />
Milestone Campaign, please visit cafi lm.org/support<br />
or email us at development@cafi lm.org.<br />
BRONZE CIRCLE<br />
Sheryle Bolton and Steve Shane<br />
Marie and Brian Collins<br />
Gail and Douglas Dolton<br />
Kathleen O’Hara and Larry Eilenberg<br />
Catherine and Peter Flaxman<br />
Lisa Graeber<br />
Ellen Kutten<br />
Dixon Long<br />
Cindy & John McCauley<br />
Rosemary and Kevin McNeely<br />
James Mochizuki<br />
Susan and Joel Sklar<br />
Ruthellen Toole<br />
The Whitney Family<br />
MAJOR FOUNDATION SUPPORT<br />
Bernard Osher Foundation<br />
Marin Community Foundation<br />
Academy of Motion Picture Arts<br />
and Sciences<br />
The William and Flora Hewlett Foundation<br />
The Koret Foundation<br />
San Francisco Foundation<br />
GOVERNMENT SUPPORT<br />
County of Marin<br />
National Endowment for the Arts<br />
mvff.com
FOUNDER/<br />
EXECUTIVE DIRECTOR<br />
Mark Fishkin<br />
FOUNDING BOARD<br />
Rita Cahill<br />
Mark Fishkin<br />
Lois Kohl Shore<br />
RICHARD IDELL<br />
PRESIDENT<br />
KENNETH<br />
BROAD<br />
CHARLES<br />
MCGLASHAN<br />
tickets 877.874.6833<br />
CHRISTOPHER B.<br />
SMITH<br />
EMERITUS BOARD<br />
Ann Brebner<br />
Rita Cahill<br />
Sid Ganis<br />
Gary Meyer<br />
Gordon Radley<br />
Henry Timnick<br />
CO-VICE PRESIDENT<br />
MICHAEL DYETT<br />
SUSAN<br />
SCHWARTZ<br />
JENNIFER<br />
MACCREADY<br />
CO-VICE PRESIDENT<br />
CFI BOARD OF DIRECTORS<br />
ADVISORY BOARD<br />
Stewart and Barbara Boxer<br />
Kirk Citron<br />
Jeff Fisher<br />
Peter Flaxman<br />
Robert Greber<br />
Linda Gruber<br />
Peggy Haas<br />
LARRY<br />
EILENBERG<br />
STEVE SHANE<br />
SECRETARY<br />
Matt Haligman<br />
Nancy Hudson<br />
Amy Keroes<br />
Andrew McGuire<br />
Jann Moorhead<br />
Mary Poland<br />
Lente and Eric Schwartz<br />
Michael Schwartz<br />
ZACH ZEISLER<br />
TREASURER<br />
BRUCE KATZ<br />
DR. JOEL SKLAR EVELYN TOPPER<br />
7
The <strong>California</strong> <strong>Film</strong> <strong>Institute</strong> Is Proud to Acknowledge Our <strong>2009</strong> Sponsors and Supporters<br />
tickets 877.874.6833<br />
MAJOR SPONSORS<br />
MAJOR FOUNDATIONS AND INDIVIDUALS<br />
GOVERNMENT SUPPORT<br />
SPONSORS<br />
the<br />
bernard<br />
osher<br />
foundation<br />
9
tickets 877.874.6833<br />
SILVER CIRCLE SPONSORS<br />
FESTIVAL CIRCLE SPONSORS<br />
MAJOR MEDIA SPONSORS<br />
SPECIAL SUPPORT<br />
SPONSORS<br />
11
tickets 877.874.6833<br />
FESTIVAL EVENTS SPONSORS<br />
PRODUCTS AND SERVICES SPONSORS<br />
HOTEL SPONSORS<br />
PROMOTIONAL PARTNERS SPONSORS<br />
Allegria Biscotti<br />
Angelica Limousine<br />
Balboa Cafe Mill Valley<br />
Barefoot Wine & Bubbly<br />
Brigitte Wines<br />
<strong>California</strong> Bank & Trust<br />
Cameron Hughes Wine<br />
Canihan Family Cellars<br />
Champagne Bakery<br />
Courtesan Wines<br />
Crystal Geyser<br />
Custom Chefs Catering<br />
Delicious! Catering<br />
Dream Dynamic<br />
essn sparkling fruit juices<br />
ETC Catering<br />
IN-KIND DONORS<br />
Exclusive Coffee & Tea of MVFF<br />
Fanucchi Vineyards<br />
Fiske Video Productions<br />
Fort Docs<br />
Golden Star Tea<br />
Gundlach Bundschu Winery<br />
Hall Wines<br />
Hint Beverage Company<br />
Il Davide Cucina Italiana<br />
Jamba Juice<br />
Jazz Cellars<br />
John Tyler Wines<br />
Judy’s Breadsticks<br />
Kate’s Blossoms<br />
Kenwood Vineyards<br />
Korbel Brandy<br />
Lagunitas Brewing Company<br />
SCREEN ACTORS GUILD<br />
Exclusive Cheese of MVFF<br />
Maker’s Mark Distillery<br />
McCune Audio.Video.Lighting<br />
Mill Valley Flowers<br />
Nico Martin Presents<br />
North Bay Bohemia<br />
NT Audio<br />
OOBA Hibiscus Sparkling Beverage<br />
OSMOSIS Beverages<br />
ProjectWizards<br />
Revenge Is…<br />
River Vy Wines<br />
Rough House<br />
Ruby LivingDesign<br />
Sabor of Spain<br />
Scrumptious Occasions Catering<br />
SF Station<br />
SPONSORS<br />
Shiftboard<br />
Sparkology<br />
Special Events Event Rentals<br />
Spy Post<br />
Star Route Farms<br />
Steve Bissinger/Sine Language<br />
“Take A Dip” Fondue Fountains<br />
TAP Plastics<br />
The Organic Wine Company<br />
Thrifty Car Rental<br />
Tony Tutto Pizza<br />
Townley Wines<br />
Video Equipment Rentals<br />
Whipper Snapper 13<br />
Restaurant<br />
Zeal Wine Imports
A WORD ON OUR<br />
GREEN INITIATIVE<br />
<strong>California</strong> <strong>Film</strong> <strong>Institute</strong> uses the power of fi lm to create awareness of<br />
sustainability issues that affect us all. With leadership from PG&E, we’re<br />
doing this through fi lm programming, on-site at our events, in our<br />
buildings and in our daily actions.<br />
THROUGH PROGRAMS…<br />
• Environmental Youth Conference, featuring<br />
environmentally focused fi lms and guests<br />
• Year-round screenings at the Smith Rafael <strong>Film</strong> Center,<br />
including recent socially conscious fi lms<br />
• Active Cinema <strong>Program</strong> at the Mill Valley <strong>Film</strong> Festival<br />
THROUGH PEOPLE…<br />
• Green community partnerships for venues and events<br />
• Sustainability education for staff, volunteers and audiences<br />
THROUGH FACILITIES…<br />
• Green Business Certifi cation at our offi ce and<br />
at the Smith Rafael <strong>Film</strong> Center<br />
• PG&E’s ClimateSmart program at our offi ce and theaters<br />
• On-site recycling programs<br />
• Locally produced organic food and wine at events<br />
“We’re proud to help bring the Mill Valley <strong>Film</strong> Festival to our customers in Marin<br />
and the Bay Area through PG&E’s sponsorship. Supporting great events like<br />
the Festival refl ects PG&E’s commitment to enhancing the quality of life in our<br />
communities—a commitment that extends from providing safe, reliable service<br />
to offering one of the nation’s cleanest utility energy supplies.”<br />
— Peter Darbee, chairman, CEO and<br />
president of PG&E Corporation.
Membe rs hip<br />
With a CFI membership you<br />
can share a passion for great<br />
film that inspires and challenges<br />
us to see the world from a<br />
new perspective. Your support<br />
helps sustain sustain a vibrant environment<br />
in which audiences of all<br />
ages engage with today’s most<br />
influential filmmakers.<br />
MEMBERSHIP<br />
REWARDS:<br />
• Reduced regular<br />
admission ticket<br />
price of $5.50 at<br />
the Christopher B.<br />
Smith Rafael <strong>Film</strong><br />
Center—any time,<br />
any day!<br />
• Member screenings,<br />
often with wellknown<br />
filmmakers<br />
and actors as guests<br />
at fascinating Q&A<br />
sessions<br />
• Privilege<br />
to purchase<br />
Mill Valley <strong>Film</strong><br />
Festival tickets<br />
before the<br />
general public<br />
JOIN US TODAY! ONLINE<br />
AT CAFILM.ORG OR<br />
AT ALL MILL VALLEY<br />
FILM FESTIVAL TICKET<br />
OUTLETS<br />
Membership<br />
Sponsor
PARKING<br />
In Mill Valley: Two-hour parking meters in<br />
downtown Mill Valley operate 9:00 am–6:00<br />
pm Monday through Friday, and cars parked<br />
more than two hours are subject to ticketing.<br />
Although meters are free after 6:00 pm and<br />
on weekends, the two-hour limit is still<br />
enforced. See map for directions and parking<br />
areas.<br />
In San Rafael: There are parking garages<br />
throughout the downtown San Rafael area.<br />
Two-hour parking meters in San Rafael<br />
operate 9:00 am–6:00 pm Monday through<br />
Saturday, and cars parked more than two<br />
hours are subject to ticketing. Meters are free<br />
after 6:00 pm and on Sundays. See map for<br />
directions and parking areas.<br />
PUBLIC TRANSPORTATION<br />
Call Golden Gate Transit at 511 (toll-free) or<br />
415.455.2000 (outside the Bay Area) for<br />
information about taking public transportation<br />
to and from the Mill Valley <strong>Film</strong> Festival.<br />
MEMBERSHIP INFORMATION<br />
Membership information will be available at<br />
Festival ticket outlets. New members may<br />
join, and old friends may renew or upgrade<br />
their existing memberships.<br />
ETIQUETTE<br />
As a courtesy and in fairness to others, we<br />
ask that you only hold one seat per person<br />
when attending screenings and events.<br />
Please turn off pagers, cell phones and<br />
watch alarms. Thank you and enjoy the fi lms.<br />
PHOTOGRAPHY, VIDEO AND<br />
AUDIO RECORDING<br />
Photography and video or audio recording<br />
are prohibited in all theatrical and other<br />
Festival venues.<br />
RESERVED SEATING<br />
The Mill Valley <strong>Film</strong> Festival is made possible<br />
in part through the generous support of our<br />
sponsors and patrons. The reserved seating<br />
section at our screenings and events is<br />
provided for fi lmmakers and sponsors, in<br />
appreciation for their contributions and their<br />
generous support of the Mill Valley <strong>Film</strong><br />
Festival.<br />
VOLUNTEER<br />
It’s not too late to volunteer for the Mill Valley<br />
<strong>Film</strong> Festival. Contact Jennie-Marie Adler,<br />
volunteer coordinator, at 415.526.5869 or<br />
mvffvolunteers@cafi lm.org.<br />
tickets 877.874.6833<br />
FESTIVAL INFORMATION / MAPS / VENUES<br />
BUYING TICKETS<br />
ONLINE: mvff.com<br />
24 hours daily, beginning:<br />
September 20 at 2:00 pm for Members<br />
September 24 at 9:00 am for the<br />
General Public<br />
PHONE: Toll-free 1.877.874.MVFF<br />
Members Only:<br />
September 20, 2:00–7:00 pm<br />
September 21–23, 9:00 am–5:00 pm<br />
General Public: September 24–October 18,<br />
9:00 am–5:00 pm<br />
BUY IN PERSON: TICKET OUTLETS<br />
San Rafael Ticket Outlet<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
1118 Fourth St.<br />
Members Only (Pre-Festival)<br />
September 20–23, 2:00–7:00 pm<br />
General Public (Pre-Festival)<br />
September 24–October 7, 2:00–7:00 pm<br />
During the Festival<br />
October 8–18,<br />
Weekdays 2:00–10:00 pm<br />
Weekends 10:00 am–10:00 pm<br />
Mill Valley Ticket Outlet<br />
Mill Valley Chamber of Commerce<br />
85 Throckmorton Ave.<br />
General Public (Pre-Festival)<br />
October 6–7, 2:00–7:00 pm<br />
During the Festival<br />
October 8–18,<br />
Weekdays 2:00–10:00 pm<br />
Weekends 10:00 am–10:00 pm<br />
SOLD OUT? TRY THE RUSH LINE<br />
Rush tickets are often available even when<br />
advance tickets have sold out. A rush line will<br />
form outside each venue up to one hour<br />
before showtime. Approximately 10 minutes<br />
prior to the screening, available rush tickets<br />
will be sold on a fi rst-come, fi rst-served<br />
basis. No discounts. Cash only.<br />
THE FINE PRINT<br />
All orders are fi nal. No refunds, exchanges,<br />
substitutions or replacements. MVFF is not<br />
responsible for lost, stolen, forgotten or damaged<br />
tickets, or tickets misdirected by the Post Offi ce. To<br />
pick up your tickets at Will Call, you must bring a<br />
valid photo ID that corresponds to the name on the<br />
credit card used to purchase the tickets.<br />
Processing fees are nonrefundable. The processing<br />
fee for online and in-person sales is $1.50 per<br />
ticket, up to a maximum fee of $6.00 per order. The<br />
processing fee for phone sales is a fl at $7.50 per<br />
order. Ticket holders who do not arrive 15 minutes<br />
prior to showtime cannot be guaranteed a seat.<br />
N<br />
N<br />
FESTIVAL VENUES<br />
CinéArts@Sequoia (SEQ)<br />
25 Throckmorton Ave., Mill Valley<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
(RAF) 1118 Fourth St., San Rafael<br />
142 Throckmorton Theatre (THR)<br />
142 Throckmorton Ave., Mill Valley<br />
Century Cinema (CIN)<br />
41 Tamal Vista, Corte Madera<br />
Outdoor Art Club (OAC)<br />
1 W. Blithedale Ave., Mill Valley<br />
Mill Valley Community Center<br />
180 Camino Alto, Mill Valley<br />
Tiburon Grill 1651 Tiburon Blvd., Tiburon<br />
Frantoio Ristorante & Olive Oil Co.<br />
152 Shoreline Hwy., Mill Valley<br />
Sabor of Spain 1301 Fourth St., San Rafael<br />
Piatti Ristorante & Bar<br />
625 Redwood Hwy., Mill Valley<br />
Marin Youth Center<br />
1115 Third St., San Rafael<br />
<strong>California</strong> Hornblower Cruises<br />
Sausalito Ferry Dock,<br />
1 Anchor St., Sausalito<br />
P<br />
P P<br />
B Street<br />
OAC<br />
THR<br />
Throckmorton<br />
RAF<br />
SEQ<br />
Tickets<br />
P<br />
A Street<br />
P<br />
Court<br />
Blithedale Avenue<br />
Lootens<br />
P<br />
Fifth Street<br />
Fourth Street<br />
Third Street<br />
Second Street<br />
CHRISTOPHER B. SMITH RAFAEL FILM CENTER<br />
From US 101, take the Central San Rafael exit.<br />
Go west to 1118 Fourth St.<br />
� Miller Avenue<br />
P P Miller Avenue<br />
CINÉARTS@SEQUOIA AND<br />
142 THROCKMORTON THEATRE<br />
From US 101, take the Tiburon/East Blithedale exit<br />
and proceed west on Blithedale toward<br />
downtown Mill Valley.<br />
Turn left onto Throckmorton Ave. 21<br />
Sunnyside<br />
US 101<br />
US 101
tickets 877.874.6833<br />
Our 32nd Festival opens with two fi lms that boldly celebrate the power of the<br />
human spirit–Precious: Based on the Novel “Push” by Sapphire, the deeply inspiring story<br />
of a high school student whose harsh existence is tempered by her beautiful, resilient<br />
nature, and The Boys Are Back, a poignant look at single parenthood in all of its frenetic<br />
near misses and triumphs. After either Opening Night fi lm, join invited guests Clive<br />
Owen, Scott Hicks, Gabourey Sidibe, Paula Patton and Lee Daniels at the Mill Valley<br />
Community Center for delicious savories and sweets, wine and cocktails and dazzling<br />
live music. Enjoy Pizza Antica’s sautéed calamari, hangar steak bruschetta, BLT salad<br />
and more, with additional bites and sips by Whole Foods, Marin French Cheese Company,<br />
Judy’s Breadsticks, Lagunitas Brewing Company, Barefoot Wine & Bubbly, Thumbprint<br />
Cellars and Townley Wines.<br />
OPENING NIGHT<br />
BASED ON THE NOVEL “PUSH”<br />
PRECIOUS: BY SAPPHIRE<br />
THE BOYS ARE BACK<br />
US <strong>2009</strong> 109 MINS<br />
Thursday, October 8, 7:00 pm<br />
<strong>Film</strong> and Gala $125 PREC08P<br />
<strong>Film</strong> Only $30 PREC08R<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Claireece “Precious” Jones, an abused and illiterate African American<br />
high school student, is always “looking up . . . for a piano to fall.”<br />
Tackling tough material with uplifting consciousness and insight,<br />
Precious promises to be one of this year’s defi ning fi lms.<br />
See page 98 for complete information.<br />
OPENING NIGHT GALA<br />
FOLLOWS EITHER OPENING NIGHT SCREENING<br />
Thursday, October 8, 9:30 pm–12:00 am<br />
Mill Valley Community Center<br />
Australia/UK <strong>2009</strong> 104 MINS<br />
Thursday, October 8, 7:00 pm and 7:15 pm<br />
7:00 pm <strong>Film</strong> and Gala $125 BOYA08P<br />
7:00 pm <strong>Film</strong> Only $30 BOYA08S<br />
7:15 pm <strong>Film</strong> and Gala $125 BOYB08P<br />
7:15 pm <strong>Film</strong> Only $30 BOYB08S<br />
CinéArts@Sequoia<br />
OPENING NIGHT<br />
SPONSORED BY<br />
Sportswriter Joe Warr (a stellar Clive Owen) takes on single parenthood<br />
after his wife’s untimely death in this exhilarating, deeply moving<br />
and unfl inchingly humorous story about the wonders and pitfalls of<br />
fatherhood, change and growing up.<br />
See page 86 for complete information.<br />
23
tickets 877.874.6833<br />
CLOSING NIGHT<br />
The 32nd Mill Valley <strong>Film</strong> Festival comes to a dramatic close with two incredible fi lms–<br />
Looking for Eric and The Young Victoria. After the fi lms, sail away with us on the <strong>California</strong> Hornblower in<br />
Sausalito for our Closing Night party and moonlight cruise. Savor, indulge and unwind with the fi nest in<br />
gourmet cuisine, hand-crafted vino from Hall Wines and hip DJ beats by Feet First Entertainment, all<br />
while being surrounded by spectacular bay views on Hornblower’s magnifi cent fl agship. The bars are<br />
generously sponsored by <strong>California</strong> Bank & Trust.<br />
LOOKING FOR ERIC THE YOUNG VICTORIA<br />
UK <strong>2009</strong> 116 MINS<br />
Sunday, October 18, 5:15 pm<br />
<strong>Film</strong> and Party $75 LOOK18P<br />
<strong>Film</strong> Only $30 LOOK18S<br />
CinéArts@Sequoia<br />
Ken Loach is in top form with this socially aware romantic comedy,<br />
in which depressed postal worker Eric Bishop gets by with a little<br />
help from his friends—and mysterious “visits” from his hero,<br />
Manchester United soccer star Eric Cantona.<br />
See page 94 for complete fi lm information.<br />
CLOSING NIGHT PARTY<br />
Sunday, October 18<br />
Boarding 8:00 pm, Sailing 9:00 pm<br />
<strong>California</strong> Hornblower Cruises<br />
Sausalito Ferry Dock<br />
1 Anchor Street, Sausalito<br />
Special Thanks to Hall Wines<br />
UK/US <strong>2009</strong> 100 MINS<br />
Sunday, October 18, 5:15 pm<br />
<strong>Film</strong> and Party $75 YOUN18P<br />
<strong>Film</strong> Only $30 YOUN18R<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Emily Blunt is radiant as the youthful Queen Victoria, who ascended<br />
the British throne at age 18, in this sumptuous production tracing<br />
her early reign and legendary romance with Prince Albert (Rupert<br />
Friend).<br />
See page 111 for complete fi lm information.<br />
SPONSORED BY<br />
25
THE MILL VALLEY FILM FESTIVAL, LAWRENCE R. GOLDFARB AND STEEP PRODUCTIONS, INC. PRESENT<br />
CONCERT FOR A REVOLUTION<br />
Saturday, October 10, 9:30 pm<br />
$65 MUSC10T<br />
In honor of the inspirational soundtrack<br />
for the MVFF premiere fi lm Soundtrack<br />
for a Revolution we present a live concert<br />
to follow the fi rst screening of the<br />
fi lm. This all-star evening features the<br />
legendary, multiple Grammy-winning<br />
The Blind Boys of Alabama and more<br />
special musical surprises to form a dynamic<br />
tribute to the songs that powered<br />
the Civil Rights Movement.<br />
About the fi lm: Backed by impassioned<br />
studio performances by Wyclef Jean,<br />
tickets 877.874.6833<br />
THE BLIND BOYS OF ALABAMA<br />
The Blind Boys of Alabama, Mary Mary,<br />
Richie Havens, The Roots, Angie Stone,<br />
John Legend and others, this gripping<br />
documentary relates the history of the Civil<br />
Rights Movement to a new generation (fi lm<br />
ticket sold separately, see page 103 for more<br />
information).<br />
Produced by Lawrence R. Goldfarb and<br />
Steep Productions, Inc., Clare Wasserman<br />
and Stephanie Clarke. Music Director:<br />
Scott Matthews<br />
SPONSORED BY<br />
JAZZ ICONS AMONG US: BERNARD WASSERMAN FANNING<br />
Sunday, October 11, 8:00 pm<br />
$20 MUSC11T<br />
In celebration of the theatrical version of the<br />
outstanding jazz documentary series Icons<br />
Among Us: jazz in the present tense, MVFF<br />
presents a special live event showcasing the<br />
future of jazz music and its many offshoots.<br />
Join eclectic bass virtuoso Rob Wasserman, a<br />
regular collaborator with Lou Reed, Rickie Lee<br />
Jones and Bob Weir; phenomenal guitarist<br />
IN ASSOCIATION WITH THE MILL VALLEY FILM FESTIVAL, 142 THROCKMORTON THEATRE PRESENTS<br />
TUESDAY NIGHT COMEDY WITH MARK PITTA & FRIENDS<br />
Tuesday October 13, 8:00 pm<br />
For ticket information, visit<br />
www.142throckmortontheatre.org<br />
or call 415.383.9600<br />
Mark your calendars for Tuesdays, and join us for Tuesday<br />
Night Comedy with Mark Pitta & Friends. Mark Pitta hosts<br />
an evening for established headliners and up-and-coming<br />
comics to work on new material. You may see fi ve comics,<br />
LIVE EVENTS AT 142 THROCKMORTON<br />
THE MILL VALLEY FILM FESTIVAL PRESENTS IN ASSOCIATION WITH SFJAZZ<br />
WILL BERNARD ROB WASSERMAN DALE FANNING<br />
MARK PITTA<br />
Will Bernard, who has played with everyone<br />
from Don Cherry and Peter Apfelbaum to<br />
Robert Walter and John Medeski; seemingly<br />
three-armed Living Daylights drummer<br />
Dale Fanning; and other special guests as<br />
they explore the ways that jazz and rock<br />
improvisation interact in the 21st century.<br />
Produced by Chris Chappell. See page 92 for<br />
fi lm information.<br />
an improv group, a comedy video or<br />
a scene from a new play in progress—<br />
come and fi nd out! Ages 18 and over<br />
unless accompanied by a parent or<br />
legal guardian.<br />
27
THE MILL VALLEY FILM FESTIVAL PRESENTS<br />
INSIGHT: THE CASSEL TOUCH<br />
tickets 877.874.6833<br />
LIVE EVENTS AT 142 THROCKMORTON<br />
CHARACTER ACTING FROM CASSAVETES TO NOW<br />
SEYMOUR CASSEL IN CONVERSATION WITH ROB NILSSON<br />
SEYMOUR CASSEL<br />
THE MILL VALLEY FILM FESTIVAL AND THE BILL GRAHAM MEMORIAL FOUNDATION PRESENT<br />
TROUPERS: 50 YEARS OF THE SAN FRANCISCO MIME TROUPE<br />
Friday, October 16, 7:30 pm<br />
$20 TROU16T<br />
Following a screening of Glenn Silber and<br />
Claudia Vianello’s inspiring 1985 documentary,<br />
Troupers (see page 109), comes what promises to<br />
be an engaging Q&A with Mime Troupe alum—<br />
including playwright emeritus Joan Holden, a<br />
driving force of the group for four decades; fi lm<br />
and television actor, director and author Peter<br />
THE MILL VALLEY FILM FESTIVAL PRESENTS<br />
Coyote; Wilma Bonet, founder of Latina Theatre<br />
Lab and prominent Bay Area actress, playwright<br />
and director (most recently of SFMT’s 50th<br />
Anniversary show, Too Big to Fail); and others.<br />
Then, Troupers past and present treat us to<br />
a sampling of their unique brand of physical<br />
musical comedy, with longtime composerlyricist<br />
Bruce Barthol (original bassist, Country<br />
Joe & The Fish) heading up the band.<br />
A SWEETER MUSIC: A LIVE CONCERT BY SARAH CAHILL WITH VIDEO BY JOHN SANBORN<br />
Sunday, October 18, 3:30 pm<br />
$20 SWEE18T<br />
In what promises to be an unforgettable live<br />
concert, celebrated pianist, writer and radio<br />
host Sarah Cahill performs new works for<br />
solo piano she commissioned from a group<br />
of leading composers. Each a meditation on<br />
peace and war, the pieces will be set against<br />
stunning visual poems by video artist and<br />
MVFF favorite John Sanborn. The concert<br />
includes a West Coast premiere excerpt from<br />
a resetting of “Steppe Music” by Meredith<br />
Monk (see Meredith Monk – Inner Voice fi lm<br />
Wednesday, October 14, 8:00 pm<br />
$15 CASS14T 142 Throckmorton Theatre<br />
Enjoy an intimate conversation between acclaimed character actor<br />
Seymour Cassel and iconic independent fi lmmaker Rob Nilsson.<br />
Seymour Cassel’s early career was tied to American master of<br />
independent cinema John Cassavetes, with whom Cassel made his<br />
fi lm debut in Shadows. Cassel starred in more Cassavetes classics,<br />
including Minnie and Moskowitz and Faces, for which he received<br />
an Academy Award nomination for Best Supporting Actor. Cassel<br />
has remained a fi xture of independent and studio fi lms, appearing<br />
in Steve Buscemi’s Trees Lounge, Alexandre Rockwell’s In the Soup,<br />
Adrian Lyne’s Indecent Proposal, Warren Beatty’s Dick Tracy and a<br />
trio of Wes Anderson favorites: Rushmore, The Royal Tenenbaums<br />
and The Life Aquatic with Steve Zissou. His latest, Reach For Me,<br />
screens at this year’s MVFF (see page 100). Imbued, the new fi lm<br />
from MVFF favorite Nilsson, also screens this year (see page 92).<br />
STEELTOWN<br />
SARAH CAHILL, PIANIST, VIDEO BY JOHN SANBORN<br />
note, page 94), Preben Antonsen’s<br />
“Dar al-Harb,” Jerome Kitzke’s<br />
“There Is a Field,” The Residents’<br />
“drum no fi fe (Why We Need<br />
War),” Kyle Gann’s “War Is Just<br />
a Racket,” Phil Kline’s “The Long<br />
Winter,” Mamoru Fujieda’s “The<br />
Olive Branch Speaks” and Terry<br />
Riley’s “Be Kind to One Another<br />
(Rag).”<br />
29
tickets 877.874.6833<br />
Saturday, October 10, 2:00 pm<br />
FREE STUDENT EVENT<br />
Marin Youth Center, 1115 Third St., San Rafael<br />
Five working fi lmmakers discuss how they get<br />
their fi lms made and what young fi lmmakers need<br />
to know about the perils of a fi lm’s afterlife in the<br />
NEW MOVIES LAB<br />
THE MILL VALLEY FILM FESTIVAL PRESENTS WORKSHOPS ON THE ART, TECHNOLOGY AND BUSINESS OF FILMMAKING<br />
INSIGHT<br />
INSIGHT PROGRAMS AT MILL<br />
VALLEY FILM FESTIVAL EXPLORE THE<br />
ART AND CRAFT OF SIGNIFICANT<br />
FILMMAKERS IN DEPTH.<br />
HENRY SELICK<br />
AND THE ART OF<br />
CORALINE<br />
Sunday, October 11, 3:15<br />
pm, $15 SEL11R<br />
Christopher B. Smith Rafael<br />
<strong>Film</strong> Center<br />
From early MTV station ID<br />
days to The Nightmare Before<br />
Christmas to this year’s hit<br />
Coraline, one of our premier<br />
fantasists has repeatedly taken<br />
you to other worlds. Join Henry<br />
Selick, director-screenwriter of<br />
Coraline, as he discusses his most<br />
recent stop-motion animated<br />
feature (scenes from which<br />
will be screened) as well as his<br />
distinguished career and the<br />
carefully nurtured art of stop-<br />
motion animation.<br />
SPONSORED BY<br />
THE CASSEL<br />
TOUCH<br />
For full program information,<br />
see page 29.<br />
HOW TO GET IT DONE A SEMINAR FOR YOUNG FILMMAKERS<br />
GIRL GEEKS<br />
Sunday, October 11, 1:00 pm, $15 SEM11R<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Geeks have come a long way from taped-up glasses<br />
to high-powered movers and shakers delivering<br />
innovative digital art and entertainment. This panel<br />
explores the intersection of technology and creativity<br />
with women at the forefront of the digital industry.<br />
CINEMASPORTS<br />
Saturday, October 17, 9:00 am<br />
Intro Meeting, Old Mill Park, Mill Valley<br />
FREE TO PARTICIPATE<br />
Sign-up required on a fi rst-come, fi rst-served basis.<br />
Saturday, October 17, screening 7:30 pm, $10<br />
CINE17T 142 Throckmorton Theatre<br />
Fusing imagination, collaboration and tournament,<br />
Cinemasports is a race to make a fi lm in a day.<br />
ACTIVE CINEMA STRATEGIES FOR CHANGE<br />
Sunday, October 18, 12:30 pm, $15 SEM18T<br />
142 Throckmorton Theatre<br />
The experts on this creative brainstorming<br />
and makeover panel will look at strategies for<br />
distribution and marketing of fi lms on social,<br />
environmental and human rights issues, as well<br />
as ways to get audiences engaged—connecting<br />
with non-profi ts, social networking, events, bake<br />
sales, fundraisers: What are effective, creative<br />
ways to move inspiration into action? <strong>Film</strong>makers<br />
are invited to present a project for a brief<br />
Active Cinema “make-over” by our panelists.<br />
festival and distribution markets. There will be fi lm<br />
clips and a Q&A. Logan and Noah Miller (Touching<br />
Home) and Michael Eisenmenger, executive director<br />
of Community Media Center of Marin, will be our<br />
anchor panelists. Three young international directors<br />
from the Festival will round out this presentation.<br />
Just arrive with your crew equipped to shoot and<br />
edit your masterpiece by the same-day deadline.<br />
Everyone gets three mandatory “ingredients” and<br />
returns with a completed fi lm (3.5 minutes or<br />
less) by 6:30 pm. An hour later, at a public screening,<br />
the same elements result in entirely different<br />
movies. MVFF and Cinemasports co-present this<br />
fun opportunity for fi lmmakers and fi lm enthusiasts<br />
alike. Visit Cinemasports.com to sign up.<br />
DISTRIBUTION OF SPECIALTY FILM WHAT DOES THE FUTURE HOLD?<br />
Saturday, October 17, 12:30 pm, $15 SEM17T<br />
142 Throckmorton Theatre<br />
The most important factor affecting the survival of<br />
independent or studio fi lms today is distribution.<br />
In a radically changing distribution landscape, many<br />
traditional players have left the fi eld—yet others<br />
remain in the game for what looks like the duration,<br />
seeing opportunities within established models.<br />
Join our expert panelists as they discuss the elusive<br />
“unifi ed fi eld” model of 21st-century distribution.<br />
All panelists subject to change, updates at mvff.com<br />
Stephanie Argy, co-director/co-writer, The Red<br />
Machine; science and technology writer, American<br />
Cinematographer, Variety, Hollywood Reporter.<br />
Nina Dobner, Cinematics Producer, Electronic Arts<br />
LA, Command and Conquer, Red Alert.<br />
Tiffany Shlain (Moderator), fi lmmaker, artist;<br />
founder, The Webby Awards; co-founder, International<br />
Academy of Digital Arts and Sciences.<br />
Invited guests:<br />
Robert Berney, Apparition<br />
(The Young Victoria, Bright Star).<br />
Howard Cohen and Eric D’Arbeloff,<br />
Roadside Attractions<br />
(Happy Tears, The Cove).<br />
Ryan Werner, IFC <strong>Film</strong>s<br />
(Looking for Eric, Fish Tank, Red Cliff).<br />
Michael Lumpkin, executive director,<br />
International Documentary Association.<br />
John Morrison, director of CFI Education,<br />
fi lm programmer.<br />
Emmanuel Vaughan-Lee, fi lmmaker,<br />
A Thousand Suns, executive director,<br />
Global Oneness Project.<br />
Danae Ringelmann (Moderator),<br />
co-founder and CFA, IndieGoGo.<br />
31
Ever wonder what the<br />
rest of the world watches<br />
for family entertainment?<br />
The Mill Valley <strong>Film</strong> Festival’s<br />
Children’s <strong>Film</strong>Fest provides<br />
the answer. With a focus this<br />
year on Northern Europe,<br />
the 15th Children’s <strong>Film</strong>Fest<br />
brings some cold noses but<br />
warm hearts to the Bay Area.<br />
Young female heroines<br />
a bound, with Stella and the<br />
Star of the Orient leaping<br />
through time, and a crew of<br />
feisty girls (and a black cat)<br />
defying ghosts in The Ten<br />
Lives of Titanic the Cat.<br />
Short fi lms feature a girl who<br />
fi nds a unique way to combat<br />
her parents’ infat uation<br />
with a pet cat (Love Child), a mother passing<br />
on her imaginary friends to her daughter (The<br />
Faeries of Farthingale) and a sly young woman<br />
who sneaks off to the woods to practice<br />
some benign witchcraft (Dragonflies, the<br />
Baby Cries). Boys hold their own when Ricky<br />
CHILDREN’S<br />
FILMFEST<br />
PROGRAMS<br />
STELLA AND<br />
THE STAR OF THE ORIENT,<br />
WITH DRAGONFLIES,<br />
THE BABY CRIES<br />
THE TEN LIVES<br />
OF TITANIC THE CAT,<br />
WITH THE FAERIES OF<br />
FARTHINGALE<br />
RICKY RAPPER,<br />
WITH LOVE CHILD<br />
THE LETTER<br />
FOR THE KING<br />
tickets 877.874.6833<br />
THE FAERIES OF FARTHINGALE<br />
RICKY RAPPER<br />
Rapper finds time to romance a fellow 10year-old<br />
neighbor and also do battle with an<br />
evil aunt. And an aspiring young knight is<br />
thrust into the limelight when he has to deliver<br />
The Letter for the King.<br />
CHILDREN’S FILMFEST OPENING PARTY EXTRAVAGANZA<br />
Sunday, October 11, 12:30 pm 142 Throckmorton Theatre.<br />
$5 PARTY11<br />
Join us after our opening weekend film in Mill Valley for a<br />
Children’s <strong>Film</strong>Fest Extravaganza party including some of the<br />
BEST face painting in the entire world! Balloon twisting! Music!<br />
A fi nger food lunch by Whole Foods! And even some short fi lms!<br />
Adults must be accompanied by children.<br />
SPONSORED BY<br />
CHILDREN’S FILMFEST<br />
SUPPORTED IN PART<br />
BY A GRANT FROM<br />
ABOUT SUBTITLES<br />
To enhance our very young<br />
viewers’ appreciation of<br />
foreign-language movies, we<br />
provide the unique service of<br />
having actors read subtitles<br />
aloud. When we can, we play<br />
the readings through<br />
in di vidual headphones, to<br />
allow those who do not<br />
require the service to have an<br />
equally pleasurable film<br />
experience. We have a limited<br />
number of headsets, so we<br />
offer them on a first-come,<br />
first-served basis to young<br />
people only. indicates<br />
subtitles with headphones<br />
indicates subtitles read<br />
aloud.<br />
AGE RECOMMENDATIONS<br />
Please bear in mind that the<br />
age range following each<br />
children’s film program<br />
description is a suggestion<br />
only. It may only refer back to<br />
a program’s length or to its<br />
subject matter, while it cannot<br />
adequately address everyone’s<br />
sense of appropriate or<br />
inappropriate content. Each<br />
child is different, and each<br />
parent has different standards.<br />
37
THE YOUTH REEL<br />
Our youth reel, this year named [BLANK.], is peer juried by a very special<br />
group of teens. After a three-day intensive workshop called the Young<br />
Critics Jury, six of the 20 participants are chosen to be members of the<br />
peer jury who screen entries into the Mill Valley <strong>Film</strong> Festival’s Youth Reel.<br />
The six jury members see all the submitted entries in part or in whole,<br />
sometimes totaling 125 short fi lms. They then choose the fi lms that will<br />
comprise a program of about 90 minutes. They also “curate” the program,<br />
fi nding a balance in the reel’s order allowing for a fl ow from one work to<br />
another. It’s a demanding task, and each year the teens involved turn out<br />
a wonderful program. They do all this with adult supervision, but without<br />
adult interference. It is their reel.<br />
[BLANK.] will screen on the second Saturday of the Festival, October<br />
17, at 11:00 am. It’s an inspiring morning with parents, friends, fellow<br />
fi lmmakers and Festival-goers all enjoying the fruits of young fi lmmakers’<br />
work and the work of the jury. The fi lmmakers receive a copy of Final<br />
Draft, the fi lm industry’s premier screenwriting software, donated by Final<br />
Draft and bestowed immediately following an audience Q&A.<br />
The Young Critics Jury program is now in its eighth year. Media literacy<br />
is taught to the 20 students ages 13–18 using lectures, round-table<br />
talks and hands-on work. The group meets the cream of the Bay Area’s<br />
directors, cinematographers, locations scouts, stunt people, editors and<br />
sound mixers, actors and experimental fi lmmakers. Past guests include<br />
tickets 877.874.6833<br />
YOUTH FOCUS<br />
directors Kevin Lima (Enchanted), Andrew Stanton and Bob Peterson<br />
(Toy Story, Finding Nemo, Up!), and legendary foley artist Dennie<br />
Thorpe. Many of these artists are Oscar, Emmy and international festival<br />
award winners.<br />
In April, CFI Education will be taking applications for the 2010 Young<br />
Critics Jury. For information, check our website, cafi lm.org, or email the<br />
CFI Education director John Morrison at education@cafi lm.org. In April,<br />
there will be a pdf download of the application available on the website.<br />
OTHER FILMS IN THE FESTIVAL<br />
In addition to the Children’s <strong>Film</strong>Fest and the Youth Reel, many of this<br />
year’s Festival fi lms feature young people:<br />
An Education, Fish Tank, Elevator, Hipsters, The Horse Boy, Jermal,<br />
Project Happiness, Race to Nowhere, Ricky, Skin, The Strength of Water,<br />
Zombie Girl: the Movie, Youth in Revolt.<br />
Parents, please rely on your judgment regarding whether a fi lm is appropriate.<br />
Our recommendations are not a substitute for a well-informed adult’s decision.<br />
39
CALIFORNIA FILM INSTITUTE EDUCATION<br />
BUILDING THE NEXT GENERATION OF FILMMAKERS AND AUDIENCES<br />
<strong>Film</strong> engages and inspires<br />
like no other medium. For two<br />
decades the Mill Valley <strong>Film</strong><br />
Festival and CFI Education<br />
have pioneered creative fi lm<br />
programs for Bay Area young<br />
people, providing year-round<br />
screenings, interactive sessions<br />
with fi lm professionals<br />
and hands-on activities to introduce<br />
students to the power<br />
of fi lm as a vibrant tool of communication.<br />
Our programs also<br />
work with underserved communities<br />
and at-risk youth.<br />
WE’RE NOT JUST AT THE FESTIVAL<br />
In addition to our activities at the Festival, CFI Education presents<br />
programs at the Christopher B. Smith Rafael <strong>Film</strong> Center in Marin,<br />
the Little Theater at Berkeley High School, the Ninth Street Independent<br />
<strong>Film</strong> Center in San Francisco and other Bay Area theaters.<br />
We also come directly to schools with our interdisciplinary, intercultural<br />
fi lm-study programs designed to supplement the fi elds of<br />
literature, history, science and social studies. We create companion<br />
study guides for fi lms, which add depth to the viewing experience<br />
and conform to <strong>California</strong> educational standards.<br />
Here are some of our current programs:<br />
MY PLACE STORYTELLERS IN OAKLAND<br />
IN-SCHOOL FILMMAKER PROGRAM<br />
DURING THE MILL VALLEY FILM FESTIVAL<br />
We bring fi lmmakers and their fi lms from the Festival into all Bay Area<br />
schools. In September we match up fi lmmakers with schools for<br />
exciting classroom exchanges with students.<br />
SELECTED SCREENINGS FOR SCHOOLS<br />
Throughout the year we provide schools with free monthly<br />
screenings of important fi lms and other fi lm curricula as well<br />
as six to eight feature fi lms from the Festival.<br />
YOUNG CRITICS JURY<br />
Held every July, the Young Critics Jury is a three-day intensive<br />
workshop for youth ages 13–18 to learn media literacy skills<br />
directly from fi lmmakers and fi lm historians. Directors,<br />
screenwriters, location scouts, actors, animators, critics,<br />
documentary fi lmmakers, cinematographers and others make<br />
this event an exceptional educational experience.<br />
A PLACE IN THE WORLD<br />
In this six-fi lm/seven-month curriculum screening at the Rafael,<br />
100 students from all over the Bay Area commit to viewing and<br />
LEF Foundation<br />
Marin Charitable Association<br />
examining the content of a selection of international fi lms focusing<br />
on defi ning moments in young people’s lives.<br />
MY PLACE<br />
Our My Place program combines hands-on fi lmmaking with strong<br />
storytelling skills. Local fi lmmakers, CFI staff and the Center for<br />
Digital Storytelling in Berkeley help students learn to see where<br />
they live through different eyes. <strong>Program</strong>s have been held in San<br />
Francisco, San Rafael and Marin City and new this year, the city<br />
of Oakland.<br />
TEACHER WORKSHOPS AND SEMINARS<br />
In March 2008 we inaugurated teacher workshops, designed<br />
by local teachers, on using fi lm in the classroom. We use<br />
innovative techniques to widen the uses teachers can make<br />
of the fi lm medium.<br />
This year we have also become a presenter of the Community<br />
Cinema program through ITVS and Independent Lens.<br />
Other programs underway include media literacy workshops<br />
and screenings, and a summer 2010 “young critics” program—all<br />
directed to students in grades 2 through 5—as well as a new set of<br />
adult courses and programs.<br />
CFI Education serves more than 5,000 students in the Bay Area<br />
every year. Join us and help us grow!<br />
Call, email or visit us online:<br />
phone: 415.383.5256 x113<br />
email: education@cafi lm.org<br />
online: cafi lm.org<br />
BLOG WITH US at<br />
http://cafi lm.wordpress.com<br />
the<br />
bernard<br />
osher<br />
foundation<br />
Nancy and Rich Robbins<br />
Fred M. Levin and Nancy Livingston, the Shenson Foundation
SPOTLIGHT ON CLIVE OWEN<br />
Friday, October 9, 7:00 pm<br />
Spotlight and Reception $75 SPOT09P<br />
Please note there are no Spotlight Only tickets available<br />
for this event<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Reception to follow at Tiburon Grill<br />
Please join us for the Spotlight Tribute program of<br />
clips and conversation with Clive Owen, followed by<br />
a screening of Croupier and the presentation of the<br />
MVFF award. Directly after the program is the notto-be-missed<br />
reception at Tiburon’s hottest new restaurant,<br />
Tiburon Grill, featuring wine, cocktails and<br />
delicious contemporary cuisine.<br />
Clive Owen will be presented with the MVFF award, designed<br />
by celebrated artist Alice Corning.<br />
tickets 877.874.6833<br />
RECEPTION SPONSORED BY<br />
SPOTLIGHT ON CLIVE OWEN<br />
SELECTED FILMOGRAPHY<br />
<strong>2009</strong> The International Duplicity The Boys Are Back 2007 Elizabeth: The Golden Age Shoot ’Em Up 2006 Children of Men<br />
Inside Man 2005 Derailed Sin City 2004 Closer King Arthur 2003 Beyond Borders I’ll Sleep When I’m Dead<br />
2002 The Bourne Identity 2001 Gosford Park 1998 Croupier 1997 Bent 1990 Chancer (TV)<br />
SPOTLIGHT CO-SPONSORED BY<br />
CROUPIER<br />
UK/GERMANY 1998<br />
91 MINS<br />
Clive Owen plays down-and-out<br />
writer-turned–casino croupier<br />
Jack Manfred in a rare screening<br />
of this potent neo-noir thriller.<br />
When the usually straight-edged<br />
Jack is charmed by a gambler<br />
and her casino heist plans, luck<br />
may (or may not) be a lady.<br />
47
THOUGHT INTO ACTION, OR BUBBLING UNDER THE SURFACE<br />
by Michael Fox<br />
Clive Owen is an actor’s actor, and it’s fascinating to observe Hollywood’s<br />
efforts to buff and burnish him into an international movie<br />
star. Infi nitely more interested in the work of limning a character<br />
than the publicity and gossip machine that transmutes actors into<br />
celebrities, Owen has quietly embraced one challenging role after<br />
another. While studio execs offer formulaic fi lms that would make<br />
him a household name in Kuala Lumpur, the resolute British actor has<br />
carved his own iconoclastic swath as a heroically confl icted leading<br />
man perfectly in sync with today’s nervous, cynical world.<br />
In fi lms as diverse as Croupier, Gosford Park, Children of Men and Duplicity,<br />
Owen portrays men who know—or come to know, to their dismay—where<br />
the bodies are buried. He excels as the understated<br />
Everyman, albeit one with uncommon good looks and a marvelous<br />
physicality, who’s given an unexpected glimpse behind the curtain at<br />
the corruption of a venal institution and, by extension, society. Forced<br />
to grapple with a moral dilemma, anxiously debating what action to<br />
take, Owen tells us everything with his eyes. He has the ability, and<br />
the confi dence, to let us watch him work his way to an often-painful<br />
conclusion: The only person he can trust is himself.<br />
“Clive’s attraction as an actor lies in his ability to convey seething<br />
emotion through a great sense of stillness,” says Scott Hicks, who<br />
directed Owen in the opening-night fi lm The Boys Are Back. “Nothing<br />
is ‘demonstrated.’ Everything is suggested. He doesn’t demand your<br />
attention; he draws you in by the sheer force of will.”<br />
In The Boys Are Back, based on the memoir by British newspaper columnist<br />
Simon Carr, Owen plays a sportswriter KO’d by the death of<br />
his wife and faced with the immediate challenge of raising their sixyear-old<br />
boy and his teenage son from a previous marriage. His solution<br />
is to say yes to every request, with decidedly mixed results.<br />
Owen displays facets we’ve never seen before, delighting his many<br />
fans and confounding moviegoers who had pigeonholed him as a 21stcentury<br />
action fi gure.<br />
But then Owen has defi ed other people’s expectations for as long as<br />
he can remember. From the moment he tried acting, at 13 in a Coventry<br />
school production of Oliver! (he played the Artful Dodger), the<br />
working-class kid was determined to make a go of it. Owen had some<br />
rough years at the beginning, partly because he stubbornly refused to<br />
take the well-trod path of drama school. He eventually relented, and<br />
was accepted at the Royal Academy of Dramatic Arts in London. It<br />
was a RADA production, with Owen playing Romeo to her Juliet,<br />
where he met his wife, Sarah-Jane Fenton. They were 19, and have<br />
been together practically ever since.<br />
48<br />
CLIVE OWEN<br />
CHILDREN OF MEN<br />
Owen made his fi lm debut in Vroom (1988) opposite David Thewlis,<br />
but struggled until he landed the lead role of an urbane con artist–<br />
cum-businessman in the TV series Chancer (1990–91). The show made<br />
him a star and even landed him an endorsement deal with a large<br />
brewer, but he quit out of concern that he’d be typecast. Aiming to<br />
undercut his raffi sh image, Owen played a man who embarks on an<br />
intimate relationship with his older sister in Stephen Poliakoff’s Close<br />
My Eyes (1991). He was electric in the part—so effective, in fact, that<br />
it put his fi lm career in the deep freeze for most of the ’90s (and cost<br />
him the beer contract, not that he cared).<br />
He continued to thrive onstage and on the small screen, however,<br />
mvff.com
until veteran helmer Mike Hodges cast him as<br />
an aspiring writer with a previously untapped<br />
taste for danger in the marvelously atmospheric<br />
neo-noir, Croupier (1998). Owen is spot-on as a<br />
hunk steeped in Sartre, and the fi lm turned out<br />
to be a surprise hit in the States. When he<br />
played another smart, suave fel-<br />
low with reserves of toughness,<br />
the tight-lipped driver in BMW’s<br />
widely seen online series The<br />
Hire (2001–02), Owen’s popularity—certainly<br />
among men—only<br />
in creased.<br />
Owen told an interviewer not<br />
long ago, looking back, “I was<br />
never chasing the American fi lm<br />
market, it just happened, and<br />
suddenly the whole film world<br />
opened up and I was being asked<br />
to work with really great people,<br />
so I’m nothing but grateful.”<br />
First up was a small but key part as a valet with<br />
a secret past in Robert Altman’s marvelous<br />
upstairs, downstairs murder mystery, Gosford<br />
Park (2001), followed by a harrowing turn as a<br />
CIA assassin in The Bourne Identity (2002). Supporting<br />
roles soon gave way to leads in the<br />
refugee drama Beyond Borders (2003), co-starring<br />
Angelina Jolie, and the myth-busting King<br />
Arthur (2004), with Keira Knightley.<br />
The major highlight from this period, though, is<br />
Owen’s Oscar-nominated and BAFTA-winning<br />
performance as the malicious dermatologist,<br />
Larry, in the savagely literate relationship drama<br />
Closer (2004). His work is even more impressive<br />
when you consider that he garnered excellent<br />
notices in the original stage production for his<br />
portrayal of the other male character, Dan.<br />
Each man is creepy in his own way, incidentally,<br />
which was likely part of the appeal for Owen.<br />
“The worst piece of advice I’ve got in my whole<br />
career is from somebody who said, ‘Remember,<br />
it’s all about likeability,’’’ he once told an<br />
interviewer.<br />
In fact, even when he is the putative hero and<br />
moral center, as he was in Alfonso Cuarón’s<br />
dystopian epic, Children of Men (2006), Owen<br />
infuses the character with shadings of selfi shness,<br />
shallowness and suspicion. He has a rare<br />
tickets 877.874.6833<br />
SPOTLIGHT ON CLIVE OWEN<br />
gift for taking characters that appear straightforward,<br />
even primitive in their desires and<br />
motives, and incrementally revealing their inner<br />
ambivalence and complexity. This may be what<br />
Tom Tykwer, director of The International, had<br />
in mind when he described Owen as, “the thinking<br />
man’s action hero.”<br />
“NOTHING IS<br />
‘DEMONSTRATED.’<br />
EVERYTHING IS<br />
SUGGESTED. HE<br />
DOESN’T DEMAND<br />
YOUR ATTENTION;<br />
HE DRAWS YOU<br />
IN BY THE SHEER<br />
FORCE OF WILL.”<br />
It’s of a piece with Owen’s<br />
proclivity for choosing<br />
scripts, such as Spike Lee’s<br />
Inside Man and Tony Gilroy’s<br />
Duplicity, that spin<br />
genre conventions in<br />
unpredictable ways. The<br />
obvious gambit is never<br />
Owen’s fi rst choice, hence<br />
our skepticism that Hollywood<br />
will sand off his<br />
rough edges. Well, that<br />
and his eagerness to<br />
ex pand his range and play<br />
against his screen persona, as evidenced by The<br />
Boys Are Back. “I’ve always been in it for the<br />
long-term,” Owen said. “It’s a lifelong thing for<br />
me, it’s a craft, it’s something I want to keep<br />
doing.”<br />
As coolly exciting as his many performances have<br />
been to this point, they only encourage our<br />
anticipation of what’s to come. Along with Inside<br />
Man 2, he’s signed on to play an undercover<br />
agent trying to stay alive and unravel the Columbian<br />
drug cartels in the nail-biter Cartagena. The<br />
James Bond rumors will be revived whenever<br />
the incumbent abdicates, but Owen seems more<br />
apt to veer in unexpected directions.<br />
As Julia Roberts, who starred and sparred with<br />
Owen in Closer and Duplicity, told Esquire, “Every<br />
good-guy actor talks about Clive as one of their<br />
very favorites. Because he’s English, because his<br />
successes have stood on the shoulders of his<br />
talents alone, and because he hasn’t just been<br />
carried away by popular culture. He’s almost<br />
the most free of all of those guys. People just<br />
allow him to do what he does.”<br />
Michael Fox is a Bay Area fi lm critic and journalist for<br />
SF360.org and SF Weekly, and the curator and host<br />
of the Friday night CinemaLit series at the Mechanics’<br />
<strong>Institute</strong> in San Francisco.<br />
THE INTERNATIONAL<br />
ELIZABETH: THE GOLDEN AGE<br />
SHOOT ‘EM UP<br />
49
tickets 877.874.6833<br />
TRIBUTE TO UMA THURMAN<br />
SELECTED FILMOGRAPHY<br />
<strong>2009</strong> Motherhood 2007 The Life Before Her Eyes 2005 The Producers 2004 Kill Bill Vol. 2 2003 Kill Bill Vol. 1<br />
2002 Hysterical Blindness 2000 The Golden Bowl 1999 Sweet and Lowdown 1997 Gattaca 1994 Pulp Fiction<br />
TRIBUTE TO UMA THURMAN<br />
Saturday, October 10, 6:00 pm<br />
Tribute and Reception $100 TRIB10P<br />
Tribute Only $30 TRIB10R<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Reception to follow at<br />
Frantoio Ristorante & Olive Oil Co.<br />
Join us for the Tribute program of clips and conversation<br />
with Uma Thurman, screening of Motherhood<br />
and presentation of the MVFF award. Afterward, the<br />
evening continues with a lovely dinner at Frantoio<br />
Ristorante & Olive Oil Co., one of our favorite places<br />
to have a party. Wines provided by Cameron Hughes<br />
Wine and Wine 2.0.<br />
Uma Thurman will be presented with the MVFF award,<br />
designed by celebrated artist Alice Corning.<br />
1993 Even Cowgirls Get the Blues 1990 Henry & June 1988 Dangerous Liaisons<br />
TRIBUTE CO-SPONSORED BY<br />
MOTHERHOOD<br />
US <strong>2009</strong><br />
90 MINS<br />
Ever had one of those days,<br />
only to realize they’ve actually<br />
stacked up into years?<br />
Welcome to Motherhood, embodied<br />
with frazzled grace by<br />
a luminous Uma Thurman as<br />
a once-promising writer desperately<br />
trying to conquer it<br />
all and then some.<br />
See page 96 for complete fi lm<br />
information.<br />
53
A WALKING MODIGLIANI<br />
by Zoë Elton<br />
In conversations about Uma Thurman,<br />
words like luminous, breathtaking,<br />
iconic, beautiful, soulful, sensitive,<br />
eclectic abound. Uma Thurman: who<br />
as a teenager shone as Venus in The<br />
Adventures of Baron Munchausen; captivated<br />
as Cécile in Dangerous Liaisons;<br />
brought layers of subtlety and insight<br />
to her portrayal of June in Henry and<br />
June. Whose films with Quentin<br />
Tarantino, Pulp Fiction and Kill Bill: Vol.<br />
1 & Vol. 2, are destined for an elevated<br />
place in the annals of cinema. And<br />
whose performances in the likes of<br />
Even Cowgirls Get the Blues, The Truth<br />
about Cats & Dogs, Gattaca, Hysterical<br />
Blindness and the recent My Super Ex-<br />
Girlfriend proved her abilities in multiple<br />
genres: What other actors of her<br />
generation tackle romantic drama,<br />
comedy, sci-fi , action, thrillers with<br />
equal aplomb?<br />
In her work, she personifies some<br />
intriguing elements of the psyche: KILL BILL VOL. 1<br />
She’s as much a goddess as she is a<br />
working-class girl looking for love; she’s as much a gangster’s moll as<br />
she is a samurai; she’s as much an embodiment of power—whether<br />
sexual, emotional or physical—as she is an embodiment of human<br />
frailties and needs and vulnerabilities.<br />
I spoke recently with writer-director Katherine Diekmann about<br />
working with so protean an artist. Diekmann’s new fi lm, Motherhood,<br />
stars Thurman as a woman trying to keep all the parts of her life and<br />
her family’s life together while desperately—and often hilariously—<br />
attempting to regain her sense of self. While the role represents<br />
something of a departure from Thurman’s work to date, a woman<br />
juggling the multiple and simultaneous needs of her family and her<br />
own life is, perhaps, not so far from home.<br />
I began by asking Diekmann about the fi rst time she saw Thurman on<br />
screen. She chuckled at the memory. “Baron Munchhausen! And Dangerous<br />
Liaisons. I remember being struck by how great she was. She’s<br />
an amazing creature, you know. She’s like a walking Modigliani, . . .<br />
really mannerist looking.” A walking Modigliani; mannerist—interest-<br />
54<br />
UMA THURMAN<br />
WRITER-DIRECTOR KATHERINE DIEKMANN TALKS ABOUT<br />
WORKING WITH UMA THURMAN<br />
ing. Thurman’s look, her sensuous, sinewy, statuesque poise does<br />
invite comparison with high art. Is it just coincidence she starts her<br />
career by emerging from the Botticelli-shell as Venus in Munchhausen?<br />
The image remains in our minds long after other details of the fi lm<br />
have receded. And of course there’s Pulp Fiction. “In that she really<br />
leapt off the screen.” Leapt off the screen, indeed. Or better, perhaps,<br />
to say danced off it: Her pas de deux with John Travolta remains one<br />
of the screen’s great “show-stoppers.” Thurman’s Mia Wallace was<br />
famously inspired by Anna Karina, and as Karina is to Godard, so<br />
Thurman is to Tarantino—there’s an extraordinary understanding in<br />
their work together. About working with Tarantino, Thurman points<br />
to the artistic freedom it allows her. “His movies always switch from<br />
one feeling to another very quickly,” she has said. “He has an incredibly<br />
sensitive pulse in his fi lms, and so it gives you a lot of confi dence<br />
to try crazy things and do one thing very funny and the next scene<br />
very intense and to believe that the director actually encompasses<br />
enough tonal range that that actually would work in one movie, which<br />
is really unusual.”<br />
mvff.com
Thurman’s career is notable for its very eclectic<br />
choices—indeed, her work eschews categorization.<br />
“I think she’s really unusual,” says<br />
Diekmann, “she’s not really suited to the Julia<br />
Roberts/Sandra Bullock kind of screwball-y<br />
mainstream movie-making . . . and she’s not<br />
quite an art house actor either. She’s in some<br />
funny in-between zone. . . . I still think her most<br />
interesting performance is Hysterical Blindness,”<br />
from a play Thurman optioned then<br />
produced with Mira Nair as director. “She really<br />
went far out there—and tested herself.”<br />
Thurman’s role in Diekmann’s Motherhood is<br />
another test, and a depar-<br />
ture from much of her previous<br />
work. It’s a project<br />
that takes that all-too-familiar<br />
role for many<br />
actresses—the mother—<br />
and invests it with the fullness<br />
of the life and the person<br />
behind the role.<br />
Diekmann notes the rarity<br />
of a fi lm that “simply deals<br />
with the fact that this is a<br />
mother and this is her crisis. She’s not a poor<br />
mother and she’s not a mother on drugs and<br />
she’s not a mother with cancer,” emphasizes<br />
Diekmann. “She’s just a slightly lower than middle-class<br />
mother struggling [with the question],<br />
‘Do I have a voice, do I have an identity, who am<br />
I when I have to be this role?’”<br />
It was something Thurman related to. And yet<br />
there is, perhaps, a curious risk in Thurman’s<br />
taking on Motherhood. Frequently for actors,<br />
the notion of risk-taking is equated with roles<br />
that are eccentric (literally de-centered), emotionally<br />
or physically extreme. Equally, actors<br />
often project certain images in their choices of<br />
roles, images that become part of their mystique<br />
and mythology. In making Motherhood,<br />
Thurman essentially takes on the image that<br />
many have held of her. Diekmann is aware of<br />
the investment some fans have in holding onto<br />
a certain image of the star—and the mother<br />
image doesn’t necessarily fi t the fantasy. “They<br />
never actually thought, while they were watching<br />
Kill Bill, that this woman has a child, she’s a<br />
mother, she goes home at the end of the day to<br />
her child. That doesn’t enter the fantasy. And<br />
so this [fi lm] really punctures the fantasy in a<br />
tickets 877.874.6833<br />
TRIBUTE TO UMA THURMAN<br />
certain way. I think it’s daring,” says Diekmann.<br />
The fi lmmaker found an incredible commitment<br />
in Thurman: “She’s fi ercely loyal with the people<br />
and things she cares about.” Both personally<br />
and professionally, Diekmann describes her as<br />
“very strong. She’s an extremely bright woman.<br />
And she does not suffer fools!” she laughs.<br />
“She’s a really interesting person—and a very<br />
good mother, also. She’s extremely dedicated<br />
to her children.”<br />
“For a writer, they say write what you know,”<br />
Thurman once said with respect to her work<br />
ethic. “As a performer, you fi nd it in yourself, in<br />
your heart. You relate to<br />
the character. You try to<br />
live it, try to have it be<br />
real for you.” Diekmann’s<br />
experience of working<br />
with Thurman supports<br />
this, as she remembers<br />
moments both comedic<br />
and moving that surprised<br />
her on set. Thurman,<br />
for instance, went<br />
from “that kind of almost<br />
Almodóvar, over the top, physical comedy” in a<br />
parking scene where she stomps over to yell at<br />
a trucker, to moments of real emotional depth.<br />
“When she reacts to her husband’s comments<br />
on her writing,” notes her director, “that was<br />
just a really beautiful, elegant piece of fi lm acting.”<br />
Diekmann describes another scene<br />
between Thurman and Anthony Edwards, who<br />
plays her husband. It’s an intimate moment in<br />
the car where Thurman gets at something central<br />
to the story, something “really deep and<br />
honest and painful,” Diekmann explains. “How<br />
do you become this creature called a mother<br />
and maintain your own self?”<br />
IS IT JUST<br />
COINCIDENCE<br />
SHE STARTS HER<br />
CAREER BY EMERGING<br />
FROM THE BOTTICELLI-<br />
SHELL AS VENUS IN<br />
MUNCHHAUSEN?<br />
And perhaps the key to that question is best<br />
addressed by Thurman’s own words: “The purest<br />
relationship I ever had, aside from with my<br />
children, is with my work. Whatever you give it,<br />
it gives you back double. That’s an unusual kind<br />
of relationship. It’s thrilling to act. It’s thrilling to<br />
reach for things and risk humiliation. It’s taken<br />
me a long time to learn to accept the risks and<br />
just be willing to try it over and over again.”<br />
Zoë Elton is director of programming for MVFF and<br />
an artist, writer and theater director.<br />
GATTACA<br />
PULP FICTION<br />
THE PRODUCERS<br />
55
tickets 877.874.6833<br />
SPOTLIGHT ON JASON REITMAN<br />
FILMOGRAPHY<br />
<strong>2009</strong> Up in the Air 2007 Juno 2005 Thank You for Smoking 2004 Consent 2002 Uncle Sam 2001 Gulp<br />
2000 In God We Trust 1999 H@ 1998 Operation<br />
SPOTLIGHT ON JASON REITMAN<br />
Wednesday, October 14, 6:30 pm<br />
Spotlight and Reception $75 SPOT14P<br />
Spotlight Only $30 SPOT14R<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Reception to follow at Piatti Ristorante & Bar<br />
Join us for the Spotlight Tribute program, including<br />
an interview with Jason Reitman, screening<br />
of Up in the Air and presentation of the MVFF<br />
award. Following the fi lm, join us for a unique<br />
reception experience with regional Italian cuisine,<br />
house-made pastas, wood-fi red pizzas and<br />
mesquite-grilled meats at Piatti Ristorante &<br />
Bar. Wines provided by Thumbprint Cellars.<br />
Jason Reitman will be presented with the MVFF<br />
award, designed by celebrated artist Alice Corning.<br />
RECEPTION SPONSORED BY<br />
SPOTLIGHT SPONSORED BY<br />
UP IN THE AIR<br />
US <strong>2009</strong><br />
104 MINUTES<br />
From Jason Reitman, the<br />
Oscar ® nominated director<br />
of Juno, comes a dramatic comedy<br />
called Up in the Air starring<br />
Oscar ® winner George Clooney<br />
as Ryan Bingham, a corporate<br />
downsizing expert whose<br />
cherished life on the road is<br />
threatened just as he is on the<br />
cusp of reaching ten million frequent<br />
fl yer miles and after he’s<br />
met the frequent-traveler<br />
woman of his dreams.<br />
See page 109 for complete fi lm<br />
information.<br />
59
BE TRUE TO YOUR HEART: BRING THE MAGIC<br />
by Ilya Tovbis<br />
Despite feeling movie-making’s<br />
persistent tug from a very early<br />
age, Jason Reitman resisted<br />
mightily. Coming from a family<br />
flush with filmmakers of all<br />
stripes—not least his father, celebrated<br />
director-producer Ivan<br />
Reitman (Ghostbusters, Kindergarten<br />
Cop)—he worried about<br />
being perceived as the spoiled<br />
progeny of Hollywood gentry, a<br />
talentless hack getting by on a<br />
famous surname. Between making<br />
cameo appearances on his<br />
dad’s fi lms, working as a production<br />
assistant on fi lm sets at age<br />
13 and spending his teen years as<br />
a self-described shy movie-geek<br />
shuffl ing in and out of dark theaters,<br />
Reitman’s affi nity for the<br />
big screen often bordered on<br />
obsession. And yet, he resisted.<br />
Fear of being written off as a<br />
pretender was real enough to<br />
REITMAN IN 2006<br />
make him enter college on a premed<br />
track—much to the surprise of those closest to him. In fact, the<br />
elder Reitman, generally supportive of his son’s choices, felt compelled<br />
to intervene. Jason has recounted his father’s touching and persuasive<br />
words: “If you became a doctor, your mother and I would be<br />
over the moon. There’s no more noble a job in the world than being<br />
a doctor. But, I don’t think there’s enough magic in it for you; you’re a<br />
storyteller, and you need to follow your heart.”<br />
The simple maxim couched in this fatherly encouragement not only<br />
allowed Reitman the courage to delve headfi rst into fi lmmaking, but<br />
charts the utterly individual course of a still young yet already spectacular<br />
career. Maintaining a rigid commitment to personal integrity<br />
and an above-all-honest approach to the craft, Reitman has ensured<br />
his work is defi ned by a strikingly original blend of accessible, intellectual<br />
and challenging comedy cut with an unspoiled, wide-eyed fi lm<br />
fandom. Even the route he took to recognition as one of the most<br />
promising young fi lmmakers in Hollywood today is marked by the<br />
same independence. Instead of relying on family ties to wealthy fi nan-<br />
60<br />
JASON REITMAN<br />
ciers, or taking on big studio projects such as the twice offered—and<br />
twice rejected—Dude Where’s My Car 2, Reitman operated on shoestring<br />
budgets to shoot a series of short fi lms that took the independent<br />
fi lm festival circuit by storm. Selling ad space in desk calendars,<br />
he cobbled together the budget for Operation (1998), which premiered<br />
at the Sundance <strong>Film</strong> Festival. The next eight years saw the production<br />
of fi ve more shorts, which totaled more than 100 appearances at<br />
festivals worldwide: H@ (1999), In God We Trust (2000), Gulp (2001),<br />
Uncle Sam (2002) and Consent (2004).<br />
After nearly a decade of developing his chops in the short form, Reitman<br />
turned in an auspicious feature fi lm debut with Thank You for<br />
Smoking (2006). He developed the ambitious screenplay from Christopher<br />
Buckley’s novel, despite the fi lm industry’s vocal fear that the<br />
source materials was impossible to adapt. The black comedy centers<br />
around Nick Naylor (in a bravura performance by Aaron Eckhart),<br />
chief spokesman for Tobacco’s big seven, as he zigzags across the<br />
country gleefully espousing the cigarette industry’s credo that no<br />
mvff.com
connection has been established between<br />
smoking and lung cancer. Utterly satisfi ed with<br />
his work, he fi nds the pesky moral repercussions<br />
of his job easy to ignore, and prizes his<br />
sizable paycheck less than the daily opportunity<br />
to spread the gospel of personal choice—<br />
whether right or wrong. While Naylor’s outlandish<br />
pseudoscientifi c claims are played for<br />
zingy laughs, there is something unmistakably<br />
earnest about the libertarian message of the<br />
film. Smoking established Reitman’s abiding<br />
interest in (and, moreover, talent for) twinning<br />
the oft-dueling elements of cheeky humor and<br />
challenging substance.<br />
That winning formula was redoubled in Best<br />
Picture nominee Juno (2006),<br />
Reitman’s little-indie-thatcould.<br />
Tonally, this quirky,<br />
biting comedy was an entirely<br />
different endeavor: The world<br />
of 16-year-old Minnesotan<br />
Juno (Ellen Page) is colored<br />
by fl ocks of cross-country<br />
runners, mounds of orange<br />
tic-tacs and a sunny sky seemingly<br />
tapped from a Los Angeles<br />
magic-hour reservoir. To<br />
top it off, Diablo Cody’s<br />
script calls for highly stylized<br />
mile-a-minute dialogue that<br />
sings with teen slang from<br />
another planet. But, of<br />
course, the fi lm tells the story<br />
of a high-schooler who decides against having<br />
an abortion (for reasons having as much to do<br />
with fi ngernails as anything else) after she gets<br />
accidentally pregnant from a fl ing with her best<br />
chum. Again, themes of personal choice rubbing<br />
up against collective expectations are<br />
sounded, and once more Reitman sides with a<br />
controversial protagonist. It is not her choice<br />
to keep the baby that he champions, but rather<br />
the overarching concept that it is her decision,<br />
and hers alone—and that she, not the demanding<br />
society around her, will be accountable for<br />
her actions. Interestingly, this fi lm was interpreted<br />
as both pro-life and pro-choice (just as<br />
his earlier fi lm was deemed pro-smoking by<br />
some and anti-smoking by others).<br />
However, both of these analyses, intriguing as<br />
tickets 877.874.6833<br />
REITMAN’S FILMS<br />
OPERATE ON THE<br />
JAGGED EDGES OF<br />
SOCIETY FAR<br />
REMOVED FROM<br />
POLITICAL<br />
CORRECTNESS<br />
PRECISELY BECAUSE<br />
THEY AVOID THE<br />
POLITICAL IN FAVOR<br />
OF THE PERSONAL<br />
SPOTLIGHT ON JASON REITMAN<br />
they may be, are entirely missing the point:<br />
Reitman’s fi lms operate on the jagged edges of<br />
society far removed from political correctness<br />
precisely because they avoid the political in<br />
favor of the personal. As Reitman points out,<br />
this doesn’t mean reading into his work is<br />
wrong, but that audiences should realize their<br />
interpretations come from within themselves<br />
rather than from the screen. “When I was doing<br />
Thank You for Smoking, the best compliment I<br />
got was that liberals thought it was their fi lm<br />
and conservatives thought it was theirs. Christopher<br />
Buckley used to say that’s what satire<br />
is—satire is a mirror, and you see yourself in it.<br />
Juno is not a satire but in some ways, I guess,<br />
it is a mirror.”<br />
It is hard, then, not to be<br />
eagerly anticipating Reitman’s<br />
latest, Up in the Air (<strong>2009</strong>), a<br />
fi lm he refers to as his most<br />
personal to date. Following<br />
another anti-hero, a corporate<br />
axman (George Clooney)<br />
who preaches a Buddhist-like<br />
detachment from the physical<br />
realm while counseling those<br />
he casually lays off, Up in the<br />
Air promises to rise in sharp<br />
relief against the current<br />
economic crisis. Examining<br />
the consequences attendant<br />
on his chosen life—an aloof<br />
plain of continual transience<br />
and absenteeism—the protagonist of this poignant<br />
satire offers us an unfl inching look at the<br />
boundaries and limits of personal choice.<br />
A tough topic to be sure, but as Reitman’s<br />
blossoming career has shown, his whimsical<br />
brand of deep comedy—going straight for<br />
the jugular, and then lending you a hand right<br />
after the blow—is more than up to the task.<br />
Once asked if he feared a letdown after the<br />
meteoric success of Juno, Reitman did well to<br />
echo his dad’s cogent advice: “I’m going to<br />
try to make something good that is personal<br />
and follows my heart; I think you can do that<br />
every time.”<br />
Ilya Tovbis is a Bay Area programmer and writer.<br />
THANK YOU FOR SMOKING<br />
JUNO<br />
61
tickets 877.874.6833<br />
TRIBUTE TO WOODY HARRELSON<br />
SELECTED FILMOGRAPHY<br />
<strong>2009</strong> The Messenger Zombieland 2008 Transsiberian 2007 No Country for Old Men The Walker 2006 A Prairie Home Companion<br />
2005 North Country 1996 The People vs. Larry Flynt 1994 Natural Born Killers 1992 White Men Can’t Jump 1986 Wildcats<br />
TRIBUTE TO WOODY HARRELSON<br />
Thursday, October 15, 7:00 pm<br />
Tribute and Reception $75 TRIB15P<br />
Please note there are no Tribute Only tickets available for<br />
this event<br />
Christopher B. Smith Rafael <strong>Film</strong> Center<br />
Reception to follow at Tiburon Grill<br />
Woody Harrelson will participate in an onstage<br />
conversation about his career and will be presented the<br />
MVFF award. Following the screening of The Messenger,<br />
Harrelson will be joined by invited guests, co-star Ben<br />
Foster and director/co-writer Oren Moverman for a Q&A<br />
with the audience. Directly following the program don’t<br />
miss the reception at Tiburon’s hottest new restaurant,<br />
Tiburon Grill, featuring wine, cocktails and a delicious<br />
array of fresh, contemporary cuisine.<br />
Woody Harrelson will be presented with the MVFF award,<br />
designed by celebrated artist Alice Corning.<br />
RECEPTION SPONSORED BY<br />
WITH SUPPORT FROM<br />
THE MESSENGER<br />
US <strong>2009</strong><br />
112 MINS<br />
Woody Harrelson is a by-thebook<br />
soldier assigned to the US<br />
military’s Casualty Notifi cation<br />
Offi ce in a fi lm that examines<br />
the complexity of grief, pain<br />
and loss as gently as a kiss, with<br />
a message like a punch in the<br />
gut.<br />
See page 95 for complete fi lm<br />
information.<br />
65
PLAYING AGAINST TYPE<br />
by Michael Fox<br />
After a career-launching fi ve consecutive<br />
Emmy nominations (and<br />
one win) playing an ingenuous,<br />
much beloved bartender on a hit<br />
TV show, Woody Harrelson had<br />
to convince casting directors and<br />
moviegoers alike he could play<br />
someone else. In the box-offi ce<br />
smashes White Men Can’t Jump<br />
and Indecent Proposal, he did<br />
exactly that. Then came a dramatic<br />
lead in The People vs. Larry<br />
Flynt, earning an Academy Award<br />
nomination for his layered, sympathetic<br />
portrayal of the controversial<br />
Penthouse publisher. Versatility<br />
has become Harrelson’s<br />
trademark. The unassuming<br />
Texas-born, Ohio-reared actor’s<br />
remarkable range is on display<br />
this fall in the moving independent<br />
drama The Messenger<br />
(screening Oct. 15 in the Festival),<br />
the horror comedy Zombie- THE WALKER<br />
land, the apocalypse extravaganza<br />
2012 and the dark character-driven comedy Defendor. Throughout his<br />
career, Harrelson has been an outspoken activist as well (his website<br />
is www.voiceyourself.com). We spoke with the MVFF Tributee via<br />
phone from Toronto, where he was attending that city’s fi lm festival.<br />
How did you escape being typecast in a top-rated sitcom?<br />
While I was doing Cheers, I felt like I couldn’t get a job doing anything<br />
else. Luckily, I met with Michael Caton-Jones at Michael J. Fox’s<br />
behest, and he hired me to do this movie [Doc Hollywood], which was<br />
similar in a lot of ways to Cheers but a little rougher character. It was<br />
lucky that Keanu Reeves couldn’t really play basketball; otherwise I<br />
wouldn’t have got White Men Can’t Jump. [laughs] Ron Shelton gave me<br />
a break, and it was ironic because it was around the time of Bush War<br />
I and I was in my own way protesting and getting a lot of fl ak for it.<br />
Ron, as opposed to maybe some other, more timid director, was kind<br />
of enamored by that and thought that was a real good thing. I don’t<br />
know how much it helped me but it didn’t hurt me because we had<br />
pretty similar opinions.<br />
66<br />
WOODY HARRELSON<br />
You give credit to others, but when the cameras rolled you<br />
had to be convincing as someone other than a doofus bartender.<br />
I look at him more as a naïve bartender. Right after White Men Can’t<br />
Jump came Indecent Proposal, and that was a little more dramatic. It<br />
was all by slight gradations that things shifted. When I did Natural Born<br />
Killers, and The People vs. Larry Flynt, that helped move me out of this<br />
one-note type of perception.<br />
What was it like working with Oliver Stone on Natural Born<br />
Killers?<br />
It was a pretty wild way to make a movie. It was shot very fast, in<br />
50-something days. After he’d be done working with us, he’d go and<br />
edit this other movie [Heaven & Earth]. The hours he was putting in<br />
were kind of staggering,—and then still managing to out-party us all.<br />
We’d be on a big soundstage, and we’d be in one room and we’d shoot<br />
something and they’d already have this other thing set up and lit and<br />
we’d go immediately over and shoot that. He might shoot with another<br />
mvff.com
camera, there might be images fl oating behind<br />
us during the scene. It was one of those things<br />
where I had no idea how it was going to turn<br />
out, and was pretty surprised by the end result.<br />
Pleasantly surprised—I thought it was a wellmade<br />
movie, but it caught a lot of fl ak. I consider<br />
it a really misunderstood romantic comedy.<br />
You played another polarizing fi gure in<br />
The People vs. Larry Flynt.<br />
I got completely immersed in the character. I<br />
spent a lot of time with Larry; I spent a lot of<br />
time watching him in interviews, reading things<br />
he’d written or interviews with him. He was a<br />
full-fl edged colorful character. But I gotta tell<br />
you, I would have never started working on it if<br />
when I met him I wasn’t really impressed with<br />
him. Prior to meeting him, I didn’t have a great<br />
attitude towards him.<br />
I imagine you guys are simpatico on<br />
some causes. What’s got you fi red up at<br />
the moment?<br />
I guess I’m most interested in how we’re going<br />
to get off the dinosaur tit, because I think the<br />
way that we’re fueling ourselves, in the worldwide<br />
sense but also in the individual sense, is<br />
our biggest problem. I loathe mountaintop<br />
removal; it’s one of the most egregious practices<br />
going on, maybe second to oil wars. I’d like<br />
to see mountaintop removal stopped as a way<br />
of getting access to coal. They’ve already blown<br />
up hundreds of mountains in West Virginia,<br />
Kentucky. It’s pretty staggering.<br />
Speaking of fossil fuels, you were on the<br />
biofuel bus in Go Further, which documented<br />
a green-themed bicycle trip up<br />
the West Coast.<br />
That movie really refl ects how I feel about a lot<br />
of stuff. Ron Mann is a fantastic director.<br />
Were you able to visit Army bases and<br />
spend time with casualty notifi cation<br />
offi cers like the one you play in The<br />
Messenger?<br />
We did get to meet with those people. They say<br />
it’s the hardest job in the Army. There’ve been<br />
all kinds of movies relating to these recent<br />
wars, and it was an idea that Oren Moverman<br />
and his writing partner [Alessandro Camon]<br />
tickets 877.874.6833<br />
TRIBUTE TO WOODY HARRELSON<br />
had without showing characters in combat. It’s<br />
a different aspect of what goes on in the war, and<br />
apparently an aspect that the Army’s keen on<br />
people knowing about, because they supported<br />
it 100 percent and let us shoot at Fort Dix.<br />
Is The Messenger an antiwar movie?<br />
It doesn’t overtly take a stance that way. Ironically,<br />
the jury at Berlin gave it a peace prize.<br />
And they voted it the best screenplay. I think<br />
it’s probably the movie I’m most proud of being<br />
a part of. But it’s also something that all of us<br />
who were part of it feel really, really passionate<br />
about. We’re going to do a tour, go out on a bus<br />
and go to Army bases and colleges and show<br />
the movie.<br />
Maybe I should have asked this fi rst, but<br />
what do you love about acting?<br />
I like the creative process of making a scene<br />
come to life. There’s many, many times it’s like,<br />
‘This scene is just not working. Let’s just turn<br />
the cameras off and sit down here and fi gure<br />
this shit out.’ When you get to the point where<br />
you feel like you got the scene and it’s really<br />
alive, that’s one of the big payoffs. To be able to<br />
come in every day and fi nd ways to make things<br />
funnier or more interesting or more emotional,<br />
or to get the maximum emotional content out<br />
of the scene, I love doing it. I like to be a part of<br />
the creative soup, everybody involved in it and<br />
passionate and trying to make the scene the<br />
best it can be.<br />
Is there a particular fi lm that stands out<br />
as a highlight in that regard?<br />
I’m especially proud of The People vs. Larry Flynt.<br />
There’s a lot of rewriting and also improv that<br />
went on, by myself and Edwardo [Norton] and<br />
Courtney [Love]. It’s nice when you feel like<br />
you’ve come in and you’ve taken what was on<br />
the page and raised it up and made it better.<br />
Then you really feel like you’ve accomplished<br />
something as an actor.<br />
Michael Fox is a Bay Area fi lm critic and journalist<br />
for SF360.org and SF Weekly, and the curator and<br />
host of the Friday night CinemaLit series at the<br />
Mechanics’ <strong>Institute</strong> in San Francisco.<br />
WHITE MEN CAN’T JUMP<br />
THE PEOPLE VS. LARRY FLYNT<br />
ZOMBIELAND<br />
67
tickets 877.874.6833<br />
TRIBUTE TO ANNA KARINA<br />
2008 Victoria (director) 1996 Chloé 1995 Haut, bas, fragile 1987 Last Song 1984 Ave Maria 1982 Regina<br />
1976 Chinese Roulette 1973 Vivre Ensemble (director) 1969 Man on Horseback Justine 1967 Anna The Stranger (Lo straniero)<br />
1966 The Nun (La Religieuse) Made In USA 1965 Alphaville Pierrot le fou 1964 Band of Outsiders (Bande à part) La Ronde<br />
1962 My Life to Live (Vivre sa vie) 1961 A Woman Is a Woman (Une femme est une femme) 1960 Le petit soldat 1959 Pigen og skoene<br />
SPECIAL NOTICE REGARDING<br />
TRIBUTE TO ANNA KARINA<br />
As we go to print, we have learned that<br />
Anna Karina is unable to join us for her<br />
Tribute owing to non–life-threatening<br />
injuries sustained in a recent accident.<br />
She will, however, be able to join us for<br />
her Tribute in Spring 2010, at a time<br />
to be determined. For the Festival,<br />
Anna Karina’s producer, Héjer Charf,<br />
will attend the screening of her film,<br />
Victoria.<br />
WITH SUPPORT FROM<br />
SELECTED FILMOGRAPHY<br />
VICTORIA<br />
CANADA/FRANCE 2008<br />
95 MINS<br />
Part Some Like It Hot, part<br />
Breathless and yet thoroughly<br />
fresh and new, Anna Karina’s<br />
fi rst directorial effort in more<br />
than 30 years echoes the<br />
youthful zest of the worldshaking<br />
French New Wave<br />
while brimming with a life entirely<br />
its own.<br />
See page 109 for complete fi lm<br />
information.<br />
Please note: This is a regularlypriced<br />
admission.<br />
71
MIROIR…MYSTÈRE…MAGIQUE<br />
by Karen Davis<br />
SNAPSHOT: ONSCREEN<br />
Vivre sa vie (1962): A young woman<br />
sits in a darkened movie theater<br />
alone, raising her gaze to the image<br />
onscreen of another young woman<br />
(Maria Falconetti, in Carl Theodor<br />
Dreyer’s 1928 silent masterwork,<br />
The Passion of Joan of Arc) who, in<br />
turn, lifts her eyes to meet those of<br />
an off-screen presence as she pleads<br />
for her right to be free. Both women<br />
mirror each other’s emotions, their<br />
radiant faces shining with tears, their<br />
expressive eyes reflecting beauty,<br />
suffering and an all-encompassing<br />
empathy.<br />
The young woman, alone in the<br />
theater, is “Nana”—no one in<br />
particular, a character whose name<br />
is French slang for “just a girl.” A<br />
mystery. A cipher. Starring in Jean-<br />
Luc Godard’s 1962 New Wave chef<br />
d’oeuvre Vivre sa vie is actress Anna<br />
LE PETIT SOLDAT<br />
Karina—but, as “Nana,” she is also<br />
you, me and everyone who has ever been moved to tears by the<br />
power of cinema; a projection of our most powerful dreams and<br />
strongest desires, our wish to be free.<br />
This is just one of the thousands of image-snapshots refl ecting the<br />
brilliance of an actor, a star, who can inhabit such a role, as “no one in<br />
particular,” while crafting one of the most memorable cinematic<br />
performances of our time. Anna Karina: a mirror, a mystery, blessed<br />
with ineffable magic that is palpable, and timeless.<br />
SNAPSHOT: OFF-SCREEN<br />
Born and raised in Denmark, Anna Karina (née Hanne Karin Blarke<br />
Bayer) made her screen debut in 1959, when Danish fi lmmaker Ib<br />
Schmedes discovered her, quite literally, singing and dancing in the<br />
streets to her own rhythm. Schmedes’ 11-minute fi lm, Pigen og Skoene<br />
(The Girl with the Shoes), garnered the Best Short <strong>Film</strong> award at<br />
Cannes and launched Karina’s career.<br />
But life was not a Hollywood musical by any means. To escape a<br />
diffi cult family situation, she moved to Paris at 18. Speaking no French,<br />
72<br />
ANNA KARINA<br />
Anna sought shelter at the Danish Church on the Champs-Élysées.<br />
She found work wherever she could: elevator girl, spare-change<br />
street-art painter. Then, the fi rst of several lucky coups de foudre<br />
struck: an introduction to Coco Chanel (who bestowed the name<br />
“Anna Karina” upon her), followed by a smashingly successful career<br />
as a top Parisian model.<br />
But Anna held fast to a girlhood dream to act. Again she struck out<br />
on her own, until another coup de foudre: Jean-Luc Godard, famed fi lm<br />
critic, director, enfant terrible and Karina’s soon-to-be husband (now<br />
ex-mari) spotted her in a soap commercial. In the fi lms and years that<br />
followed, the magical Karina/Godard collaboration became an<br />
internationally recognized beacon of 20th-century French culture,<br />
and a benchmark for world cinema at large.<br />
Generally acknowledged as the muse for Godard’s greatest work, Anna<br />
starred in several of his seminal fi lms, including Le petit soldat (1960),<br />
Une femme est une femme/A Woman Is a Woman (1961), which garnered<br />
Karina the Best Actress award at the Berlin <strong>Film</strong> Festival, Vivre sa vie/My<br />
Life to Live (1962), Bande à part/Band of Outsiders (1964), Alphaville<br />
mvff.com
(1965), Made in USA (1967), Le plus vieux métier du<br />
monde/The Oldest Profession (1967) and Pierrot<br />
le fou/Pierre Goes Crazy (1967).<br />
All in all, the prolifi c Karina has appeared in<br />
more than 70 fi lms, working with such directors<br />
as Luchino Visconti, Volker Schlöndorff, George<br />
Cukor, Rainer Werner Fassbinder, Agnès Varda,<br />
Roger Vadim, Eric Rohmer,<br />
Jonathan Demme, Valerio<br />
Zurlini, Jacques Rivette and<br />
Dennis Berry. Serge Gainsbourg<br />
wrote his only musical film,<br />
Anna, for her in 1967, which<br />
produced the hit song “Sous le<br />
soleil exactement.” And so the<br />
Danish girl discovered singing<br />
and dancing on the streets of<br />
Copenhagen was able to open<br />
the door to her dreams, and to<br />
our hearts.<br />
CAMERA-READY<br />
In addition to her impressive body of work<br />
onscreen, Anna is an accomplished stage actor,<br />
playing the lead in works written for the theater<br />
by Jacques Rivette, Françoise Sagan and<br />
Ingmar Bergman. The multitalented, multilingual<br />
Karina is also an author (three published<br />
novels to date) and an internationally acclaimed<br />
chanteuse, touring and collaborating for the past<br />
seven years with the wildly popular genderbending<br />
French composer, Philippe Katerine.<br />
But this is not nearly all there is to know about<br />
Anna’s professional portfolio.<br />
In 1973, Karina wrote and directed her fi rst<br />
feature-length film, Vivre ensemble (Living<br />
Together), which is still exhibited around the<br />
world. “I had this sudden urge to do a fi lm<br />
myself,” she told Nathan Rabin in a 2003 interview.<br />
“At that time, it was pretty diffi cult,<br />
because actresses didn’t really do fi lms. It was<br />
like, ‘What’s wrong with her? Why would she<br />
want to do a picture?’ Things like that. I think a<br />
director should do at least one part in his life.<br />
He should know how diffi cult it can be to be an<br />
actor. An actor should do at least a short fi lm in<br />
his life, so he can know how diffi cult it is to be<br />
a director. Maybe they would understand each<br />
other better. So I wrote the script, and I produced<br />
it myself with very little money.”<br />
Fast forward to 2008. After a lengthy directing<br />
“hiatus” (hardly an appropriate word given her<br />
prodigious creative output in the interim years),<br />
Anna’s writer-director persona emerges again.<br />
tickets 877.874.6833<br />
FOR HALF A<br />
CENTURY, THE<br />
WORLD HAS<br />
BORROWED FROM<br />
THE SENSITIVE,<br />
SPONTANEOUS<br />
AND SENSUOUS<br />
AURA OF ANNA<br />
TRIBUTE TO ANNA KARINA<br />
Victoria (2008) channels the joyful, youthful and<br />
celebratory spirit of the French New Wave in a<br />
modern musical mystery/road movie set against<br />
the stunning landscapes of the Québec countryside,<br />
featuring songs by Philippe Katerine,<br />
and starring a duo of love-struck young male<br />
cabaret artistes calling themselves Les Lolitas.<br />
With Karina in the role of la<br />
femme du mystère, Victoria is a<br />
tender and delightful fi lm fi lled<br />
with lovely and delicate<br />
touches, offering a refreshing<br />
and contemporary echo of the<br />
art of La Nouvelle Vague.<br />
Héjer Charf, a Tunisian-born<br />
fi lm critic, writer and director,<br />
and Anna’s longtime friend and<br />
producer, recalls, “I fi rst produced<br />
Anna’s musical shows in<br />
Québec. Then I asked her to<br />
make a movie with me. A few<br />
months later, she dictated to me the script over<br />
the phone. Victoria is a truly independent, lowbudget<br />
fi lm. I fully produced it; I didn’t have any<br />
fi nancing help. It wasn’t very easy, but we were<br />
completely free. We wound back to the sixties<br />
and we made a movie in the French New Wave<br />
(Nouvelle Vague) style: small crew, direct sound,<br />
direct singing, real locations, real snow. Many of<br />
the actors are nonprofessional, and nearly every<br />
member of the crew played a role in the fi lm.”<br />
Charf continues, “Anna Karina represents, for<br />
me, the true spirit of La Nouvelle Vague. There is<br />
something in her that is very free and very different.<br />
As a director myself, I was inspired by<br />
Anna as I watched her with the actors. Like<br />
Godard, Anna knows what she wants from her<br />
actors and her crew. She works quickly; she<br />
knows her shots. Because she is an actress herself,<br />
she gives a lot of freedom to her actors.<br />
There is something very natural about it.”<br />
For half a century, the world has borrowed from<br />
the sensitive, spontaneous and sensuous aura of<br />
Anna—a pizza on the menu in Melbourne, a punk<br />
band in Italy and even Tarantino’s Pulp Fiction heroine<br />
(wonderfully played by Uma Thurman) owe<br />
their existence to the iconic, ineffable and inimitable<br />
Mme Karina. She takes these things in stride,<br />
knowing there is no way she can be confi ned or<br />
packaged by any marketed imagery. As Joni Mitchell<br />
wrote, “She’s too busy being free…”<br />
Karen (KD) Davis is a university professor and senior<br />
programmer at MVFF.<br />
ALPHAVILLE<br />
VIVRE SA VIE<br />
MADE IN USA<br />
73
tickets 877.874.6833<br />
A CREATIVE SOCIAL ACTION NETWORK<br />
MVFF’s Active Cinema fi lms are both documentary and<br />
fi ction, national and international, united in their commitment<br />
to raise awareness, educate and engage their<br />
audience. It is our hope that the passion and fearlessness<br />
GET ACTIVE!<br />
Turning ideas into deeds is what Active Cinema<br />
is all about. The following activities provide<br />
ways to roll up your sleeves and join the fi lmmakers,<br />
activists and others making a difference<br />
in our world.<br />
ACTIVE CINEMA BLOG SITE<br />
Join in the ongoing conversation on our blog<br />
site: http://activecinema.wordpress.com.<br />
ACTIVE CINEMA CHAMPIONS<br />
Watch for our team of Active Cinema volunteers<br />
who will be on-site during the Festival to<br />
guide you to our presenting partners and the<br />
organizations that address the issues in Active<br />
Cinema fi lms.<br />
CINEMASPORTS<br />
Saturday, October 17, 9:00 am Intro Meeting<br />
Old Mill Park, Mill Valley<br />
Signups at Cinemasports.com<br />
For details, see New Movies Lab, page 31.<br />
ACTIVE CINEMA:<br />
STRATEGIES FOR CHANGE<br />
Join us for an opportunity to meet fi lmmakers<br />
and discuss next steps in implementing ideas<br />
generated in the Active Cinema fi lms.<br />
Sunday, October 18, 2:30 pm<br />
142 Throckmorton Theatre, Mill Valley<br />
For details, see New Movies Lab, page 31.<br />
ACTIVE CINEMA SPONSORED BY<br />
Awakening from Sorrow:<br />
Buenos Aires 1997<br />
John Knoop and Karina Epperlein<br />
Hidden Bounty of Marin:<br />
Farm Families in Transition<br />
Steve Quirt and Ellie Rilla<br />
HomeGrown<br />
Robert McFalls<br />
The Horse Boy<br />
Michel O. Scott<br />
Inside Story<br />
Jacob Simas<br />
Jim Thorpe:<br />
The World’s Greatest Athlete<br />
Tom Weidlinger<br />
MINE<br />
Geralyn Pezanoski<br />
The Most Dangerous Man in<br />
America: Daniel Ellsberg and the<br />
Pentagon Papers<br />
Rick Goldsmith and Judith Ehrlich<br />
Mustang – Journey of<br />
Transformation<br />
Will Parrinello<br />
Precious: Based on the Novel<br />
“Push” by Sapphire<br />
Lee Daniels<br />
ACTIVE CINEMA<br />
of these fi lmmakers will inspire our audience members to<br />
use their talents and abilities daily in an effort to create<br />
change. Active Cinema invites you to be the change you<br />
want to see in the world.<br />
SEE FILMS, GET INVOLVED!<br />
Find inspiration in Active Cinema fi lms by joining us for screenings throughout the Festival. Help<br />
support the admirable work of fi lmmakers and special guests. You’ll fi nd links to their websites<br />
on the Active Cinema page at mvff.com.<br />
Project Happiness<br />
John Sorensen<br />
Race to Nowhere<br />
Vicki Abeles<br />
Saint Misbehavin’:<br />
The Wavy Gravy Movie<br />
Michelle Esrick<br />
Skin<br />
Anthony Fabian<br />
Soundtrack for a Revolution<br />
Bill Guttentag and Dan Sturman<br />
Tapped<br />
Stephanie Soechtig<br />
A Thousand Suns<br />
Stephen Marshall<br />
Trading Bows and Arrows<br />
for Laptops<br />
Denise Zmekhol<br />
Look for this icon to spot<br />
Active Cinema fi lms in the<br />
fi lm notes, pages 82 to 112.<br />
77
ACTIVE CINEMA<br />
CO-PRESENTERS<br />
Our co-presenters partner with<br />
us in the Active Cinema film series.<br />
You’ll find links to their websites on<br />
the Active Cinema page at mvff.com.<br />
American Himalayan Foundation<br />
Autism Speaks<br />
Center for Investigative Reporting<br />
Food and Water Watch<br />
Marin American Indian Alliance<br />
Marin Humane Society<br />
Marin Interfaith Task Force<br />
on the Americas<br />
Milo Foundation<br />
Oak Hill School<br />
San Quentin Advisory Council<br />
Seva Foundation<br />
ACTIVE CINEMA CHAMPIONS<br />
Thank you to our <strong>2009</strong> Active Cinema volunteers!<br />
All who signed up before our printing date are listed here:<br />
Doug Ascher<br />
Elyse Boyar<br />
Albert Casselhoff<br />
Janet Campbell<br />
Virginia Cunningham<br />
Mari Edlin<br />
Susan Harle<br />
Deneen Hermis<br />
Philip Hordiner<br />
Leona Hordiner<br />
Diana Iles Parker<br />
Berit Jordan<br />
ACTIVE CINEMA<br />
Nina Lescher<br />
Lisa Lewis<br />
Susan McCormick<br />
Marilyn McCoppen<br />
Mary Jane McKown<br />
Dan Siegel<br />
Ellen Thomas<br />
Hank Wendt<br />
Jenny Yancey<br />
Satchel Yancey
WORLD PREMIERES<br />
Imbued<br />
Passengers<br />
Project Happiness<br />
Race to Nowhere<br />
The Red Machine<br />
Tenderloin<br />
WORLD CINEMA<br />
World Cinema fi lms tell stories that reveal<br />
elements of the universal while changing<br />
our ways of seeing and understanding our<br />
global neighbors.<br />
tickets 877.874.6833<br />
SPONSORED BY<br />
US CINEMA<br />
A showcase for new American fi lms by master<br />
and emerging fi lmmakers who share a<br />
talent for independent storytelling.<br />
SPONSORED BY<br />
FOCUS: ARCHITECTS OF THE AVANT-GARDE<br />
<strong>Program</strong>s celebrating some of the greatest 20 th century artist-innovators:<br />
Breath Made Visible (Ruedi Gerber), Meredith Monk – Inner Voice (Babeth<br />
M. VanLoo), A Sweeter Music: a Live Performance by Sarah Cahill with John<br />
Sanborn, Troupers (Glenn Silber and Claudia Vianello) and TRIMPIN: the<br />
sound of invention (Peter Esmonde).<br />
FOCUS: AUSTRALIA AND NEW ZEALAND<br />
Apron Strings (Sima Urale), The Boys Are Back (Scott Hicks), Four of a Kind<br />
(Fiona Cochrane), Passengers (Michael Bond) and The Strength of Water<br />
(Armagan Ballantyne).<br />
OFFICIAL PREMIERE SELECTION<br />
NORTH AMERICAN PREMIERES<br />
The Bass Player: A Song For Dad<br />
Breath Made Visible<br />
Hellsinki<br />
Linoleum<br />
This Is the Husband I Want!<br />
Victoria<br />
White Wedding<br />
FILM CATEGORIES<br />
5@5 AND MVFF SHORTS<br />
Our 5@5 matinee series always takes its<br />
program titles from the songs of a musical<br />
performer. This year’s selected artist<br />
is Morrissey. Our shorts programs are an<br />
assortment of fi lmic gems by emerging<br />
artists and established masters.<br />
SPONSORED BY<br />
<strong>2009</strong> FOCUS<br />
MVFF <strong>2009</strong><br />
US PREMIERES<br />
Hipsters<br />
Jermal<br />
The Letter for the King<br />
Looking For Eric<br />
One Crazy Ride<br />
Ricky<br />
Shameless<br />
Shylock<br />
Storm<br />
Surrogate<br />
A Year Ago in Winter<br />
VALLEY OF THE DOCS<br />
Reality spins some of the most fascinating<br />
yarns of all. Valley of the Docs presents<br />
the latest in documentary fi lmmaking.<br />
SPONSORED BY<br />
CHILDREN’S FILMFEST<br />
The Children’s <strong>Film</strong>Fest gives young<br />
people a taste of cultures and adventures<br />
they won’t get anywhere else.<br />
SPONSORED BY<br />
FOCUS: FRANCE<br />
The Girl on the Train (André Téchiné), Pierrot le fou (Jean-Luc Godard),<br />
Ricky (François Ozon).<br />
FOCUS: NEW RUSSIAN CINEMA<br />
Hipsters (Valery Todorovsky), Room and a Half<br />
(Andrey Khrzhanovsky), Stalin Thought of You (Kevin McNeer).<br />
FOCUS: IRELAND AND THE UNITED KINGDOM<br />
The Bass Player: A Song for Dad (Niall McKay),<br />
Bomber (Paul Cotter), The Eclipse (Conor McPherson),<br />
An Education (Lone Scherfi g), Fish Tank (Andrea Arnold)<br />
and Looking for Eric (Ken Loach).<br />
81
5@5: AMERICA IS NOT THE<br />
WORLD<br />
5 @ 5<br />
This series of international shorts explores<br />
themes of immigration, displacement, revolution<br />
and violence, leaving us to ponder our place<br />
in the world and the meaning of “home.” A young<br />
man returns to his family in Cuba after 13 years<br />
in the US to fi nd himself caught between maternal<br />
love and fraternal resentment in Topaz Adizes’<br />
Trece Años (Cuba/US 8 mins). In Maria Breaux’s<br />
Lucha (El Salvador/US 15 mins), a couple fantasize<br />
about an idyllic future against the backdrop<br />
of war-torn El Salvador. In the Punjab region of<br />
India, a young girl copes with her community’s<br />
displacement and an act of betrayal as she strikes<br />
up an unlikely friendship with an upper caste girl<br />
in Terrie Samundra’s Kunjo (India/US 25 mins).<br />
The tension quietly mounts in Ilan Amit’s Broken<br />
Time (Israel 25 mins) when an explosion in<br />
the city leaves Daniel anxiously wondering if his<br />
mother will ever come home.<br />
—Holly Roach<br />
TOTAL PROGRAM 73 MINS<br />
Monday, October 12, 5:00 pm<br />
5AT512S, Sequoia<br />
Wednesday, October 14, 5:00 pm<br />
5AT514R, Rafael<br />
82<br />
5@5: THE EDGES ARE NO LONGER<br />
PARALLEL<br />
5 @ 5<br />
Crafting the perfect documentary short is among<br />
the most diffi cult of fi lmmaking challenges. But<br />
when all the elements come together, it’s a magic<br />
moment. So we’ve gathered the best in new<br />
American documentary shorts, including three<br />
from Bay Area filmmakers. Jeremy Kaller’s The<br />
Legend of Toilet-seat Charlie (US 12 mins) profi<br />
les Mill Valley’s Charlie Deal, inventor of the toilet-seat<br />
guitar. Jessica Yu’s delightful The Kinda<br />
Sutra (US 8 mins) explores the eternal question:<br />
How are babies made? Matt Faust’s Home (US 5<br />
mins), a stunning animated portrait, captures the<br />
feeling of loss when “home” becomes a memory,<br />
while Close to Home (US 6 mins) by Theo Rigby<br />
portrays a father who has yet to face his son’s<br />
death. The Last Dragon Kingdom (US 7 mins)<br />
from Aine Carey and David Emery meditates on<br />
the nature of change and the Buddhist precept of<br />
impermanence, and Lucie Schwartz’s Arresting<br />
Ana (France/US 25 mins) gives us an eye-opening,<br />
innovative look at the global underground of<br />
anorexia.<br />
—Kelly Clement<br />
TOTAL PROGRAM 61 MINS<br />
Friday, October 16, 5:00 pm<br />
5AT516R, Rafael<br />
Saturday, October 17, 5:30 pm<br />
5AT517T, 142 Throckmorton<br />
5@5: THE MORE YOU IGNORE ME,<br />
THE CLOSER I GET<br />
5 @ 5<br />
Family dynamics are at the forefront of this collection<br />
of shorts exploring the generational divide.<br />
In these relationships between parents and their<br />
offspring, we’re often left to wonder, who’s raising<br />
whom? Absence is palpable in Ryan O’Toole’s<br />
lyrical Keep the Home Fires Burning (US 8 mins)<br />
as a family reconstructs the memory of their patriarch.<br />
In Michelle Savill’s Betty Banned Sweets<br />
(New Zealand 15 mins), an artist stifl ed by his<br />
codependent mother indulges his wanderlust by<br />
creating quirky shoebox dioramas. A reluctant<br />
teenager tries to survive her exuberant mother’s<br />
plans for prom night in Coley Sohn’s ’80s fl ashback,<br />
Boutonniere (US 10 mins), while Christmas<br />
Day is almost a dirty little secret in Hope<br />
Dickson Leach’s Morning Echo (UK 15 mins).<br />
In Andreas Tibblin’s Good Advice (Sweden 15<br />
mins), Rasmus decides to run away from home<br />
but not before imparting his wisdom to an unborn<br />
sibling, which proves enlightening for his parents<br />
as well.<br />
—Holly Roach<br />
TOTAL PROGRAM 63 MINS<br />
Tuesday, October 13, 5:00 pm<br />
5AT513S, Sequoia<br />
Thursday, October 15, 5:00 pm<br />
5AT515R, Rafael<br />
mvff.com
5@5: OSCILLATE WILDLY 5@5: SISTER I’M A POET ACHING HEARTS<br />
5 @ 5<br />
Whether in 2D, 3D or stop-motion, these animated<br />
shorts oscillate wildly between adventure,<br />
whimsy and the purely bizarre. Bill Plympton’s<br />
Horn Dog (US 5 mins) starts the ball rolling with<br />
canine desperation, Julia McLean toys with a<br />
loved one in The Finger Trap (Scotland 4 mins),<br />
Adnan Hussain’s Gul (flower) (US 10 mins)<br />
evokes innocence in a painterly wasteland and<br />
John Fink highlights singing body parts in Glottal<br />
Opera (Australia 4 mins). Ozone holes lead to<br />
roasted chicken in David Baas’s Skylight (US 5<br />
mins), while Robert Robinson’s Styx (Scotland<br />
7 mins) crosses over to the other side. Three<br />
fabulous fi bs come to light in Jonas Odell’s Lies<br />
(Sweden 13 mins), a girl tries to escape her<br />
bulbous mother in Dorte Bengtson’s The Sylpphid<br />
(Denmark 8 mins) and an exploratory mission<br />
goes awry in Jan Rahbek’s Space Monkeys<br />
(Denmark 8 mins). For dessert: a delicious meal<br />
of odd objects in PES’s Western Spaghetti (US<br />
4 mins).<br />
—Amanda Todd<br />
TOTAL PROGRAM 67 MINS<br />
Monday, October 12, 5:00 pm<br />
5AT512R, Rafael<br />
Wednesday, October 14, 5:00 pm<br />
5AT514S, Sequoia<br />
tickets 877.874.6833<br />
5 @ 5<br />
Whether it’s face-to-face, screen-to-screen or<br />
a good old-fashioned love letter, these shorts<br />
explore the various ways we communicate (and<br />
miscommunicate) through words and language.<br />
A couple becomes comically confounded with<br />
unfamiliar words and icons as they attempt to use<br />
their new computer in Constantin Popescu’s The<br />
Yellow Smiley Face (Romania 15 mins). Moises’s<br />
world is a dizzying swirl of letters as he struggles<br />
against the language barrier in Richard Levien’s<br />
Immersion (US 15 mins). The title character in<br />
Bragi Schut Jr.’s Charlie Thistle (US 15 mins) is an<br />
unlikely agent for change as Secretary of Adjustments<br />
and Modifi cations, bringing a little color<br />
to the everyday lexicon. A deaf couple noiselessly<br />
engages in an argument amid the din of a<br />
crowded restaurant in Barry Dignam’s (enough)<br />
(Ireland 3 mins). And Tomer Gendler depicts a<br />
silent exchange of a different kind as a couple<br />
trade sweet nothings on their unmentionables in<br />
Underwear (US 15 mins).<br />
—Holly Roach<br />
TOTAL PROGRAM 62 MINS<br />
Tuesday, October 13, 5:00 pm<br />
5AT513R, Rafael<br />
Thursday, October 15, 5:00 pm<br />
5AT515S, Sequoia<br />
FILMS 5@5-A<br />
(KÆRESTESORGER)<br />
WORLD CINEMA<br />
First love is a universal rite of passage, as are the<br />
trials and tribulations of high school. In Denmark<br />
circa 1961, three young men face the confusion<br />
of romance and adulthood. Jonas can’t fi gure<br />
out what he wants or from whom he wants it. As<br />
sweet, smart and adoring Agnete stands before<br />
him, he wonders, “Do I love her?” Meanwhile,<br />
Birger, Jonas’s friend and foil, thinks he’s got it<br />
all fi gured out. His future appears set, but fate<br />
has other plans for him. And Toke, the elusive<br />
loner, embraces his individuality with a passion<br />
that bears the legacy of his father. As love and<br />
adulthood take hold of all three, twists and turns<br />
abound: Friends become enemies, parents suddenly<br />
appear in all their flaws and nothing is<br />
simple anymore. Strong performances elevate a<br />
delicately crafted drama that unfolds gracefully<br />
and unforgettably, leaving no heart, whether soft<br />
or stone-like, unturned.<br />
—Kristine Kolton<br />
Director Nils Malmros Producer Thomas Heinesen<br />
Screenwriters Nils Malmros, John Mogensen<br />
Cinematographer Jan Weincke Editor Birger Møller<br />
Jensen Cast Thomas Ernst, Simone Tang, Søren<br />
Pilmark, Ida Dwinger, Kristian Halken, Andrea Vagn<br />
Jensen Print Source Danish <strong>Film</strong> <strong>Institute</strong><br />
DENMARK <strong>2009</strong> 125 MINS<br />
Friday, October 9, 6:00 pm<br />
ACH09R, Rafael<br />
Saturday, October 10, 3:45 pm<br />
ACH10R, Rafael<br />
PRESENTED IN ASSOCIATION WITH THE<br />
ROYAL DANISH CONSULATE.<br />
83
APRON STRINGS<br />
WORLD CINEMA<br />
FOCUS: AUSTRALIA AND NEW ZEALAND<br />
Like real life, the heart of Apron Strings beats and<br />
bubbles in the kitchen, as everyone is chopping,<br />
stirring, serving and, occasionally, eating. This<br />
humorous, deliciously filmed cakes-and-curry<br />
family drama dishes up the clashing ethnicities<br />
and generational divides of New Zealand’s South<br />
Auckland suburbs. In parallel stories, two mothers<br />
seek to protect their fatherless sons from<br />
familial secrets and dysfunction. Yet the surface<br />
contrasts—the bland, milk-white, sugar-sweet<br />
Anglo Kiwis versus the spicy brown Indian and<br />
Asian immigrants—only highlight their commonalities.<br />
While glamorous Anita, a TV celebrity chef,<br />
feels threatened by son Michael’s search for his<br />
Indian-ness, dowdy Lorna clings to her old-fashioned<br />
bakery and makes unwanted dinners for<br />
35-year-old layabout son Barry, who tosses them<br />
down the sink. Eventually, both women recognize<br />
the damage they’re doing in the name of love and<br />
decide to change. The resulting dish is a soothing<br />
multicultural mélange as piquant and creamy<br />
as hot chai.<br />
—Jeff Campbell<br />
Director Sima Urale Producer Rachel Gardner<br />
Screenwriters Shuchi Kothari, Dianne Taylor<br />
Cinematographer Rewa Harre Editor Eric De Beus<br />
Cast Laila Rouass, Scott Wills, Jennifer Ludlam,<br />
Nathan Whitaker Print Source New Zealand <strong>Film</strong><br />
NEW ZEALAND 2008 89 MINS<br />
Thursday, October 15, 6:45 pm<br />
APR15S, Sequoia<br />
Sunday, October 18, 2:30 pm<br />
APR18R, Rafael<br />
SPONSORED BY PIZZA ANTICA.<br />
84<br />
AWAKENING FROM SORROW:<br />
BUENOS AIRES 1997<br />
VALLEY OF THE DOCS<br />
Between 1976 and 1983, thousands of Argentines<br />
opposed to the military regime were<br />
arrested and disappeared without a trace. Some<br />
were drugged and thrown alive from airplanes<br />
over the Atlantic; others were imprisoned and<br />
tortured before they were killed. This vanished<br />
generation, the Desaparecidos, left behind children,<br />
some only a few days old. Two decades<br />
later, those hijos themselves became activists,<br />
demanding to know what happened to their parents,<br />
demanding justice. Using interviews, poignant<br />
drawings by the hijos and original music,<br />
John Knoop and Karina Epperlein’s Awakening<br />
from Sorrow: Buenos Aires 1997 paints a “tapestry<br />
of remembrance” filled with loss, longing<br />
and resolve.<br />
—Margarita Landazuri<br />
Directors/Producers John Knoop, Karina Epperlein<br />
Cinematographer Andrew Black Print Source<br />
Karinafi lms<br />
US <strong>2009</strong> 40 MINS<br />
PRECEDED BY<br />
INSIDE STORY<br />
This fi lm documents San Quentin inmates writing,<br />
editing and publishing the fi rst newspaper in a <strong>California</strong><br />
prison in 20 years. With the support of the<br />
warden, they fi nd purpose and meaning in their lives<br />
as they tackle issues like prison overcrowding.<br />
Director Jacob Simas<br />
US <strong>2009</strong> 27 MINS<br />
TOTAL PROGRAM 67 MINS<br />
Saturday, October 10, 4:30 pm<br />
AWAK10S, Sequoia<br />
Saturday, October 17, 4:45 pm<br />
AWAK17R, Rafael<br />
PRESENTED IN ASSOCIATION WITH MARIN<br />
INTERFAITH TASK FORCE ON THE AMERICAS<br />
& SAN QUENTIN ADVISORY COUNCIL.<br />
BARKING WATER<br />
US CINEMA<br />
With an eye for the scenic and the unforeseen,<br />
writer-director Sterlin Harjo (Four Sheets to the<br />
Wind, MVFF 2007) unites two classic American<br />
fi lm genres—the redemptive road journey and a<br />
timeless love story—into something uniquely his<br />
own. After liberating her former lover Frankie<br />
from the hospital, Irene pledges to take him home<br />
before he dies. The road to Barking Water offers<br />
an intimate glimpse into a people and place<br />
rarely seen on the screen: the Native American<br />
culture and landscape of Oklahoma. In ways<br />
spare and unsentimental, Frankie and Irene reaffi<br />
rm a love that’s both mature and forgiving. The<br />
poetry of this fi lm is in the quiet spaces between<br />
words—a glance, a memory or an eagle feather<br />
dangling from the rear view mirror of the car. Lyrically<br />
beautiful and emotionally resonant, Barking<br />
Water refl ects the psychologically rich territories<br />
of family and home.<br />
—Melissa Howden<br />
Director/Screenwriter Sterlin Harjo Producer<br />
Chad Burris Cinematographer Frederick Schroeder<br />
Editor David Michael Maurer Cast Richard Ray<br />
Whitman, Casey Camp-Horinek, John Proudstar,<br />
Laura Spensor Print Source Indion Entertainment<br />
Group<br />
US 2008 81 MINS<br />
Monday, October 12, 6:00 pm<br />
BARK12S, Sequoia<br />
Thursday, October 15, 9:15 pm<br />
BARK15R, Rafael<br />
PRESENTED IN ASSOCIATION WITH MARIN<br />
AMERICAN INDIAN ALLIANCE.<br />
mvff.com
THE BASS PLAYER:<br />
A SONG FOR DAD<br />
VALLEY OF THE DOCS<br />
In this eloquent, witty homage to his father, fi lmmaker<br />
Niall McKay wrestles with his family’s<br />
unsettling past to overcome his fear of commitment.<br />
As Niall helps his elderly father Jim, a jazz<br />
bass player, return home to Ireland, father and<br />
son revisit Niall’s tumultuous childhood with an<br />
abusive, unpredictable mother and a musician<br />
father who was often on the road. It’s a parallel<br />
journey into Niall’s admiration for his father<br />
and his innermost doubts about love, and their<br />
conversations take on a confessional quality as<br />
they reveal their darkest moments. But the film<br />
lyrically (and sometimes limerickly) takes us full<br />
circle, capturing joyous moments of healing and<br />
celebration. Shot in Switzerland, France, Ireland<br />
and the US, geography and the idea of home<br />
play prominent roles. Scored with Irish jazz and,<br />
particularly, Jim’s bass, the music is much more<br />
than a soundtrack, and the fi lm is not unlike the<br />
tunes Jim strums as it explores and captures the<br />
nuances, tones and oscillations of life and relationships.<br />
Striking many poignant chords, the<br />
fi lmmaker’s evolving notions of family and commitment<br />
will charm and amuse. North American<br />
Premiere<br />
—Carrie Lozano<br />
Director/Screenwriter Niall McKay Producer<br />
Seamus Duggan Cinematographers Niall McKay,<br />
Marissa Aroy Editors Tony Cranstoun, Carlo Kamin<br />
Print Source The Media Factory<br />
IRELAND/US <strong>2009</strong> 62 MINS<br />
Friday, October 9, 9:00 pm<br />
BASS09S, Sequoia<br />
Sunday, October 11, 7:30 pm<br />
BASS11R, Rafael<br />
PRESENTED IN ASSOCIATION WITH SFJAZZ &<br />
SAN FRANCISCO IRISH FILM FESTIVAL.<br />
tickets 877.874.6833<br />
[BLANK.] BOMBER<br />
YOUTH PRODUCED<br />
The Young Critics Jury is an educational program<br />
of the <strong>California</strong> <strong>Film</strong> <strong>Institute</strong>. It is an intensive<br />
course in how to watch, critique and understand<br />
techniques of moviemaking for youth (ages 13–<br />
18) interested in learning about the craft of fi lmmaking<br />
from professionals. A select group<br />
become the peer jury for youth fi lms submitted to<br />
the Mill Valley <strong>Film</strong> Festival for inclusion in the<br />
youth reel. The Young Critics Jury has chosen 19<br />
fi lms for the <strong>2009</strong> youth reel from more than 75<br />
national and international films submitted. The<br />
films, representing filmmakers from coast to<br />
coast, encompass varied styles and genres such<br />
as silent fi lm (The Life and Times of Buster Chaplin<br />
and What’d ya want, a happy ending?), comedy<br />
(You Turn and Dumb Luck), romance (Ladies,<br />
Please), drama (Transatlantique, Care and Broken)<br />
and human rights (Untouchable). Three<br />
works are personal stories as told by young fi lmmakers<br />
who participated in the <strong>2009</strong> <strong>California</strong><br />
<strong>Film</strong> <strong>Institute</strong> Education’s My Place workshop,<br />
April’s Story: Nana’s House, Ramona’s Story:<br />
What About Us? and Alex’s Story.<br />
—Melanie Nichols<br />
TOTAL PROGRAM 96 MINS<br />
Saturday, October 17, 11:00 am<br />
BLAN17R, Rafael<br />
WORLD CINEMA<br />
FOCUS: UNITED KINGDOM The family road<br />
trip, that precarious activity of forced intimacy,<br />
usually produces its share of inconvenience and<br />
dark comedy—awkward charms only amplified<br />
when the children have grown up. With wife Valerie<br />
by his side and son Ross roped into driving,<br />
Alistair, a Royal Air Force bomber pilot during<br />
WWII, leads the family on a vacation to Germany<br />
with a mysterious purpose behind it, prompting<br />
a bumpy ride for the three travelers and their<br />
familial baggage. Along the way, director Paul<br />
Cotter’s debut feature manages the unusual feat<br />
of reenergizing the genre of the road film. The<br />
acting is as funny and alluring as the landscapes<br />
are expressive and beautiful. And the fi rst feature-length<br />
fi lm score by Stephen Coates, front<br />
man and founder of British cult favorite The<br />
Real Tuesday Weld, is a driving force of its own.<br />
Unlike other family road trips you may have experienced,<br />
you won’t want this one to end.<br />
—Sean Uyehara<br />
Director/Screenwriter Paul Cotter Producers Paul<br />
Cotter, Maureen Ryan Cinematographer Rick Siegel<br />
Editor Matt Maddox Cast Shane Taylor, Benjamin<br />
Whitrow, Eileen Nicholas Print Source Boris <strong>Film</strong>s<br />
US/UK <strong>2009</strong> 84 MINS<br />
Friday, October 9, 6:30 pm<br />
BOMB09R, Rafael<br />
Sunday, October 18, 7:45 pm<br />
BOMB18R, Rafael<br />
FILMS A-B<br />
SPONSORED BY BANK OF MARIN.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
GOETHE INSTITUT SAN FRANCISCO.<br />
85
THE BOYS ARE BACK<br />
WORLD CINEMA<br />
OPENING NIGHT FOCUS: AUSTRALIA AND<br />
NEW ZEALAND Based on a true story, The<br />
Boys Are Back is a deeply moving, wryly confessional<br />
tale of fatherhood that intimately evokes<br />
both the fragility and wonders of family life. It<br />
follows a witty, wisecracking, action-oriented<br />
sportswriter (Academy Award ® nominee and<br />
Golden Globe winner Clive Owen) who, in the<br />
wake of his wife’s tragic death, finds himself in<br />
a sudden, stultifying state of single parenthood.<br />
Raising two boys with an unabashed lack of<br />
rules, life is exuberant, instinctual, reckless... and<br />
on the constant verge of disaster. United by<br />
unspoken love, confl icted by fi erce feelings and<br />
in search of a road forward, father and sons alike<br />
must each fi nd their own way, however tenuous,<br />
to grow up. Their story is not just about the transforming<br />
power of a family crisis—but the unavoidable<br />
grace of everyday life and love that gets<br />
them through. This wonderful ride is masterfully<br />
helmed by Scott Hicks (Shine, MVFF 1996).<br />
Director Scott Hicks Producers Greg Brenman, Tim<br />
White Screenwriter Allan Cubitt, memoir by Simon<br />
Carr Cinematographer Greig Fraser Editor Scott<br />
Grey Cast Clive Owen, Emma Booth, Laura Fraser,<br />
George Mackay, Nicholas McAnulty Print Source<br />
Miramax <strong>Film</strong>s<br />
AUSTRALIA/UK <strong>2009</strong> 104 MINS<br />
Thursday, October 8, 7:00 pm<br />
BOYA08S, Sequoia $30<br />
Thursday, October 8, 7:15 pm<br />
BOYB08S, Sequoia $30<br />
SPONSORED BY WELLS FARGO.<br />
For Opening Night Gala information, see page 23.<br />
86<br />
BREATH MADE VISIBLE DARK AND STORMY NIGHT<br />
VALLEY OF THE DOCS<br />
FOCUS: ARCHITECTS OF THE AVANT-GARDE<br />
Since she was a small child, Anna Halprin has<br />
danced. Now at 89, she still possesses the grace<br />
and romanticism of her youth. This illuminating<br />
documentary, a lovingly rendered portrait of the<br />
Marin-based avant-garde dance pioneer, traces<br />
her groundbreaking career as a dancer and choreographer<br />
as well as her devoted marriage to<br />
famed landscape architect Lawrence Halprin.<br />
In an intimate encounter with the artist, we meet<br />
her rehearsing on her verdant backyard deck and<br />
performing at New York’s Joyce Theater, teaching<br />
movement to seniors and dancing with Merce<br />
Cunningham, battling cancer and combating racism<br />
through movement in the wake of the Watts<br />
riots. Halprin has spent her life spreading a gospel<br />
of healing and wholeness through self-expression—an<br />
extraordinary story that unfolds, with the<br />
help of fascinating interviews and archival performance<br />
footage, as a moving and beautiful tribute<br />
to one of Northern <strong>California</strong>’s most beloved and<br />
inspirational artists. North American Premiere<br />
—Nora Isaacs<br />
Director/Producer Ruedi Gerber Cinematographers<br />
Adam Teichman, Ruedi Gerber Editors Francoise<br />
Dumoulin, C. Peters Cast Anna Halprin, Larry<br />
Halprin, Merce Cunningham, John Graham Print<br />
Source Argot Pictures<br />
SWITZERLAND/US <strong>2009</strong> 80 MINS<br />
Saturday, October 10, 2:00 pm<br />
BREA10S, Sequoia<br />
Monday, October 12, 6:45 pm<br />
BREA12R, Rafael<br />
SPONSORED BY OVATION TV.<br />
US CINEMA<br />
Who is murdering the houseguests of the Cavinder<br />
Estate? What secrets lie hidden in the passageways<br />
of the dark old house? Did someone<br />
lose a gorilla? Mysteries abound in this hilarious<br />
homage to 1930s “dark house” horror flicks.<br />
Written and directed by cult movie maestro Larry<br />
Blamire (The Lost Skeleton of Cadavra, MVFF<br />
2001; The Lost Skeleton Returns Again, MVFF<br />
2008), the fi lm follows the overnight exploits of<br />
a group of oddballs attempting to stay alive after<br />
a reading of the cursed Cavinder Will. Characters<br />
include a pair of fast-talking reporters, a<br />
whacked-out psychic, the loyal butler (“Jeens”),<br />
an antsy ingénue and one poorly cloaked phantom.<br />
Recalling the screwball comedies of Howard<br />
Hawks and the frantic antics of the Marx<br />
Brothers, this giddy love letter to the movies of<br />
yesteryear—captured in gorgeous black-and-white—<br />
will leave you grinning well past the witching<br />
hour.<br />
—Brendan Peterson<br />
Director/Screenwriter Larry Blamire Producer<br />
Trish Geiger Cinematographer AJ Rickert-Epstein<br />
Editor Bill Bryn Russell Cast Jennifer Blaire, Daniel<br />
Roebuck, Dan Conroy, Brian Howe Print Source<br />
Bantam Street<br />
US <strong>2009</strong> 93 MINS<br />
Saturday, October 10, 9:15 pm<br />
DARK10R, Rafael<br />
Saturday, October 17, 3:45 pm<br />
DARK17S, Sequoia<br />
mvff.com
EAT THE SUN THE ECLIPSE AN EDUCATION<br />
VALLEY OF THE DOCS<br />
Hira Ratan Manek (aka HRM) has not eaten<br />
solid food for 411 days. Impossible, you say? But<br />
HRM takes nourishment through an alternate<br />
source: by staring directly at the sun for 44 minutes<br />
every day. Isn’t that damaging to the eyes?<br />
After two days with HRM, Mason Dwinell is ready<br />
to dismiss such minor concerns to explore “the<br />
possibility of a new truth” through sungazing.<br />
On a spiritual journey to achieve the 44-minute<br />
goal (you work up to it gradually), Mason also<br />
embarks on a physical voyage around the country<br />
(perhaps unsurprisingly, in a VW van) to meet<br />
other sungazers and better understand this solarpowered<br />
lifestyle. But confusion, identity crises<br />
and eye exams interfere with Mason’s progress,<br />
and many troubling questions arise. Throughout<br />
its subtle quirkiness and parched humor, Eat the<br />
Sun maintains a steady compassion for Mason’s<br />
luminous quest, and gives new meaning to “light”<br />
food.<br />
—Joanne Parsont<br />
Director/Producer Peter Sorcher Cinematographers<br />
John Baker, Keith Brauneis, Peter Sorcher Editors<br />
Peter Sorcher, Jed Stuber Print Source Sorcher<br />
<strong>Film</strong>s<br />
US <strong>2009</strong> 90 MINS<br />
Friday, October 9, 8:30 pm<br />
EAT09R, Rafael<br />
Saturday, October 17, 12:00 pm<br />
EAT17S, Sequoia<br />
tickets 877.874.6833<br />
WORLD CINEMA<br />
Acclaimed Irish dramatist Conor McPherson’s<br />
second feature fi lm as writer-director is a characteristically<br />
penetrating exploration of grief and<br />
mortality folded into an eerie, psychologically<br />
sophisticated and shockingly unpredictable<br />
ghost story. Set during an Irish literary festival<br />
in the picturesque city of Cobh, woodworking<br />
teacher (and closet writer) Michael Farr (Ciarán<br />
Hinds) is raising two kids after his wife’s death<br />
when he volunteers as a driver for the event,<br />
intrigued by the proximity and colorful behavior<br />
of its participants. Assigned to Lena (Iben Hjejle),<br />
an attractive author of a book about ghosts,<br />
Michael becomes increasingly intrigued. But also<br />
interested in Lena is pompous, frequently inebriated<br />
bestselling author Nicholas Holden (Aidan<br />
Quinn). As Lena and Michael draw closer, the shy<br />
widower confesses to being haunted, physically,<br />
by his wife. If The Eclipse is ultimately more existential<br />
drama than ghoulish tale, the enveloping<br />
narrative includes brilliantly jolting cinematic surprises.<br />
Indeed, McPherson’s well-acted, thoughtful<br />
tale is a genre-bending mood piece.<br />
—Rod Armstrong<br />
Director Conor McPherson Producer Robert<br />
Walpole Screenwriters Conor McPherson, Billy<br />
Roche Cinematographer Ivan McCollough Editor<br />
Emer Reynolds Cast Ciarán Hinds, Aidan Quinn,<br />
Iben Hjejle, Jim Norton, Eanna Hardwicke, Hannah<br />
Lynch Print Source Magnolia Pictures<br />
IRELAND 2008 88 MINS<br />
Sunday, October 11, 8:15 pm<br />
ECL11R, Rafael<br />
Wednesday, October 14, 9:15 pm<br />
ECL14R, Rafael<br />
SPONSORED BY DOLBY LABORATORIES.<br />
PRESENTED IN ASSOCIATION WITH<br />
SAN FRANCISCO IRISH FILM FESTIVAL.<br />
WORLD CINEMA<br />
FOCUS: UNITED KINGDOM London, 1961:<br />
An intellectually precocious 16-year-old named<br />
Jenny is on the cusp of adulthood, and the world<br />
is on the cusp of dramatic changes of its own,<br />
in this inspired coming-of-age tale from director<br />
Lone Scherfig (Italian for Beginners) and<br />
writer Nick Hornby. In a beguiling, star-making<br />
performance from Carey Mulligan, Jenny’s impatience<br />
with adolescent routine and eagerness to<br />
embrace life come fl avored with dreams of Paris<br />
and the songs of Juliette Gréco, but tempered by<br />
commitments to her Oxford-bound studies and<br />
stodgy parents (Emma Thompson and Alfred<br />
Molina). Then David (Peter Sarsgaard) enters the<br />
picture. A devilishly handsome, urbane charmer<br />
in his 30s, David woos Jenny from her studies—<br />
even winning over her parents—offering a life<br />
education in a glittering world of high culture and<br />
swanky nightclubs with attractive friends Danny<br />
and Helen. Dangling a trip to Paris before her,<br />
a path very different from Oxford opens before<br />
Jenny. Will it be her making or undoing?<br />
Director Lone Scherfi g Producers Finola Dwyer,<br />
Amanda Posey Screenwriter Nick Hornby, memoir<br />
by Lynn Barber Cinematographer John de Borman<br />
Editor Barney Pilling Cast Carey Mulligan, Emma<br />
Thompson, Peter Sarsgaard, Alfred Molina Print<br />
Source Sony Pictures Classics<br />
UK <strong>2009</strong> 100 MINS<br />
Friday, October 9, 6:30 pm<br />
EDUC09S, Sequoia<br />
FILMS B-E<br />
SPONSORED BY POST STREET SURGERY<br />
CENTER.<br />
87
ELEVATOR<br />
WORLD CINEMA<br />
Precocious and attractive with hormones raging,<br />
a teenage boy and girl want some time alone—<br />
why not slip away to the abandoned factory on<br />
the outskirts of town? To their shock, they get<br />
stuck in an elevator. As time passes and help<br />
doesn’t arrive, the too-cool-for-school twosome<br />
gradually becomes more humane, loving, modest<br />
and even a bit more philosophical with each<br />
other. Adapted by Gabriel Pinitilei from his own<br />
play, this truly independent Romanian drama was<br />
made with a handheld camera on a budget of<br />
$500, with a sparsely realistic set and masterful<br />
editing. Director-cinematographer George Dorobantu<br />
has obviously studied his Polanski, regarding<br />
the art of staging slow-burn emotional<br />
moments. Ultimately, this award-winning Romanian<br />
drama is less about going crazy than establishing<br />
a connection in extreme circumstances.<br />
Hell, it seems, isn’t other people; your fellow man<br />
may actually be your salvation.<br />
—David Fear<br />
Director/Cinematographer/Editor George<br />
Dorobantu Producer Alexandra M. Paun<br />
Screenwriter Gabriel Pintilei Cast Cristi Petrescu,<br />
Iulia Verdes Print Source Keep Movieng<br />
ROMANIA 2008 85 MINS<br />
Sunday, October 11, 5:30 pm<br />
ELEV11R, Rafael<br />
Wednesday, October 14, 8:45 pm<br />
ELEV14S, Sequoia<br />
88<br />
FISH TANK FOUR OF A KIND<br />
WORLD CINEMA<br />
FOCUS: UNITED KINGDOM Andrea Arnold is<br />
one of Britain’s strongest cinematic voices. Her<br />
debut, Red Road, won the Jury Prize at the 2006<br />
Cannes <strong>Film</strong> Festival; this year, her second feature,<br />
Fish Tank, won the same prize. It’s a compelling,<br />
unfl inching look at the gritty world of 15-yearold<br />
Mia, a wannabe dancer living in a housing<br />
project in England’s Essex with her young single<br />
mother, little sister and dog. Mom’s new boyfriend,<br />
Connor (played by the handsome Michael<br />
Fassbender), at fi rst looks to be the positive father<br />
fi gure who will pull the bickering family together,<br />
but his undeniable sexual chemistry with Mia<br />
soon moves their relationship into explosive territory.<br />
Arnold’s honest, taut storytelling and beautifully<br />
composed sense of landscape—both external<br />
and internal—make engaging cinema. But it’s<br />
the performances Arnold inspires, particularly<br />
from incredible newcomer Katie Jarvis as Mia,<br />
that make this mesmerizing refl ection on teenage<br />
sexuality, betrayal and revenge so riveting.<br />
—Lily Buchanan<br />
Director/Screenwriter Andrea Arnold Producers<br />
Kees Kasander, Nick Laws Cinematographer<br />
Robbie Ryan Editor Nicolas Chaudeurge Cast<br />
Katie Jarvis, Michael Fassbender, Kierston Wareing,<br />
Rebecca Griffi ths Print Source IFC First Take<br />
UK <strong>2009</strong> 124 MINS<br />
Saturday, October 10, 8:30 pm<br />
FISH10S, Sequoia<br />
Tuesday, October 13, 9:00 pm<br />
FISH13S, Sequoia<br />
WORLD CINEMA<br />
FOCUS: AUSTRALIA AND NEW ZEALAND<br />
In this expertly crafted “tough chick” fl ick, four<br />
women confront hard truths in the face of<br />
betrayal in four intimate and interlocking stories<br />
of love and murder. The linchpin in this quartet is<br />
Melbourne homicide detective Gina Sturrock<br />
(Leverne McDonnell), whose rigorous interrogation<br />
of smug suspect Anne Carson (Louise<br />
Siversen) leads Sturrock to explore with her<br />
therapist, Glenda Hartley (Gail Watson), a toxic<br />
friendship from her own past. Glenda is also in<br />
crisis, meanwhile, confessing suspicions to best<br />
friend Susan (Nina Landis) that her young lover<br />
is having an affair. The dramatic thread—embellished<br />
by bluesman Joe Camilleri’s choice, chapter-defining<br />
songs—leads back once more to<br />
Gina and her latest investigation. Director Fiona<br />
Cochrane adopts a riveting minimalist approach<br />
in adapting Helen Collins’s play, Disclosure, into<br />
this intelligent and unpredictable who-done-it<br />
that keeps you alternately on your toes and on<br />
the edge of your seat.<br />
—Pam Grady<br />
Director/Producer Fiona Cochrane Screenwriter<br />
Helen Collins Cinematographer/Editor Zbigniew<br />
Friedrich Cast Leverne McDonnell, Gail Watson,<br />
Nina Landis, Louise Siversen Print Source f-reel<br />
pty. ltd.<br />
AUSTRALIA 2008 115 MINS<br />
Saturday, October 10, 3:30 pm<br />
FOUR10R, Rafael<br />
Monday, October 12, 8:00 pm<br />
FOUR12S, Sequoia<br />
mvff.com
THE GIRL ON THE TRAIN<br />
(LA FILLE DU RER )<br />
WORLD CINEMA<br />
FOCUS: FRANCE Venerated post–New Wave<br />
filmmaker André Téchiné’s latest multi-character<br />
drama is an extremely shrewd, supple tale<br />
of modern French society grounded in a young<br />
woman’s disturbingly naive bid for attention and<br />
connection. Jeanne (Émilie Dequenne), a beautiful<br />
suburban 20-something, moves inattentively<br />
through life, rollerblading by with headphones on.<br />
Her fi rst live-in relationship with aspiring wrestler<br />
Franck (Nicolas Duvauchelle) and her desultory<br />
search for employment mark her out as somehow<br />
detached, even helpless, despite her charm.<br />
Téchiné explores her psyche with a subtlety that<br />
unfolds mesmerizingly, as a defining incident<br />
shifts the trajectory of her story. Based on a reallife<br />
event in 2004—and boasting an outstanding<br />
ensemble cast that includes Catherine Deneuve,<br />
Ronit Elkabetz and Michel Blanc—the fi lm eschews<br />
easy sensationalism for an astute dissection of<br />
intergenerational and interpersonal psychology<br />
that tentatively and provocatively maps the overlapping<br />
terrain of politics, anti-Semitism and<br />
media in contemporary France.<br />
—Rod Armstrong<br />
Director André Téchiné Producer Saïd Ben Saïd<br />
Screenwriters André Téchiné, Odile Barski, Jean-<br />
Marie Besset Cinematographer Julien Hirsch Editor<br />
Martine Giordano Cast Emilie Dequenne, Catherine<br />
Deneuve, Michel Blanc, Ronit Elkabetz, Mathieu<br />
Demy, Nicolas Duvauchelle Print Source Strand<br />
Releasing<br />
FRANCE <strong>2009</strong> 105 MINS<br />
Thursday, October 15, 4:00 pm<br />
GIRL15R, Rafael<br />
Saturday, October 17, 1:45 pm<br />
GIRL17R, Rafael<br />
tickets 877.874.6833<br />
GUY AND MADELINE ON<br />
A PARK BENCH<br />
US CINEMA<br />
Everyone has that moment: the one signaling<br />
the beginning of a romance, or its demise. It’s<br />
the moment rewound and played over and over<br />
again, whether in hope or resignation. Guy, a jazz<br />
trumpeter who doesn’t yet realize what he wants,<br />
and Madeline, the thoughtful girl who loves him,<br />
somehow lose their way together. Standing<br />
apart, the world goes on around them. They fi nd<br />
themselves in both familiar and unexpected circumstances,<br />
and can’t help reminiscing. Interspersed<br />
with musical numbers that highlight<br />
their confusion with a knowing wink, their journey<br />
unfolds in an unsentimental swoon, at once fanciful<br />
and melancholy. Shot beautifully in blackand-white,<br />
the streets of Boston simultaneously<br />
radiate with warmth and shudder with stark reality<br />
in the aftermath of love. Guy and Madeline on<br />
a Park Bench explores the little regrets, replays<br />
the small choices and celebrates the glimmers of<br />
hope that lie within every love affair.<br />
—Kristine Kolton<br />
Director/Screenwriter/Cinematographer/Editor<br />
Damien Chazelle Producer Jasmine McGlade<br />
Cast Jason Palmer, Desiree Garcia, Sandha Kihn,<br />
Andre Hayward, Frank Garvin Print Source Damien<br />
Chazelle<br />
US 2008 82 MINS<br />
Saturday, October 10, 9:30 pm<br />
GUY10S, Sequoia<br />
Sunday, October 11, 3:30 pm<br />
GUY11R, Rafael<br />
PRESENTED IN ASSOCIATION WITH SFJAZZ.<br />
HAPPY TEARS<br />
US CINEMA<br />
Dad may have Alzheimer’s, but he’s not the only<br />
one whose mind and life seem to be slipping<br />
out of reach. Sisterly opposites Jayne (Parker<br />
Posey) and Laura (Demi Moore) return to their<br />
childhood home in Pittsburgh to somehow and<br />
reluctantly manage their widowed, increasingly<br />
weird and terminally ill father. Mitchell Lichtenstein’s<br />
second feature (follow-up to 2007’s horror<br />
spoof Teeth) explores after its own fashion,<br />
but with equal frankness, themes broached in<br />
Tamara Jenkins’ The Savages (MVFF 2007): Just<br />
what do we owe the imperfect ones to whom we<br />
are family? Musing all the while, with raucously<br />
sardonic but ultimately affi rming humor, on the<br />
legacies of fathers living and gone, Happy Tears<br />
takes supreme advantage of a powerhouse<br />
cast—not least the excellent Rip Torn, who as the<br />
sisters’ deteriorating dad mingles wry raunch<br />
with a gently stirring frailty; and Ellen Barkin in a<br />
brave, not to say bizarre turn as a frighteningly<br />
feral, slyly endearing crack-head gold-digger.<br />
—Robert Avila<br />
Director/Screenwriter Mitchell Lichtenstein<br />
Producers Mitchell Lichtenstein, Joyce Pierpoline<br />
Cinematographer Jamie Anderson Editor Joe<br />
Landauer Cast Parker Posey, Demi Moore, Rip Torn,<br />
Ellen Barkin Print Source Roadside Attractions<br />
US <strong>2009</strong> 95 MINS<br />
Friday, October 16, 9:15 pm<br />
HAPP16S, Sequoia<br />
FILMS E-H<br />
SPONSORED BY STRAWBERRY VILLAGE.<br />
89
HELLSINKI<br />
(RÖÖPERI)<br />
WORLD CINEMA<br />
Elegantly produced and featuring exceptional performances<br />
by Finland’s top fi lm talent, Hellsinki<br />
tracks the rise and fall of three enterprising young<br />
criminals in Helsinki’s vice-laden Rööperi neighborhood<br />
of the 1960s and ’70s. Tom, an ambitious<br />
thug from the neighborhood, fi gures there’s<br />
no future in rolling drunks and selling illegal booze<br />
on the street. Convincing his pals, wily Krisu and<br />
oafi sh Kari, to join him, Tom launches his hostile<br />
takeover of the city’s black market alcohol trade.<br />
Now successful, each faces greater threats from<br />
within: the painful legacy of absent fathers, the<br />
children they themselves have abandoned and a<br />
yearning for normal domestic life. As a younger,<br />
more ruthless generation of criminals appears<br />
on the scene, and with all the old-school honor<br />
codes broken, what remains of “the life”? With a<br />
healthy dose of black Nordic humor, Hellsinki is<br />
a must-see for fans of stylish and psychologically<br />
rich gangster fi lms. North American Premiere<br />
—Aaron Lazenby<br />
Director Aleksi Mäkelä Producer Markus Selin<br />
Screenwriter Marko Leino Cinematographer<br />
Pini Hellstedt Editor Kimmo Taavila Cast Samuli<br />
Edelmann, Peter Franzen, Pihla Viitala, Kari Histalahti,<br />
Juha Veijonen Print Source Solar <strong>Film</strong>s Inc.<br />
FINLAND <strong>2009</strong> 133 MINS<br />
Wednesday, October 14, 9:00 pm<br />
HELL14S, Sequoia<br />
Saturday, October 17, 2:00 pm<br />
HELL17R, Rafael<br />
PRESENTED IN ASSOCIATION WITH THE<br />
CONSULATE GENERAL OF FINLAND IN LOS<br />
ANGELES.<br />
90<br />
HERE AND THERE<br />
(TAMO I OVDE )<br />
WORLD CINEMA<br />
As a down-and-out musician barely surviving in<br />
New York City, Robert has lost his mojo. But an<br />
unexpected trip to Serbia offers a fresh angle in<br />
this sweetly funny cross-cultural story about the<br />
redemptive power of love. One step away from<br />
homelessness, Robert jumps at a chance from<br />
acquaintance Branko to make some cash by traveling<br />
to Belgrade, marrying Branko’s girlfriend<br />
and bringing her back. Once there, he stays with<br />
Branko’s mother, learning about the local culture<br />
as life takes a startling turn. Darko Lungulov’s<br />
wonderful fi sh-out-of-water tale comes anchored<br />
by a brilliantly offbeat performance from David<br />
Thornton, communicating more with a mumble<br />
than many actors do with a monologue. Set<br />
against the colorful, sometimes harsh streets of<br />
Belgrade and New York—and featuring a cameo<br />
by Cyndi Lauper—Here and There perfectly captures<br />
the everyday details and intense interactions<br />
among a set of vivid characters searching<br />
for meaning in a sea of humanity.<br />
—Brendan Peterson<br />
Director/Screenwriter Darko Lungulov Producers<br />
Darko Lungulov, George Lekovic, David Nemer,<br />
Vladan Nikolic, Branislav Trifunovic<br />
Cinematographer Mathias Schöningh Editor Dejan<br />
Urosevic Cast David Thornton, Mirjana Karanovic,<br />
Cyndi Lauper, Branislav Trifunovic Print Source<br />
<strong>Film</strong>s Boutique<br />
SERBIA/US/GERMANY <strong>2009</strong> 90 MINS<br />
Saturday, October 10, 6:00 pm<br />
HERE10S, Sequoia<br />
Monday, October 12, 9:15 pm<br />
HERE12R, Rafael<br />
SPONSORED BY PEET’S COFFEE & TEA.<br />
HI DE HO SHOW<br />
US CINEMA<br />
Where does rock ’n’ roll come from? John Goddard,<br />
grand vizier of legendary Village Music,<br />
brings his singular savvy and canny commentary<br />
to an exploration of this year’s Hi De Ho Show<br />
theme: the Fathers (and Mothers) of Rock ’n’<br />
Roll. An MVFF audience favorite, Goddard again<br />
hosts a live veejayed clip show, delving deep into<br />
the visionary talents whose licks and riffs parented<br />
a whole lotta shakin’ in the world of music<br />
and spawned a brand new culture peopled with<br />
teenagers, 45s, top tens—things the world hadn’t<br />
seen before. In tracing rock’s lineage, Goddard<br />
takes us from rural America to Liverpool and London,<br />
following the beat generated by the likes of<br />
Muddy Waters and Patsy Cline and passed to<br />
the Beatles and the Stones. From the heart of the<br />
country to the soul of the city, this family tree is<br />
covered over with legends and oddballs—as well<br />
as some unsung heroines and eccentric uncles.<br />
—Zoë Elton<br />
80 MINS<br />
Saturday, October 17, 9:15 pm<br />
HIDE17S, Sequoia<br />
mvff.com
HIPSTERS<br />
(STILYAGI)<br />
WORLD CINEMA<br />
FOCUS: NEW RUSSIAN CINEMA While the<br />
Cold War heats up on the world stage, rebellious<br />
youth in 1955 Moscow wage a cultural battle<br />
against dismal Soviet conformity, donning brightly<br />
colored black-market clothing, adopting American<br />
nicknames and reveling in forbidden jazz.<br />
Straight-laced 20-year-old Communist Mels<br />
(Anton Shagin) finds these brazen “hipsters”<br />
shocking until he falls under the spell of one,<br />
namely Polly (Oksana Akinshina), and joins the<br />
new revolution. Soon he’s a peacock, cavorting<br />
in the latest fl ashy fashions, sporting an enormous<br />
pompadour and wailing on the saxophone—all in<br />
an exuberant musical that delves into a chapter of<br />
Russian history little known to outsiders. The<br />
winner of four Nika Awards (Russia’s Oscar)<br />
including Best <strong>Film</strong>, this vivid confection from<br />
Valery Todorovsky (Love, MVFF 1992) offers an<br />
irresistible blend of romance, comedy, drama,<br />
music, dance and politics in a story specific to<br />
the Soviet experience but universal in its celebration<br />
of self-expression and spirited opposition to<br />
mandated conformity. US Premiere<br />
—Pam Grady<br />
Director Valery Todorovsky Producers Leonid<br />
Lebedev, Leonid Yarmolnik, Valery Todorovsky,<br />
Screenwriter Yuri Korotkov Cinematographer<br />
Roman Vasyanov Editor Alexey Bobrov Cast Anton<br />
Shagin, Oksana Akinshina, Evgeniya Brik, Maxim<br />
Matveev Print Source Krasnaya Strela-Red Arrow<br />
RUSSIA <strong>2009</strong> 125 MINS<br />
Thursday, October 15, 9:00 pm<br />
HIPS15R, Rafael<br />
Saturday, October 17, 9:15 pm<br />
HIPS17R, Rafael<br />
SPONSORED BY THUMBPRINT CELLARS.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
KRITZER/ROSS ÉMIGRÉ PROGRAM OF THE<br />
JCCSF.<br />
tickets 877.874.6833<br />
HOMEGROWN THE HORSE BOY<br />
VALLEY OF THE DOCS<br />
The little house on the prairie gets a 21st-century<br />
makeover in this absorbing documentary about<br />
life on an urban farm in Pasadena. The Dervaes<br />
family creates an organic Eden right next to a<br />
freeway, but that’s not all. In a search for true<br />
independence and sustainability, they live off the<br />
grid, creating bio-fuel and using solar energy to<br />
power their computers. This is as much a romantic<br />
back-to-the-land success story as it is a meditation<br />
on the delicate fabric of one close-knit<br />
family contending with unpredictable weather,<br />
the drama of generational divides and the meaning<br />
of freedom.<br />
—Deborah Kaufman<br />
Director/Producer/Editor Robert McFalls<br />
Cinematographer Arthur Yee Print Source Good<br />
River LLC<br />
US 2008 52 MINS<br />
PRECEDED BY<br />
HIDDEN BOUNTY OF MARIN: FARM<br />
FAMILIES IN TRANSITION<br />
Beyond the image of Marin County’s pretty pastures<br />
and rolling grasslands is a revolution in the making.<br />
Over 200 small family farms and ranches are pioneering<br />
sustainable and organic farming practices<br />
that are having a radical impact on the way we eat.<br />
From heirloom apples to grass-fed beef, succulent<br />
oysters to creamy artisan cheese, this is a timely<br />
and mouth-watering overview of a vital local movement.<br />
Narrated by Peter Coyote.<br />
Directors Steve Quirt, Ellie Rilla<br />
US 2008 27 MINS<br />
TOTAL PROGRAM 79 MINS<br />
Sunday, October 11, 1:00 pm<br />
HOME11S, Sequoia<br />
Tuesday, October 13, 6:45 pm<br />
HOME13R, Rafael<br />
SPONSORED BY WHOLE FOODS MARKET<br />
AND SAN DOMENICO SCHOOL.<br />
FILMS H-H<br />
VALLEY OF THE DOCS<br />
When the parents of an autistic child search for a<br />
miracle, an improbable, life-changing adventure<br />
ensues. Discovering a deep emotional connection<br />
between their son Rowan and a neighbor’s<br />
horse, journalist and producer Rupert Isaacson<br />
and his wife Kristin Neff take a profound leap<br />
of faith to heal their child. Spent from the fourhour<br />
tantrums, myriad Western treatments and<br />
overall emotional toll of Rowan’s autism, they<br />
head to Mongolia’s majestic foothills and mountains<br />
where they journey on horseback in search<br />
of shamans and the storied highland reindeer<br />
people. But things don’t go entirely as planned,<br />
and a series of unexpected breakthroughs and<br />
the promise of ancient healers must carry them<br />
through an often grueling experience—one that<br />
proves transformative for all. With its graceful<br />
storytelling and stunning cinematography, The<br />
Horse Boy inspires and surprises. Its honesty,<br />
unfettered emotion and hopefulness aptly refl ect<br />
Mongolia’s landscape: at once lush, desolate,<br />
dramatic and overwhelmingly beautiful.<br />
—Carrie Lozano<br />
Director/Cinematographer Michel O.Scott<br />
Producer Rupert Isaacson Editor Rita K. Sanders<br />
Print Source Zeitgeist <strong>Film</strong>s<br />
US 2008 93 MINS<br />
Tuesday, October 13, 6:30 pm<br />
HORS13S, Sequoia<br />
Wednesday, October 14, 4:30 pm<br />
HORS14R, Rafael<br />
SPONSORED BY HORNBLOWER CRUISES<br />
& EVENTS.<br />
PRESENTED IN ASSOCIATION WITH AUTISM<br />
SPEAKS AND OAK HILL SCHOOL.<br />
91
ICONS AMONG US: JAZZ IN THE<br />
PRESENT TENSE<br />
VALLEY OF THE DOCS<br />
Can jazz be saved? Icons Among Us explores<br />
the mercurial creative force behind an adventurous<br />
but largely unprofi table and misunderstood<br />
art form mired in disputes among fans who can’t<br />
agree on its definition. Pondering the future of<br />
jazz, the fi lm combines insightful interviews with<br />
veterans like Wynton Marsalis, Herbie Hancock<br />
and Wayne Shorter and electrifying concert<br />
footage spotlighting today’s exceptional talent.<br />
Together they reinforce a sense of what trumpeter<br />
Terence Blanchard calls a “quiet revolution,”<br />
a moment in jazz history when inventive<br />
young players are shunning commercial success<br />
and redefi ning the genre through such up-andcoming<br />
acts as Jason Moran, the Bad Plus, Will<br />
Bernard, the daKAH Hip Hop Orchestra and<br />
Esperanza Spalding, among others. Daring Norwegian<br />
keyboardist and electronic musician<br />
Bugge Wesseltoft’s transformation of a grand<br />
piano into a percussive juggernaut is a wildly<br />
persuasive statement unto itself, and alone worth<br />
the price of admission. Meet the new icons.<br />
—Greg Cahill<br />
Directors Michael Rivoira, Lars Larson, Peter J.<br />
Vogt Producer John W. Comerford Screenwriters<br />
Michael Rivoira, Kristian Hill, Peter J. Vogt<br />
Cinematographer Lars Larson Editor Kristian Hill<br />
Print Source Paradigm Studio<br />
US <strong>2009</strong> 97 MINS<br />
Sunday, October 11, 4:00 pm<br />
ICON11S, Sequoia<br />
Thursday, October 15, 6:30 pm<br />
ICON15R, Rafael<br />
SPONSORED BY IN TICKETING.<br />
PRESENTED IN ASSOCIATION WITH SFJAZZ.<br />
For live concert information, see page 27.<br />
92<br />
IMBUED JERMAL<br />
US CINEMA<br />
Donatello is a complex man who bets money he<br />
does not possess on horses, sports teams and<br />
just about anything else he cannot attain. In a<br />
finely crafted performance from veteran actor<br />
Stacy Keach, what Donatello isn’t betting on is<br />
the strange and sudden appearance of Lydia (Liz<br />
Sklar), a beautiful woman with an expensive<br />
problem Don is convinced he can solve. Through<br />
one long night together, emotions are laid bare,<br />
settling and unsettling in the shadowy corners of<br />
the San Francisco skyline. An elegant and evocative<br />
dialogue-driven battle of wits and the sexes,<br />
the latest from writer-director Rob Nilsson (Frank<br />
Dead Souls, MVFF 2008; Presque Isle, MVFF<br />
2007) leads a slow, sensuous dance of desire in<br />
a stripped-down narrative that winds its way<br />
through the San Francisco underworld, where<br />
the stakes are always too high, and fi nding and<br />
securing your humanity may be the only sure bet.<br />
World Premiere<br />
—Karen Davis<br />
Director Rob Nilsson Producers David and Carol<br />
Richards Screenwriters Denny Dey, Rob Nilsson<br />
Cinematographer Mickey Freeman Editors Aaron<br />
Brown, Sam Arbizo Cast Stacy Keach, Liz Sklar,<br />
Michelle Anton Allen, Nancy Bower Print Source<br />
Citizen Cinema<br />
US <strong>2009</strong> 83 MINS<br />
Saturday, October 10, 9:00 pm<br />
IMBU10R, Rafael<br />
Sunday, October 11, 9:00 pm<br />
IMBU11R, Rafael<br />
WORLD CINEMA<br />
With no one to turn to and nowhere to go after<br />
his mother’s death, 12-year-old Jaya sails out to a<br />
deep-sea fishing depot (known as a jermal) to<br />
find his long-lost father. Dad has his hands full<br />
managing the isolated way station and a crew of<br />
ragamuffin workers; bonding with a child he<br />
abandoned years earlier is the last thing on his<br />
mind. But the older man harbors a dark secret<br />
that keeps him from returning his stowaway. Jaya<br />
must adapt to alpha-dog life aboard his new<br />
home, and his guardian must finally reconcile<br />
with the past. Filled with lyrical, near-wordless<br />
passages of laboring lost boys, this Indonesian<br />
drama wrings plenty of hardscrabble pathos from<br />
its poetic-realist mojo. It’s the familial relationship<br />
at the center of the fi lm, however, that sticks with<br />
you: two lonely souls, slowly realizing that the<br />
bonds of blood are indeed thicker than seawater.<br />
US Premiere<br />
—David Fear<br />
Director Ravi Bharwani Producer Orlow Seunke<br />
Screenwriter Rayya Makarim Cinematographer<br />
Claire Pijman Editor Orlow Seunke Cast Iqbal S.<br />
Manurung, Didi Petet Print Source Ecco <strong>Film</strong>s<br />
Indonesia<br />
INDONESIA 2008 88 MINS<br />
Monday, October 12, 7:15 pm<br />
JERM12R, Rafael<br />
Friday, October 16, 8:15 pm<br />
JERM16R, Rafael<br />
PRESENTED IN ASSOCIATION WITH THE<br />
CENTER FOR ASIAN AMERICAN MEDIA.<br />
mvff.com
JIM THORPE, THE WORLD’S<br />
GREATEST ATHLETE<br />
VALLEY OF THE DOCS<br />
He may not have been as fast as a speeding bullet<br />
or able to leap tall buildings, but Jim Thorpe<br />
came real close. Considered the fi nest athlete of<br />
the 20th century, he was a US Olympic multiple<br />
gold medal winner as well as a star of professional<br />
football and baseball. But Jim Thorpe was<br />
also an American Indian. At the peak of his fame,<br />
Jim was still legally considered a “ward of the<br />
state” and not a citizen. Tom Weidlinger’s superb<br />
documentary—using old recordings, re-enactments,<br />
newsreels and animated photos—brings<br />
Thorpe’s career alive with a warmth for its subject<br />
that shines as bright as Jim’s crooked smile. In<br />
this life story, too, is a tale of American racism<br />
and how one man overcame prejudice through<br />
sheer strength of personality. Weidlinger’s fi lm<br />
reacquaints us with Jim Thorpe, and lets us fall in<br />
love with the story and the man.<br />
—John Morrison<br />
Director/Cinematographer/Editor Tom Weidlinger<br />
Producers/Screenwriters Tom Weidlinger, Joseph<br />
Bruchac Print Source Moira Productions<br />
US <strong>2009</strong> 86 MINS<br />
Sunday, October 11, 1:15 pm<br />
JIMT11S, Sequoia<br />
Thursday, October 15, 5:15 pm<br />
JIMT15S, Sequoia<br />
SPONSORED BY BELLAM SELF-STORAGE<br />
& BOXES.<br />
PRESENTED IN ASSOCIATION WITH MARIN<br />
AMERICAN INDIAN ALLIANCE.<br />
tickets 877.874.6833<br />
THE LETTER FOR THE KING<br />
(DE BRIEF VOOR DE KONING)<br />
CHILDREN’S FILMFEST<br />
In Dutch with English subtitles. One of the most<br />
popular young-adult books in Dutch history<br />
comes vividly to life in this riveting knights-onhorseback<br />
adventure set in a fi ctional medieval<br />
world. Sixteen-year-old Tiuri has only one test to<br />
complete before becoming a full-fl edged knight:<br />
Spend the night in the chapel, silent and steadfast,<br />
allowing no one through the door. But someone<br />
arrives, howling for help, and Tiuri falters. The<br />
injured man convinces him that the safety of the<br />
entire kingdom rests on delivering the letter he<br />
thrusts into his hands. Suddenly Tiuri fi nds himself<br />
on a true knight’s errand, even before he’s<br />
granted his shield and sword. Will he meet the<br />
challenge? Determined to follow in the footsteps<br />
of his namesake father, Tiuri the Brave, the young<br />
man faces a dangerous journey marked by strange<br />
encounters, sword-clanging battles and unexpected<br />
help from a beautiful princess, discovering<br />
courage he didn’t know he had. Ages 8+ US<br />
Premiere<br />
—Deanna Quinones<br />
Director Pieter Verhoeff Producers Hans De Weers,<br />
Reinout Oerlemans Screenwriters Maarten Lebens,<br />
Pieter Verhoeff Cinematographer Jules van den<br />
Steenhoven Editor Bart van den Broek Cast Yannick<br />
van de Velde, Quinten Schram, Hanna Schwamborn,<br />
Victor Reinier, Daan Schuurmans, Ronald Top Print<br />
Source Eyeworks Egmond<br />
NETHERLANDS 2008 108 MINS<br />
Sunday, October 11, 12:30 pm<br />
LETT11R, Rafael<br />
Saturday, October 17, 10:30 am<br />
LETT17S, Sequoia<br />
LINOLEUM<br />
WORLD CINEMA<br />
FILMS I-L<br />
This spellbinding tale of disconnected brothers<br />
and the complicated women they love is fueled<br />
by a captivating ensemble performance, vivid<br />
family dynamics and candid conversations about<br />
love and death. When married couple Menno<br />
and Louise arrive from Italy to Menno’s boyhood<br />
Netherlands home, they get bad news from Menno’s<br />
brother Tom: Their father has died. Along<br />
with Tom’s girlfriend, Alice, the two couples settle<br />
into the gorgeous country home for funeral<br />
planning and serious soul searching. Soon, lifelong<br />
tensions and personal demons permeate<br />
the serene setting. In an illuminatingly focused<br />
cinematic approach, fi lmmaker Marcel Visbeen’s<br />
camera quietly captures the nuances of intense,<br />
awkward family encounters fi lled with uncovered<br />
secrets and unspoken words. The understated<br />
style imbues the simplest of actions, even waiting<br />
in line for the bathroom, with unforgettable<br />
emotional signifi cance. An intelligent, refl ective<br />
character study centered on real people in real<br />
situations, Linoleum is a passionate, profound<br />
drama for grownups. North American Premiere<br />
—Brendan Peterson<br />
Director/Producer/Editor Marcel Visbeen<br />
Screenwriters Anke Boerstra, Marcel Visbeen<br />
Cinematographer Mick van Rossum Cast Anke<br />
Engels, Ricky Koole, Romijn Conen, Martijn Nieuwerf<br />
Print Source Selwyn <strong>Film</strong><br />
NETHERLANDS 2008 75 MINS<br />
Monday, October 12, 7:00 pm<br />
LIN12R, Rafael<br />
Wednesday, October 14, 7:15 pm<br />
LIN14R, Rafael<br />
93
LOOKING FOR ERIC<br />
WORLD CINEMA<br />
CLOSING NIGHT FOCUS: UNITED KING-<br />
DOM Acclaimed director Ken Loach (Land and<br />
Freedom, MVFF 1995) and screenwriter/longtime<br />
collaborator Paul Laverty are in top form<br />
with this socially aware romantic comedy, a pulsating,<br />
life-affi rming nod to the possibility of second<br />
chances. Postman Eric Bishop has hit a true<br />
low: His two lazy stepsons ignore him, his second<br />
marriage is in ruins, a car accident lands him<br />
in the hospital—and that’s just the start of his<br />
troubles. The lovelorn Eric, meanwhile, pines for<br />
former wife Lily but lacks the confidence to<br />
reconnect. While his mates contrive to help him<br />
out, often to hilarious effect, the person who<br />
finally comes through for him is another Eric:<br />
soccer icon Eric Cantona, who appears rather<br />
unexpectedly in Bishop’s bedroom, offering sage<br />
advice on life and love. Great teamwork from<br />
an excellent ensemble cast helps turn the whimsy,<br />
drama and even violence in this astutely malecentered<br />
tale into a world-class win. US Premiere<br />
—Lily Buchanan<br />
Director Ken Loach Producer Rebecca O’Brien<br />
Screenwriter Paul Laverty Cinematographer Barry<br />
Ackroyd Editor Jonathan Morris Cast Steve Evets,<br />
Stephanie Bishop, Gerard Kearns, John Henshaw<br />
Print Source IFC First Take<br />
UK <strong>2009</strong> 116 MINS<br />
Sunday, October 18, 5:15 pm<br />
LOOK18S, Sequoia $30<br />
For Closing Night Party information, see page 25.<br />
94<br />
THE MAID<br />
(LA NANA)<br />
WORLD CINEMA<br />
In the 23 years Raquel has been the maid for Pilar<br />
and her upper-class Chilean family, she’s developed<br />
some odd habits and even odder attachments.<br />
Fiercely territorial, she resents the introduction<br />
of new help and, even when exhausted<br />
from overwork, still finds a way to lock the new<br />
maid out of the house. A class comedy, a chamber<br />
play and a story of personal growth, this wonderful<br />
grand jury prize–winner at Sundance is as<br />
wry as it is surprising. A look at the Upstairs,<br />
Downstairs dynamic, the soft jabs at liberal guilt<br />
and conservative disinterest are a hoot, but funnier<br />
still are the childish antics Raquel employs to<br />
get her way. When a free-spirited girl from the<br />
country comes to help Raquel after a fall, her creative<br />
problem-solving and open-heartedness<br />
change Raquel’s attitude and make it clear: She’s<br />
given so much to the family and kept so little for<br />
herself.<br />
—Sara Schieron<br />
Director Sebastian Silva Producer Gregorio<br />
González Screenwriters Sebastian Silva, Pedro<br />
Peirano Cinematographer Sergio Armstrong Editor<br />
Danielle Fillios Cast Catalina Saavedra, Claudia<br />
Celedón, Alejandro Goic, Andrea García-Huidobro<br />
Print Source Elephant Eye <strong>Film</strong>s<br />
CHILE/MEXICO <strong>2009</strong> 95 MINS<br />
Sunday, October 11, 8:15 pm<br />
MAID11S, Sequoia<br />
Tuesday, October 13, 9:15 pm<br />
MAID13R, Rafael<br />
PRESENTED IN ASSOCIATION WITH CANAL<br />
ALLIANCE.<br />
MEREDITH MONK – INNER VOICE<br />
VALLEY OF THE DOCS<br />
FOCUS: ARCHITECTS OF THE AVANT-GARDE<br />
One of the most original and important artists of<br />
her generation, Meredith Monk has spent her life<br />
creating and innovating—as singer, composer,<br />
director, filmmaker, choreographer. In intimate<br />
conversations and through archival footage,<br />
director Babeth VanLoo braids together the<br />
threads of Monk’s life exquisitely: her creative<br />
process; her Buddhism; the untimely death of<br />
her life partner; her connection with friends, collaborators<br />
and her mother (Audrey Marsh, a<br />
radio vocalist and pop singer). Each thread<br />
informs Monk’s journey, and the connections<br />
between creativity and spiritual practice resonate<br />
throughout. Excerpts from her four-decade<br />
career—including Dolmen Music, her opera Atlas<br />
and her fi lm Ellis Island—remind us of the pioneer<br />
she has always been: Her vocal works and choreography<br />
stretch the possibilities of the voice<br />
and body, discover and play with timbre and<br />
nuance and create unusual, compelling solo,<br />
ensemble and theater works. VanLoo’s fi lm gives<br />
intriguing insight into a rare being.<br />
—Zoë Elton<br />
Director/Producer Babeth M. VanLoo<br />
Cinematographer Brigit Hillenius Editor Chris<br />
Teerink Print Source BOS<br />
NETHERLANDS/US <strong>2009</strong> 82 MINS<br />
Thursday, October 15, 6:45 pm<br />
MERE15R, Rafael<br />
Sunday, October 18, 1:00 pm<br />
MERE18S, Sequoia<br />
PRESENTED IN ASSOCIATION WITH THE<br />
INTERNATIONAL BUDDHIST FILM FESTIVAL.<br />
For information on the live event with Sarah Cahill<br />
and John Sanborn, featuring a new work by Meredith<br />
Monk, see page 29.<br />
mvff.com
THE MESSENGER MINE MIRACLE IN A BOX:<br />
A PIANO REBORN<br />
US CINEMA<br />
At the US military’s Casualty Notifi cation Offi ce,<br />
there is “no such thing as a satisfi ed customer.”<br />
With that piece of glib advice—and one other:<br />
“Never touch the next of kin”—Capt. Tony Stone<br />
(played to high-strung perfection by Woody Harrelson)<br />
welcomes young co-worker Sgt. Will<br />
Montgomery (Ben Foster, with echoes of a young<br />
Robert Duvall) into the sad folds of American<br />
history. Their mission: Deliver the death report,<br />
along with a souvenir memorial fl ag, to the next of<br />
kin of those killed in the course of duty. Stone is<br />
bitter and possessed by demons from his past,<br />
while still greater forces pull his gentler partner<br />
toward a young war widow (a brilliantly subtle<br />
Samantha Morton). Examining the complexity of<br />
grief, pain and loss without manipulating the emotions,<br />
Oren Moverman’s The Messenger (winner<br />
of the Silver Bear for Best Screenplay at the Berlin<br />
<strong>Film</strong> Festival) delivers its missive as gently as a<br />
kiss, with a message like a punch in the gut.<br />
—Karen Davis<br />
Director Oren Moverman Producers Mark Gordon,<br />
Lawrence Inglee, Zach Miller, Ben Goldhirsh<br />
Screenwriters Oren Moverman, Alessandro Camon<br />
Cinematographer Bobby Bukowski Editor Alex Hall<br />
Cast Ben Foster, Woody Harrelson, Samantha<br />
Morton, Jena Malone, Eamonn Walker Print Source<br />
Oscilloscope Laboratories<br />
US <strong>2009</strong> 112 MINS<br />
Thursday, October 15, 7:00 pm<br />
TRIB15P, Rafael $75<br />
WITH SUPPORT FROM GRUBER FAMILY<br />
FOUNDATION.<br />
For Tribute to Woody Harrelson information, see<br />
page 65.<br />
tickets 877.874.6833<br />
VALLEY OF THE DOCS<br />
Forced to evacuate as Hurricane Katrina bore<br />
down on New Orleans, many poorer residents<br />
were faced with an agonizing dilemma: What to<br />
do with their pets? The Super Dome wouldn’t<br />
allow them; nor would motels. Reluctantly, pet<br />
owners like Malvin and Jessie and Gloria were<br />
obliged to leave their beloved Bandit and JJ<br />
(Jessie Junior) and Murphy Brown behind. When<br />
owners were unable to return home, hundreds<br />
of volunteers swooped in to save the tens of<br />
thousands of trapped animals. The volunteers’<br />
courage and self-sacrifi ce were honorable. But<br />
how were they to reunite thousands of displaced<br />
owners and their pets when so many were scattered<br />
across the country? And what if the pets’<br />
adoptive owners proved unwilling to return them<br />
to their original owners? At once heartbreaking<br />
and hopeful, MINE explores this thorny and highly<br />
emotional issue, evoking the persistent struggle<br />
of Katrina victims and their still-shattered city for<br />
resolution.<br />
—Joanne Parsont<br />
Director Geralyn Pezanoski Producers Geralyn<br />
Pezanoski, Erin Essenmacher Cinematographers<br />
Jason Rhein, Arlo Rosner Editor Jen Bradwell Print<br />
Source Smush Media<br />
US <strong>2009</strong> 80 MINS<br />
Saturday, October 17, 5:00 pm<br />
MINE17S, Sequoia<br />
Sunday, October 18, 12:30 pm<br />
MINE18R, Rafael<br />
SPONSORED BY KGO NEWSTALK 810.<br />
PRESENTED IN ASSOCIATION WITH MARIN<br />
HUMANE SOCIETY.<br />
VALLEY OF THE DOCS<br />
The restoration of a Steinway becomes a lyrical<br />
meditation on following the heart’s true passion<br />
in this beautifully crafted documentary, the latest<br />
from Academy Award–winning filmmaker John<br />
Korty (Who Are the DeBolts? And Where Did<br />
They Get Nineteen Kids?). A wonderful Bay Area<br />
tale, the fi lm traces the path of a 1927 grand piano<br />
owned by a music teacher who bequeathed her<br />
treasure to her alma mater, UC Berkeley, with the<br />
stipulation that the university ultimately reward it<br />
to “a worthy student of piano.” Before it can be<br />
given away, however, it must be restored, and<br />
here the essence of the story unfolds, as Korty<br />
follows the piano’s rebirth under the masterful<br />
care of Oakland’s venerable Callahan Piano Service.<br />
From the wire-wrangling technicians to the<br />
winning student pianist, each contributor to the<br />
instrument’s journey offers joyful inspiration.<br />
—Deanna Quinones<br />
<strong>Film</strong>maker John Korty Editor Jim Oliver Print<br />
Source Korty <strong>Film</strong>s<br />
US <strong>2009</strong> 57 MINS<br />
PRECEDED BY<br />
SHADOW & LIGHT: THE LIFE AND ART<br />
OF ELAINE BADGLEY ARNOUX<br />
<strong>Film</strong>maker William Farley paints a vivid portrait of<br />
the acclaimed San Francisco artist and teacher as<br />
she discovers her youth in old age.<br />
Director William Farley<br />
US <strong>2009</strong> 28 MINS<br />
FILMS L-M<br />
TOTAL PROGRAM 85 MINS<br />
Saturday, October 10, 3:00 pm<br />
MIRA10R, Rafael<br />
Saturday, October 17, 2:30 pm<br />
MIRA17S, Sequoia<br />
95
THE MISSING PERSON<br />
US CINEMA<br />
Hard-drinking private investigator John Rosow<br />
goes searching for “the place beyond right and<br />
wrong” in this moody, post-9/11 indie film noir.<br />
Rosow’s adventure starts conventionally enough:<br />
a client’s beautiful secretary is the early-morning<br />
envoy for a well-funded, no-questions-asked<br />
surveillance job. But as the PI hits the road for<br />
noir capital Los Angeles, he predictably begins<br />
to suspect something strange about the assignment.<br />
After navigating a seedy collection of genre<br />
characters (kidnappers, Mexican drug lords, dirty<br />
cops, duplicitous molls), Rosow fi nds the 2001<br />
terrorist attack on the World Trade Center—and<br />
a tragedy of his own—at the heart of the mystery.<br />
Director Noah Buschel favors deep shadows<br />
and static camerawork, but is confi dent enough<br />
to inject the occasional Technicolor dream<br />
sequence that soaks the fi lm with a gritty eeriness.<br />
The uncanny tone and twisty plot ensures<br />
that, regardless of who is found and what is<br />
discovered to have been lost, one question will<br />
remain: who exactly is the missing person?<br />
—Aaron Lazenby<br />
Director/Screenwriter Noah Buschel Producers<br />
Jesse Scolaro, Allen Bain Cinematographer<br />
Ryan Samul Editor Mollie Goldstein Cast Michael<br />
Shannon, Frank Wood, Amy Ryan, Linda Emond,<br />
John Ventimiglia, Margaret Colin Print Source<br />
Strand Releasing<br />
US 2008 95 MINS<br />
Thursday, October 15, 7:30 pm<br />
MISS15S, Sequoia<br />
Saturday, October 17, 5:30 pm<br />
MISS17R, Rafael<br />
SPONSORED BY MARIN MAGAZINE.<br />
96<br />
THE MOST DANGEROUS MAN<br />
IN AMERICA: DANIEL ELLSBERG<br />
AND THE PENTAGON PAPERS<br />
VALLEY OF THE DOCS<br />
If it weren’t true, Daniel Ellsberg’s journey from<br />
US Marine to upper-echelon Defense Department<br />
and Rand Corporation analyst to Vietnam<br />
War whistleblower would be the stuff of heroic<br />
fi ction. His defi ning act—leaking the government’s<br />
classified history of the conflict in Southeast<br />
Asia, popularly known as the Pentagon Papers,<br />
to the press—remains a landmark in the annals of<br />
personal conscience, national security and press<br />
freedom. Masterfully weaving new interviews<br />
with Ellsberg and other key fi gures with fascinating,<br />
sometimes shocking archival material,<br />
veteran documentarians Judith Ehrlich and Rick<br />
Goldsmith craft a political thriller on a par with All<br />
the President’s Men, while implicitly contrasting<br />
the principled stand taken by Ellsberg and newspapers<br />
in 1971 with the media’s shameful performance<br />
in the run-up to 2003’s Iraq invasion.<br />
Reclaiming Ellsberg’s story for our own day, this<br />
inspiring fi lm reminds us how democracy relies<br />
on our potentially “dangerous” men and women<br />
both in and out of government.<br />
—Michael Fox<br />
Directors/Producers Judith Ehrlich, Rick Goldsmith<br />
Cinematographers/Screenwriters Judith Ehrlich,<br />
Rick Goldsmith, Lawrence Lerew, Vicente Franco<br />
Editor Michael Chandler Print Source Kovno<br />
Communications<br />
US <strong>2009</strong> 94 MINS<br />
Saturday, October 17, 6:45 pm<br />
MOST17R, Rafael<br />
Sunday, October 18, 3:15 pm<br />
MOST18S, Sequoia<br />
SPONSORED BY THE NEW YORK TIMES.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
CENTER FOR INVESTIGATIVE REPORTING.<br />
MOTHERHOOD<br />
US CINEMA<br />
Ever had one of those days, only to realize they’ve<br />
actually stacked up into years? Well . . . welcome<br />
to Motherhood, where protagonist-mom and<br />
one-time promising writer Eliza Welch (Uma<br />
Thurman) is desperately trying to keep it together<br />
over the course of a fateful “day in the life”—and<br />
the devil, along with the knowing laughs, is in<br />
the details. Astride a haywire conveyor belt of<br />
domestic chores and hassles, Eliza must carry off<br />
her six-year-old’s Manhattan birthday party and<br />
somehow also meet a major writing deadline—all<br />
while setting a new career course, herding the<br />
toddler and–why not?–fl irting with a handsome<br />
young messenger. Backed by fine supporting<br />
work from Minnie Driver and Anthony Edwards,<br />
an ever-luminous Thurman infuses Eliza with a<br />
frazzled grace, beautifully channeling all the harried<br />
energy, pointed wit and pervasive real-world<br />
charm in writer-director Katherine Dieckmann’s<br />
hysterically spot-on vision of thoroughly modern<br />
motherhood.<br />
—Kristine Kolton<br />
Director/Screenwriter Katherine Dieckmann<br />
Producers Jana Edelbaum, Rachel Cohen, Pamela<br />
Kuffl er, Christine Vachon Cinematographer Nancy<br />
Schreiber Editor Michael R. Miller Cast Uma<br />
Thurman, Anthony Edwards, Minnie Driver Print<br />
Source iDeal Partners <strong>Film</strong> Fund<br />
US <strong>2009</strong> 90 MINS<br />
Saturday, October 10, 6:00 pm<br />
TRIB10R, Rafael $30<br />
Sunday, October 11, 6:30 pm<br />
MOTH11S, Sequoia<br />
SPONSORED BY CHRISTOPHER B. AND<br />
JEANNIE MEG SMITH, AND FRANTOIO<br />
RISTORANTE AND OLIVE OIL CO.<br />
For Tribute to Uma Thurman information,<br />
see page 53.<br />
mvff.com
OH MY GOD ONE CRAZY RIDE ORIGINAL<br />
VALLEY OF THE DOCS<br />
Frustrated watching religions battle each other<br />
in the my-god-is-greater-than-your-god competition,<br />
award-winning filmmaker Peter Rodger<br />
decided to go out into the world and ask a simple<br />
question: What is God? The quest to discover<br />
what this word means to individuals from every<br />
walk of life became a three-year journey of epic<br />
proportions across 23 countries. Talking to children,<br />
religious leaders, true believers, confi rmed<br />
skeptics and a smattering of celebrities from<br />
Ringo Starr to Baz Luhrman, the answers Rodger<br />
receives are often surprising. To highly rhythmic<br />
editing and a musically diverse soundtrack, we<br />
follow him around the world, absorbing beautiful<br />
images of tribal rituals among Australian Aborigines,<br />
the warrior dances of the Masai, the young<br />
monks of Ladakh and spiritual leaders of the Holy<br />
Land. Oh My God is a fi lm that begs to be seen on<br />
the big screen for total immersion, ultimately producing<br />
an uplifting, thought-provoking, discussion-generating<br />
emotional experience.<br />
—Kelly Clement<br />
Director/Producer/Screenwriter/ Cinematographer<br />
Peter Rodger Editor John Hoyt Print Source<br />
Mitropoulos <strong>Film</strong>s<br />
US <strong>2009</strong> 98 MINS<br />
Saturday, October 17, 3:00 pm<br />
OHMY17R, Rafael<br />
Sunday, October 18, 2:30 pm<br />
OHMY18S, Sequoia<br />
tickets 877.874.6833<br />
WORLD CINEMA<br />
Motorcycle enthusiast and ebullient one-man fi lm<br />
crew Guarav Jani (Riding Solo to the Top of the<br />
World, MVFF 2007) returns with his second onthe-road<br />
documentary. With a posse of daredevil<br />
friends in tow and only a vague idea of the<br />
uncharted terrain that lies ahead, Jani sets out—<br />
atop his sturdy 50-year-old Royal Enfi eld 350cc—<br />
across Arunachal Pradesh, India’s isolated, gorgeously<br />
wild Eastern region. In the shadow of<br />
the Himalayas, it’s a borderland served by iffy<br />
unpaved roads (hard on the group’s cycles,<br />
which prove prone to breakdowns) and populated<br />
by tribes unused to outsiders (particularly<br />
hog-riding ones). “The goal is to chart a route<br />
which, according to most people, does not exist,”<br />
Jani explains at the start, and this ambitious<br />
enthusiasm colors One Crazy Ride’s free-form,<br />
low-budget exploration of off-the-grid travel,<br />
where the day’s adventures could include peering<br />
down at mountainside clouds or spontaneously<br />
attending a village wedding feast. US<br />
Premiere<br />
—Cheryl Eddy<br />
Director/Producer/Cinematographer Guarav Jani<br />
Print Source Dirt Track Productions<br />
INDIA <strong>2009</strong> 87 MINS<br />
Friday, October 16, 8:45 pm<br />
ONE16S, Sequoia<br />
Sunday, October 18, 3:00 pm<br />
ONE18R, Rafael<br />
WORLD CINEMA<br />
FILMS M-O<br />
If there’s one thing Henry has learned, it’s that<br />
reality is overrated. When his father dies bizarrely<br />
in a moose-hunting accident, Henry’s mother<br />
checks out of the real world for good. Ever a dutiful<br />
son, Henry indulges his mother’s fantasies by<br />
spinning vibrant yarns about his successful life.<br />
Jobless, loveless and plum out of luck, he joins<br />
his culinarily-challenged buddy Jon on an adventure<br />
from Sweden to Spain, where they plan to<br />
open a restaurant. But unexpected hurdles<br />
abound. Mistaken identity, kidnapping, a chance<br />
at true love and a hilarious romp through an IKEA<br />
store are just of a few of the fanciful stops along<br />
the way. Suffused with charm, magical realism<br />
and whimsy, Original injects vivid color into<br />
everyday black-and-white. Life is what you believe<br />
it to be: We can go through the motions like<br />
everyone else, but wouldn’t it be more fun to be<br />
. . . original?<br />
—Kristine Kolton<br />
Directors/Screenwriters Antonio Tublén,<br />
Alexander Brøndsted Producer Carsten Holst<br />
Cinematographer Linus Eklund Editor Bodil<br />
Kjærhauge Cast Jesper Christensen, Tuva Novotny,<br />
Ghita Nørby, Dejan Cukic Print Source Danish <strong>Film</strong><br />
<strong>Institute</strong><br />
DENMARK 2008 100 MINS<br />
Friday, October 9, 8:45 pm<br />
ORIG09R, Rafael<br />
Saturday, October 10, 6:15 pm<br />
ORIG10R, Rafael<br />
SPONSORED BY SCHEYERSF.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
ROYAL DANISH CONSULATE.<br />
97
PASSENGERS<br />
US CINEMA<br />
FOCUS: AUSTRALIA AND NEW ZEALAND<br />
What lurks beneath the surface of a seemingly<br />
happy relationship? That’s the searing question<br />
posed by this intimate, nuanced drama in which<br />
Tom and Melony, a married couple living in Santa<br />
Monica, set out for a dinner party in Hollywood.<br />
No ordinary drive, a series of obstacles prevents<br />
them from arriving on time as they embark on a<br />
life-changing conversation, peeling back the layers<br />
of life together to reveal the resentment, jealousy,<br />
tension and sadness behind the veneer of<br />
contentment. The unfolding story grips us with<br />
the realization that this ride may just be the end<br />
of the road for the couple. With complex and<br />
winning performances from leads Cameron<br />
Daddo and Angie Milliken, and Bruce Davison as<br />
Tom’s writing partner Roger, Passengers is a<br />
strikingly realistic look at the bonds, sometimes<br />
tenuous and other times strong, that connect us<br />
to those we love. World Premiere<br />
—Nora Isaacs<br />
Director/Screenwriter Michael Bond Producer<br />
Cameron Daddo Cinematographer László Baranyai<br />
Editor Drew Thompson Cast Cameron Daddo,<br />
Angie Milliken, Bruce Davison, Patty Yu Print Source<br />
Bondfi lm<br />
US/AUSTRALIA 2008 86 MINS<br />
Saturday, October 10, 6:30 pm<br />
PASS10R, Rafael<br />
Tuesday, October 13, 9:15 pm<br />
PASS13S, Sequoia<br />
98<br />
PIERROT LE FOU PRECIOUS: BASED ON THE NOVEL<br />
“PUSH” BY SAPPHIRE<br />
WORLD CINEMA<br />
FOCUS: FRANCE “On your feet, dead man!”<br />
calls Marianne Renoir (the stunning Anna Karina)<br />
sweetly to her sacked-out lover: fleeing bourgeois<br />
family man Ferdinand Griffon (Jean-Paul<br />
Belmondo), aka Pierrot. His nickname for her?<br />
“Virginia,” his unexplored territory, his New World.<br />
But so many names are in play in Jean-Luc<br />
Godard’s highly playful, formally brilliant and still<br />
startling 1965 masterpiece. Real-life superstar<br />
Belmondo becomes his character’s own last<br />
name, the hero as hunter or lapdog. Marianne’s<br />
surname, meanwhile, marries painting and cinema<br />
together in a fi lm that reinvents painting as<br />
cinema, cinema as painting. Add fi reworks in a<br />
night sky turning cinematic cliché into Impressionist<br />
brushstrokes, then into antiaircraft fire<br />
(underscored with bursting storm clouds), and<br />
you get a tiny fraction of the eye-popping tricolor<br />
landscape, the aurally and verbally dense terrain,<br />
the explosive political ground, the ecstatic aesthetic<br />
frontier into which these inexorable rebellovers<br />
escape and evaporate. More serious fun is<br />
rarely had with or at the cinema.<br />
—Robert Avila<br />
Director Jean-Luc Godard Producer Georges de<br />
Beauregard Screenwriter Jean-Luc Godard, novel<br />
by Lionel White Cinematographer Raoul Coutard<br />
Editor Françoise Collin Cast Jean-Paul Belmondo,<br />
Anna Karina, Graziella Galvani Print Source Janus<br />
<strong>Film</strong>s<br />
FRANCE/ITALY 110 MINS<br />
Tuesday, October 13, 6:00 pm<br />
PIER13R, Rafael<br />
US CINEMA<br />
OPENING NIGHT Meet Claireece “Precious”<br />
Jones (Gabourey Sidibe). An illiterate high school<br />
student, pregnant by her father for the second<br />
time and subject to relentless abuse at home,<br />
she’s always “looking up…for a piano to fall.”<br />
Only the beauty of her resilience tempers the<br />
unsettling nature of her harsh existence as her<br />
fantasies and aspirations come alive in whimsical<br />
vignettes. But life at school is chaos: Threatened<br />
with expulsion, she transfers to an alternative<br />
school where, under the tutelage of Ms. Rain<br />
(beautifully rendered by Paula Patton), she fi nds<br />
the strength within herself to determine her own<br />
destiny and “tell her story.” Director Lee Daniels<br />
proves himself a bold voice in contemporary cinema,<br />
tackling tough material with uplifting consciousness<br />
and insight. And with its riveting<br />
cast—newcomer Sidibe’s extraordinary performance<br />
complemented with passionate commitment<br />
by Patton, Mo’Nique as her mother and a<br />
glammed-down Mariah Carey—Precious promises<br />
to be one of this year’s defi ning fi lms.<br />
—Holly Roach<br />
Director Lee Daniels Producers Lee Daniels, Sarah<br />
Siegel-Magness, Gary Magness Screenwriter<br />
Geoffrey Fletcher Cinematographer Andrew Dunn<br />
Editor Joe Klotz Cast Mo’Nique, Paula Patton,<br />
Mariah Carey, Sherri Shepherd, Lenny Kravitz,<br />
Gabourey ‘Gabby’ Sidibe Print Source Lionsgate<br />
US 2008 109 MINS<br />
Thursday, October 8, 7:00 pm<br />
PREC08R, Rafael $30<br />
SPONSORED BY WELLS FARGO.<br />
For Opening Night Gala information, see page 23.<br />
mvff.com
THE PRIVATE LIVES OF PIPPA LEE PROJECT HAPPINESS RACE TO NOWHERE<br />
US CINEMA<br />
In an Oscar-caliber performance, Robin Wright<br />
Penn is a woman in her late 40s struggling to suppress<br />
her rocky past amid a newly tranquil present<br />
in this thoughtful fourth feature from Rebecca<br />
Miller (The Ballad of Jack and Rose). Newly<br />
transplanted to a Connecticut retirement community<br />
with her aged husband (a deeply amusing<br />
Alan Arkin), Pippa looks ready to fade into the<br />
wallpaper. An adaptable enigma, as one dinner<br />
guest describes her, one wonders what lingers<br />
under that tranquil surface. Turns out a hell of a<br />
lot. Snowballing coincidences and an arousing<br />
newcomer (Keanu Reeves) bring the past back<br />
with a vengeance, including her unstable pill-popping<br />
mother (Maria Bello), the sex- and drug-laden<br />
years she can barely recall and the feeling that,<br />
deep down, she’s just a fuck-up. Among a truly<br />
stellar cast, Wright Penn’s gritty and nuanced<br />
turn as the ever-shifting Pippa is unforgettable,<br />
while Blake Lively’s teenage Pippa confi rms she’s<br />
one of Hollywood’s rising stars.<br />
—Alexis Whitham<br />
Director/Screenwriter Rebecca Miller Producers<br />
Lemore Syvan, Dede Gardner, Jeremy Kleiner<br />
Cinematographer Declan Quinn Editor Sabine<br />
Hoffman Cast Robin Wright Penn, Mike Binder, Alan<br />
Arkin, Winona Ryder, Maria Bello, Keanu Reeves,<br />
Blake Lively, Julianne Moore Print Source Screen<br />
Media <strong>Film</strong>s<br />
US <strong>2009</strong> 93 MINS<br />
Sunday, October 11, 5:45 pm<br />
PRIV11R, Rafael<br />
Monday, October 12, 7:00 pm<br />
PRIV12S, Sequoia<br />
SPONSORED BY MAROEVICH, O’SHEA &<br />
COGHLAN.<br />
tickets 877.874.6833<br />
VALLEY OF THE DOCS<br />
What is happiness? Searching for the answer to<br />
this simple but profound question unites Mount<br />
Madonna School seniors in <strong>California</strong> with their<br />
counterparts in Jos, Nigeria, and Dharamsala,<br />
India, in an extraordinary initiative called Project<br />
Happiness. A group of innovative teachers<br />
develop a curriculum on the nature of lasting happiness,<br />
and their bright and promising students<br />
do the rest. Their core text, the Dalai Lama’s Ethics<br />
for the New Millennium, introduces notions<br />
of happiness—inducing service, compassion and<br />
empathy, especially towards our enemies. On<br />
their fascinatingly ambitious quest, the students<br />
question fi lmmaker George Lucas, neurobiologist<br />
Richard Davidson and actor Richard Gere in<br />
the run-up to their fi nal project, a private interview<br />
with the Dalai Lama himself. John Sorensen’s<br />
moving, transformative fi lm revels in the courage<br />
and authenticity these young people manifest in<br />
facing their own challenges and loss. Struggling<br />
with the responsibility of choosing to be happy,<br />
they find their own answers—and help us find<br />
ours. World Premiere<br />
—Carol Harada<br />
Director/Producer John Sorensen<br />
Cinematographers David Goulding, John Sorensen<br />
Editor Andrew Fetchko Print Source Project<br />
Happiness<br />
US <strong>2009</strong> 87 MINS<br />
Saturday, October 17, 3:00 pm<br />
PROJ17T, 142 Throckmorton<br />
Sunday, October 18, 5:00 pm<br />
PROJ18R, Rafael<br />
SPONSORED BY LUCASFILM LTD. AND<br />
SAN DOMENICO SCHOOL.<br />
Director Vicki Abeles makes the personal political—and<br />
starts a crucial national conversation—in<br />
this groundbreaking exposé of the pressure to<br />
succeed exerted on American schoolchildren.<br />
Disturbed by the diffi culties her own three bright,<br />
engaged and eloquent children are having with<br />
school, Abeles investigates, camera in hand. She<br />
discovers each (including her youngest, a fourth<br />
grader) “works harder . . . and is certainly more<br />
stressed than I was in law school.” What starts as<br />
a private matter widens into a cogent examination<br />
of systemic pressures faced by youth amid dropping<br />
test scores, a shrinking global economy and<br />
increasingly unrealistic expectations set by parents,<br />
universities, school districts and society at<br />
large. The demands have crushing, widespread<br />
consequences: Cheating has become commonplace,<br />
stress-related illness is rampant and teenage<br />
suicide has grown signifi cantly for the fi rst<br />
time in decades. Through incisive, heartbreaking<br />
interviews with schoolchildren, teachers, parents<br />
and sociologists, Abeles points to the silent<br />
epidemic running rampant in our schools as well<br />
as a cure. World Premiere<br />
—Ilya Tovbis<br />
Director/Producer Vicki Abeles Screenwriters<br />
Maimone Attia, Jessica Congdon Cinematographer<br />
Maimone Attia Editor Jessica Congdon Print Source<br />
Reel Link <strong>Film</strong>s<br />
US <strong>2009</strong> 83 MINS<br />
Saturday, October 10, 3:30 pm<br />
RACE10S, Sequoia<br />
Sunday, October 18, 5:45 pm<br />
RACE18R, Rafael<br />
FILMS P-R<br />
VALLEY OF THE DOCS<br />
SPONSORED BY MARIN INDEPENDENT<br />
JOURNAL.<br />
99
REACH FOR ME<br />
US CINEMA<br />
Dying is hell, at least for Alvin, a terminally ill widower<br />
confi ned to his hospice bed with nothing to<br />
chew on but bitter memories. The wonderfully irascible<br />
Alvin, unforgettably portrayed by the great<br />
Seymour Cassel, correspondingly makes life hell<br />
for everyone else around him, as renowned actorturned-director<br />
LeVar Burton explores the ageold<br />
quandary of how we greet our fi nal days—and<br />
who will be there with us at the end. A stirring,<br />
life-affi rming drama, the excellent ensemble cast<br />
includes Alfre Woodard (MVFF 2008 Tributee),<br />
Adrienne Barbeau, Johnny Whitworth and Lacey<br />
Chabert in beautifully crafted performances<br />
refreshingly free of false sentimentality. The world<br />
observed from his hospice bed provides the fi nal<br />
proving ground where Alvin learns to make the<br />
most of the time he has, and discover the love he<br />
never knew was so close at hand.<br />
—Jeff Campbell<br />
Director LeVar Burton Producers Charlene Blaine-<br />
Schulenburg, Susan R. Rodgers, Mark Wolfe<br />
Screenwriter Michael B. Adams Cinematographer<br />
Kris Krosskove Editor Avril Beukes Cast Seymour<br />
Cassel, Johnny Whitworth, Lacey Chabert, Adrienne<br />
Barbeau, Larry Hankin, Alfre Woodard Print Source<br />
AMediaVision Productions<br />
US <strong>2009</strong> 90 MINS<br />
Thursday, October 15, 4:30 pm<br />
REAC15R, Rafael<br />
Saturday, October 17, 7:15 pm<br />
REAC17S, Sequoia<br />
SPONSORED BY JOIE DE VIVRE<br />
HOSPITALITY.<br />
For information on Insight: The Cassel Touch,<br />
Seymour Cassel in conversation with Rob Nilsson,<br />
see page 29.<br />
100<br />
RED CLIFF<br />
(CHI BI: JUEZHAN TIANXIA)<br />
WORLD CINEMA<br />
Acclaimed action director John Woo delivers a<br />
jaw-dropping epic based upon a legendary historical<br />
battle at the end of the Han Dynasty. In his<br />
quest to control all China, ruthless Prime Minister<br />
Cao Cao declares war on two neighboring kingdoms,<br />
whose only hope for survival lies in their<br />
ability to ally as a single force. Cao Cao pursues<br />
these renegade leaders and their cadre of loyal<br />
men to a showdown at Red Cliff, stronghold of the<br />
tranquil Southlands. The severely out-numbered<br />
allies must rely upon deft strategic planning to<br />
survive, employing ingenious battle tactics that<br />
make the Trojan horse look like child’s play. Full of<br />
arresting combat sequences and Woo’s famously<br />
fl uid fi ght choreography, as well as penetrating<br />
performances by mega-watt stars Tony Leung,<br />
Chiu Wai and Takeshi Kaneshiro, Red Cliff is an<br />
unforgettable big screen experience.<br />
—Laurie Koh<br />
Director John Woo Producers John Woo, Terence<br />
Chang Screenwriters John Woo, Khan Chan, Kuo<br />
Cheng, Sheng Heyu Cinematographers Lu Yue,<br />
Zhang Li Editors Daniel Wu, Angie Lam, Yang<br />
Hongyu Cast Lin Chi-Ling, Takeshi Kaneshiro, Tony<br />
Leung, Zhang Fengyi, Chang Chen, Vicki Zhao, Hu<br />
Jun Print Source Magnolia Pictures<br />
HONG KONG <strong>2009</strong> 148 MINS<br />
Friday, October 16, 9:30 pm<br />
REDC16R, Rafael<br />
PRESENTED IN ASSOCIATION WITH THE<br />
CENTER FOR ASIAN AMERICAN MEDIA.<br />
THE RED MACHINE<br />
US CINEMA<br />
Washington, DC, 1935: At the height of the<br />
Great Depression, hotheaded Eddie Doyle<br />
(Donal Thoms-Cappello), an ace safecracker, is<br />
just doing what he does best: stealing. Now facing<br />
prison, Eddie fi nds he’s got an option after all.<br />
Enter Lt. F. Ellis Coburn (Lee Perkins), a coolas-ice<br />
Navy man with a problem only Eddie can<br />
solve. The Japanese Foreign Offi ce has changed<br />
its encryption codes, and the government isn’t<br />
too happy. A prominent Japanese diplomat holds<br />
the key to his country’s secrets in the form of a<br />
mysterious red machine. As Eddie and Coburn<br />
work together to pull off the heist of a lifetime,<br />
they fi nd more to the job than they bargained for<br />
as things get personal. Full of crackling dialogue,<br />
eye-catching visuals and unpredictable twists,<br />
co-directors Stephanie Argy’s (Gandhi at the<br />
Bat, MVFF 2006) and Alec Boehm’s The Red<br />
Machine is a charming throwback to the great<br />
espionage capers of the 1930s. World<br />
Premiere<br />
—Kristine Kolton<br />
Directors/Screenwriters Stephanie Argy, Alec<br />
Boehm Producers Stephanie Argy, Alec Boehm,<br />
Ken Cortland Cinematographer Alec Boehm Editor<br />
Pansy Heritage Cast Lee Perkins, Donal Thoms-<br />
Cappello, Meg Brogan, Maureen Byrnes, Eddie Lee,<br />
Madoka Kasahara Print Source Mental Slapstick<br />
LLC<br />
US <strong>2009</strong> 84 MINS<br />
Sunday, October 11, 3:45 pm<br />
REDM11R, Rafael<br />
Monday, October 12, 4:30 pm<br />
REDM12R, Rafael<br />
mvff.com
RICKY RICKY RAPPER<br />
WORLD CINEMA<br />
FOCUS: FRANCE Inspired by a Rose Tremain<br />
story, audacious French fi lmmaker François Ozon<br />
(Swimming Pool) blends gritty realism with outright<br />
fantasy in a surprising tale that suggests a<br />
surreal merger of Dardenne and Disney. Single<br />
mother Katie (Alexandra Lamy) lives in a French<br />
housing project with seven-year-old daughter<br />
Lisa (Mélusine Mayance) and works at a dreary<br />
factory job. Things change when she meets coworker<br />
Paco (Sergi López); they embark on a<br />
hungry, passionate affair and produce a love<br />
child. Things also change for Lisa, with Paco and<br />
little Ricky (Arthur Peyret) moving in and the adorable<br />
infant getting all the attention. When Katie<br />
notices bruises on her baby’s back, she fears<br />
the worst—until she realizes Ricky is sprouting<br />
wings. Its fl ights of whimsy tempered by incisive<br />
social observation and dark humor make Ricky a<br />
balancing act well served by its cast, especially<br />
Mayance as the solemn moppet, mature beyond<br />
her years. US Premiere<br />
—Richard Peterson<br />
Director François Ozon Producers Claudie Ossard,<br />
Chris Bolzli Screenwriter Clémentine Schaeffer<br />
Cinematographer Jeanne Lapoirie Editor Muriel<br />
Breton Cast Alexandra Lamy, Sergi Lopez, Mélusine<br />
Mayance, Arthur Peyret Print Source IFC First Take<br />
FRANCE 2008 90 MINS<br />
Friday, October 9, 9:15 pm<br />
RICY09S, Sequoia<br />
Sunday, October 11, 3:30 pm<br />
RICY11S, Sequoia<br />
tickets 877.874.6833<br />
(RISTO RÄPPÄÄJÄ)<br />
CHILDREN’S FILMFEST<br />
In Finnish with English subtitles. For 10-year-old<br />
Ricky, drumming is the most important thing<br />
in the world; for Aunt Serena, it’s Lennart, the<br />
downstairs tenant. He makes her heart thump like<br />
a drum solo. But when she asks Ricky to deliver<br />
an anonymous love letter to Lennart, it accidentally<br />
reaches the hands of new 10-year-old neighbor,<br />
Nelly, instead, turning Ricky’s life upsidedown.<br />
Based on the popular Finnish children’s<br />
books by Sinikka and Tiina Nopola (who also<br />
penned the screenplay), Ricky Rapper pulses<br />
with all the stumblings, misunderstandings,<br />
embarrassment and dramatic crushes of the best<br />
preteen ro mances. Shot through with crayon colors<br />
and cartoon-like scenarios in the spirit of the<br />
great children’s films of the ‘50s and ‘60s, this<br />
family treat builds charmingly to a grand finale,<br />
as Ricky asserts his right to his own music in a<br />
dance-fl oor rap duel—in Finnish! Ages 6+<br />
—John Morrison<br />
Director Mari Rantasila Producers Lasse Saarinen,<br />
Risto Salomaa Screenwriters Sinikka Nopola, Tiina<br />
Nopola Cinematographer Timo Heinänen Editor<br />
Tuuli Kuittinen Cast Niilo Sipilä, Mimmi Lounela,<br />
Annu Valonen, Ulla Tapaninen, Martti Suosalo,<br />
Ullariikka Koskela Print Source Kinotar<br />
FINLAND 2008 78 MINS<br />
PRECEDED BY<br />
LOVE CHILD (KÄRLEKSBARN)<br />
The addition of a cat to a household would presumably<br />
make any little girl happy, but when her parents<br />
treat the cat like their own child, the situation calls<br />
for some drastic action.<br />
Director Daniel Wirtberg<br />
SWEDEN <strong>2009</strong> 7 MINS<br />
TOTAL PROGRAM 85 MINS<br />
Saturday, October 10, 1:30 pm<br />
RICR10S, Sequoia<br />
Saturday, October 17, 1:00 pm<br />
RICR17R, Rafael<br />
ROOM AND A HALF<br />
(POLTORY KOMNATY)<br />
WORLD CINEMA<br />
FOCUS: NEW RUSSIAN CINEMA The memoirs<br />
of anyone living in the USSR from the 1940s<br />
to the 1970s would make for fascinating viewing,<br />
but when the reminiscences are Joseph Brodsky’s,<br />
the result takes on a trenchant lyricism,<br />
careening from the jubilantly triumphant to the<br />
profoundly melancholic. Using the Nobel Prizewinning<br />
poet’s biography as starting point, famed<br />
Russian animator Andrey Khrzhanovsky offers a<br />
richly imagined blend of fiction and fact, dazzlingly<br />
assembled from an array of animated,<br />
archival and dramatic images. Reveling equally in<br />
Brodsky’s poetry and life, the story winds from<br />
recounting a charmed youth despite material<br />
challenges—like comically cramped quarters<br />
shared with doting parents—to imagining Brodsky’s<br />
proposed anonymous return from exile in<br />
1972. Khrzhanovsky’s surrealistic overlaying of<br />
Brodsky’s trial transcript with images of anthropomorphized<br />
animals, an airborne marching<br />
orchestra and Russian soldiers gleefully destroying<br />
Culture is defiantly fitting: Brodsky was<br />
always as much icon as man, and the tenderhearted<br />
egoist would have wanted nothing less.<br />
—Ilya Tovbis<br />
Director Andrey Khrzhanovsky Producers Andrey<br />
Khrzhanovsky, Artem Vassiliev Screenwriters Yuri<br />
Arabov, Andrey Khrzhanovsky Cinematographer<br />
Vladimir Brylyakov Editors Igor Malachov, Vladimir<br />
Grigorenko Cast Alisa Freindlich, Sergei Yurskiy,<br />
Grigoriy Dityatkovskiy Print Source Seagull <strong>Film</strong>s<br />
RUSSIA 2008 130 MINS<br />
Sunday, October 11, 6:00 pm<br />
ROOM11R, Rafael<br />
Monday, October 12, 4:00 pm<br />
ROOM12R, Rafael<br />
FILMS R-R<br />
PRESENTED IN ASSOCIATION WITH THE<br />
KRITZER/ROSS ÉMIGRÉ PROGRAM OF THE<br />
JCCSF.<br />
101
SAINT MISBEHAVIN’:<br />
THE WAVY GRAVY MOVIE<br />
VALLEY OF THE DOCS<br />
If you thought Wavy Gravy was just a fl avor of<br />
ice cream, you’re in for an even bigger treat.<br />
Michelle Esrick’s lively portrait connects many<br />
a culture-defi ning dot, opening onto whole vistas<br />
around this gentle trickster and his times.<br />
Known as Hugh Romney during days as a poet,<br />
one-time roomie of Bob Dylan and far-out standup<br />
comedian-contemporary of Lenny Bruce,<br />
Wavy Gravy became more than a nickname. As<br />
activist hippie, sublimely good-natured master<br />
of ceremonies at Woodstock and determined<br />
antiwar protester—hobbled by repeated police<br />
beatings—Wavy came to embody the enlightened<br />
fool, sacred clown and deeply spiritual<br />
and social being in everything he does. Esrick<br />
mixes interviews with the down-to-earth Berkeley-based<br />
icon, and those nearest and dearest,<br />
notably Jahanara Romney as well as Bonnie<br />
Raitt and Larry Brilliant, with a treasure trove<br />
of vintage footage. No mere (albeit delicious)<br />
nostalgia ride, Saint Misbehavin’ brings a much<br />
needed dose of the fool into the present—in a life<br />
wholly committed to life, laughter and compassion<br />
for all earthlings.<br />
—Robert Avila<br />
Director Michelle Esrick Executive Producers<br />
D A Pennebaker, John Pritzker Producers Michelle<br />
Esrick, David Becker Cinematographer Daniel B.<br />
Gold Editor Karen K.H. Sim Print Source Ripple<br />
Effect <strong>Film</strong>s<br />
US 2008 87 MINS<br />
Friday, October 9, 6:45 pm<br />
SAIN09S, Sequoia<br />
Tuesday, October 13, 7:00 pm<br />
SAIN13R, Rafael<br />
SPONSORED BY KATZ FAMILY<br />
FOUNDATION.<br />
102<br />
PRESENTED IN ASSOCIATION WITH<br />
THE SEVA FOUNDATION.<br />
SHAMELESS<br />
(NESTYDA)<br />
WORLD CINEMA<br />
A devoted father, beloved husband and popular<br />
television weatherman, Oskar appears to be<br />
enjoying the prime of his life. Then comes a bad<br />
case of the seven-year itch, in this contemporary<br />
comedy by accomplished Czech director<br />
Jan Hrebejk (Teddy Bear, MVFF 2008). Before<br />
long, Oskar’s wife fi nds he’s having an affair with<br />
their lusty au pair. But the young woman’s student<br />
life wears thin on Oskar, who soon waxes<br />
nostalgic for the folk songs, and the much older<br />
folk singer, that 20 years earlier helped usher in<br />
the Velvet Revolution, Czechoslovakia’s peaceful<br />
bid to extricate itself from the yoke of Sovietled<br />
Communism. Not unlike that seminal historic<br />
moment, Oskar seeks and achieves an unsettling<br />
change in the colorful atmosphere of a muchchanged<br />
Prague, where timeless architecture<br />
and archetypes nevertheless remain the same.<br />
US Premiere<br />
—Janis Plotkin<br />
Director Jan Hrebejk Producers Rudolf Bierman,<br />
Tomas Huffman Screenwriters Jan Hrebejk, Jiri<br />
Machacek, Michal Viewegh Cast Jiri Machacek,<br />
Pavel Liska, Simona Babcakova, Nina Diviskova<br />
Print Source Menemsha <strong>Film</strong>s<br />
CZECH REPUBLIC 2008 88 MINS<br />
Tuesday, October 13, 8:45 pm<br />
SHAM13R, Rafael<br />
Friday, October 16, 5:00 pm<br />
SHAM16S, Sequoia<br />
SHYLOCK<br />
WORLD CINEMA<br />
Stepping in and out of character while trolling<br />
around an elegant Dutch theater, augmented by<br />
life-sized video projections of a modern production<br />
of The Merchant of Venice, actor Cahit Ölmez<br />
is decidedly “not just talking about plays and acting.”<br />
Addressing us, his audience, Ölmez excavates<br />
Tubal, a minor but freighted Shakespearean<br />
creation, the only friend of Merchant’s notorious<br />
Semitic villain, Shylock. Tubal grants Ölmez fresh<br />
access to Shylock, and the scars of the Elizabethan<br />
era’s rampant anti-Semitism. And though<br />
Shakespeare may never have known a Jew, Shylock’s<br />
tragic dimension has given rise to an unsettling<br />
ambiguity winding through centuries of theatrical<br />
history to this moment: a provocative<br />
meta-theatrical venture seeking nothing less than<br />
the chance to set Shylock free. US Premiere<br />
—Robert Avila<br />
Director Michal Shabtay Producers René Goossens,<br />
Annemiek van Gorp Screenwriters Gareth Armstrong,<br />
Michal Shabtay Cinematographers Tarek Kaszim,<br />
Victor Nieuwenhuis Editor Jan Dop Cast Cahid<br />
Ölmez, Adelheid Roosen Print Source Holland <strong>Film</strong><br />
Promotion<br />
NETHERLANDS 2008 68 MINS<br />
PRECEDED BY<br />
INGELORE<br />
“My name is Ingelore Hertz Honigstein. I’m not angry<br />
any more.” On the eve of Kristallnacht, a young deaf<br />
German Jewish girl missed the bus before the 8:00<br />
pm curfew, changing her life forever. Raised in uncaring<br />
foster homes, spit upon by peers and attacked by<br />
Nazi soldiers, Ingelore’s unforgettable personal story<br />
subtly, delicately guides us from the depths of indignity<br />
along the path to forgiveness.<br />
Director Frank Stiefel<br />
US <strong>2009</strong> 40 MINS<br />
TOTAL PROGRAM 108 MINS<br />
Sunday, October 11, 1:15 pm<br />
SHYL11R, Rafael<br />
Friday, October 16, 4:00 pm<br />
SHYL16S, Sequoia<br />
PRESENTED IN ASSOCIATION WITH THE SAN<br />
FRANCISCO JEWISH FILM FESTIVAL.<br />
mvff.com
SKIN SORRY, THANKS SOUNDTRACK FOR A<br />
REVOLUTION<br />
WORLD CINEMA<br />
If Anthony Fabian’s gripping and extraordinary<br />
feature debut were fi ction, nobody would believe<br />
it. But it really happened to Sandra Laing, a<br />
dark-skinned girl born to white Afrikaner parents<br />
in South Africa during the apartheid era. With the<br />
fragile support of her family and a “white” birth<br />
certificate, Sandra faces a strictly segregated<br />
racist society that sees her as black—expelling her<br />
from her all-white school and glaring at her when<br />
she ignores the “whites only” signs. A Supreme<br />
Court expert explains, to the gasps of spectators,<br />
that “polygenic inheritance,” or “throwback,” is<br />
plausible since most Afrikaners have black blood<br />
in them. But this still leaves her trapped between<br />
her increasingly confl icted and disturbed father<br />
(Sam Neill) and the offi cial color barrier, as Sandra—in<br />
an intense, deeply moving performance<br />
by Sophie Okonedo (Hotel Rwanda; The Secret<br />
Life of Bees, MVFF 2008)—literally experiences<br />
the double consciousness of a tragically divided<br />
nation.<br />
—Frako Loden<br />
Director Anthony Fabian Producers Anthony<br />
Fabian, Margaret Matheson, Genevieve Hofmeyr<br />
Screenwriters Helen Crawley, Jessie Keyt, Helena<br />
Kriel Cinematographers Dewald Aukema, Jonathan<br />
Partridge Editor St.John O’Rorke Cast Sophie<br />
Okonedo, Sam Neill, Alice Krige Print Source Jour<br />
de Fete <strong>Film</strong>s<br />
UK/SOUTH AFRICA 2008 107 MINS<br />
Tuesday, October 13, 6:45 pm<br />
SKIN13S, Sequoia<br />
Sunday, October 18, 7:30 pm<br />
SKIN18R, Rafael<br />
SPONSORED BY CBS 5 TV.<br />
tickets 877.874.6833<br />
US CINEMA<br />
First rule to becoming a better person: Admit that<br />
you are someone of highly compromised ideals.<br />
Max (played to wry comedic perfection by Dazed<br />
and Confused’s Wiley Wiggins) would like to<br />
believe he’s a good guy, even when his actions,<br />
or lack thereof, dictate otherwise. Kira, lost in a<br />
sea of self-doubt after a bad breakup, would like<br />
to believe in her inner idealist, too. After a onenight<br />
stand and a game of shadow puppets, Max<br />
fi nds himself drawn to Kira, despite already being<br />
in a long-term relationship. Kira hesitantly keeps<br />
the flirtation alive, while juggling both a new<br />
career and a burgeoning relationship with someone<br />
else. Setting the action in San Francisco’s<br />
own vibrant Mission District, director Dia Sokol<br />
(producer of indie faves Mutual Appreciation<br />
and Nights and Weekends) and co-writer–producer<br />
Lauren Veloski offer up a terrifi cally smart,<br />
hilariously dry and emotionally honest portrayal<br />
of young lives in fl ux.<br />
—Joshua Moore<br />
Director Dia Sokol Producer Lauren Veloski<br />
Screenwriters Dia Sokol, Lauren Veloski<br />
Cinematographer Matthias Grunsky Editor<br />
Jennifer Lilly Cast Wiley Wiggins, Kenya Miles,<br />
Andrew Bujalski, Ia Hernandez, Donovan Baddley<br />
Print Source Visit <strong>Film</strong>s<br />
US <strong>2009</strong> 93 MINS<br />
Sunday, October 11, 9:00 pm<br />
SORR11S, Sequoia<br />
Monday, October 12, 9:30 pm<br />
SORR12R, Rafael<br />
“You can cage the singer,” Harry Belafonte said,<br />
“but not the song.” From the darkest days of<br />
police brutality and assassination toward the<br />
Promised Land the Rev. Dr. Martin Luther King<br />
spoke of, a litany of soul-stirring anthems sustained<br />
the Civil Rights Movement. Drawn from<br />
the blues, gospel and folk traditions, beloved<br />
songs like “Wade in the Water”,”We Shall Not<br />
Be Moved” and “We Shall Overcome” consoled<br />
and mobilized African Americans and their supporters.<br />
Backed by impassioned new studio performances<br />
by Wyclef Jean, Mary Mary, Richie<br />
Havens, Angie Stone and others, this gripping<br />
documentary relates the history of the movement<br />
to a new generation. It’s an inspiring saga, brimming<br />
with courage and sacrifice, told with an<br />
eye for the striking archival image and an ear for<br />
the heart-lifting harmony. Consider, again, what<br />
an extraordinary feat it was to carry a tune—and<br />
the crusade for equal rights—from Montgomery<br />
to Nashville, Selma to Birmingham, and fi nally to<br />
Washington, DC.<br />
—Michael Fox<br />
Directors/Screenwriters Bill Guttentag, Dan<br />
Sturman Producers Joslyn Barnes, Jim Czarnecki,<br />
Bill Guttentag, Dylan Nelson, Dan Sturman<br />
Cinematographers Buddy Squires, Jonathan Else,<br />
Stephen Kazmierski Editor Jeffrey Doe Print Source<br />
42 West<br />
US <strong>2009</strong> 82 MINS<br />
Saturday, October 10, 7:00 pm<br />
SOUN10S, Sequoia<br />
Sunday, October 18, 2:45 pm<br />
SOUN18R, Rafael<br />
FILMS S-S<br />
VALLEY OF THE DOCS<br />
SPONSORED BY LRG CAPITAL GROUP.<br />
For live concert information, see page 27.<br />
103
SPARROW<br />
(MAN JEUK)<br />
WORLD CINEMA<br />
Most people know Hong Kong’s last-auteurstanding,<br />
Johnnie To, as the man responsible for<br />
Asia’s coolest tough-guy thrillers of the past 10<br />
years. The last thing you’d expect from the director<br />
of Triad Election is a breezy ode to French<br />
cinema and American musicals, but that’s exactly<br />
what the master has delivered: A woozy, lovelorn<br />
tale of professional pickpockets (led by To regular<br />
Simon Yam) who get collectively suckered by<br />
a comely con artist (Kelly Lin). Then the gang<br />
fi nds out she’s in Dutch with a local mobster, and<br />
their honor-among-thieves code kicks into high<br />
gear. There may not be the usual bullets fl ying<br />
and bodies dropping, but several did-he-justdo-that<br />
sequences—from a chase scene staged<br />
in a crowded elevator (!) to the greatest screen<br />
pickpocket-athon ever—rank as some of the most<br />
hyperkinetic work this action-fi lm fi gurehead has<br />
concocted. You could picture Vincente Minnelli<br />
and Jean-Pierre Melville high-fiving each other<br />
over this while drinking glasses of Pernod.<br />
—David Fear<br />
Director/Producer Johnnie To Screenwriters Kin<br />
Chung Chan, Chi Keung Fung Cinematographer<br />
Cheng Siu-Keung Editor David Richardson Cast<br />
Simon Yam, Kelly Lin, Lam Ka-tung, Lo Hoi-pang, Law<br />
Wing-cheong, Kenneth Cheung Print Source Tai<br />
Seng Entertainment<br />
HONG KONG 2008 87 MINS<br />
Monday, October 12, 9:30 pm<br />
SPAR12S, Sequoia<br />
PRESENTED IN ASSOCIATION WITH THE<br />
CENTER FOR ASIAN AMERICAN MEDIA.<br />
104<br />
STALIN THOUGHT OF YOU<br />
(STALIN VSPOMNIL O VAS)<br />
VALLEY OF THE DOCS<br />
FOCUS: NEW RUSSIAN CINEMA As a spry<br />
centenarian, Russian cartoonist Boris Efimov<br />
(who died last year at 109) had lived under, and<br />
in sometimes frightening proximity to, three consecutive<br />
nexuses of power as his country wound<br />
through Czarist, Soviet and federal rule. His<br />
reluctant connection with the state-sponsored<br />
media that employed him to lampoon political<br />
targets, including dubiously nominated “enemies<br />
of the people,” took its cruelest turn after Stalin<br />
ordered the execution of his beloved brother<br />
Mikhail Koltsov, inspiration for Karkov in Hemingway’s<br />
For Whom the Bell Tolls. Effectively blacklisted<br />
afterward as the relative of a dissident,<br />
Efi mov was nonetheless spared the Gulags and<br />
eventually—through complicated machinations<br />
also likely guided by Stalin, who was a great fan of<br />
his work—reinstated as Pravda’s top cartoonist.<br />
Kevin McNeer’s utterly absorbing peek behind<br />
the Red Curtain investigates this complex relationship<br />
between Russia’s greatest political cartoonist<br />
and the dreaded dictator who earned his<br />
tremulous but abiding respect.<br />
—Ilya Tovbis<br />
Director/Screenwriter/Editor Kevin McNeer<br />
Producer Bart Kuyper Cinematographers Sergei<br />
Polikov, Alisher Khamidkhodzheav Print Source<br />
Oblomov <strong>Film</strong>s<br />
RUSSIA/NETHERLANDS/US <strong>2009</strong> 100 MINS<br />
Saturday, October 10, 1:15 pm<br />
STAL10R, Rafael<br />
Friday, October 16, 6:00 pm<br />
STAL16R, Rafael<br />
PRESENTED IN ASSOCIATION WITH THE<br />
KRITZER/ROSS ÉMIGRÉ PROGRAM OF THE<br />
JCCSF.<br />
STELLA AND THE STAR OF THE ORIENT<br />
(STELLA UND DER STERN DES ORIENTS)<br />
CHILDREN’S FILMFEST<br />
In German with English subtitles. Smart, cool<br />
10-year-old Stella—descended from a line of<br />
independent, successful women like great-grandmother<br />
Clementine—plans to be an astronaut. A<br />
mysterious moment in the family attic, however,<br />
charts her a new course when she fi nds herself<br />
transported through time, exactly 100 years in<br />
the past and right into the bedroom of another<br />
spirited 10-year-old: Clementine herself! The<br />
girls team up, along with Clementine’s brother,<br />
Gustav, to find a hidden treasure and save the<br />
family from financial ruin. A thrilling adventure<br />
that unfolds in a dazzlingly snowy German forest,<br />
this is both a heart-racing escapade and a heartwarming<br />
embrace of friendship and family’s<br />
priceless value. Winner of the Chicago International<br />
Children’s <strong>Film</strong> Festival’s Best of the Fest<br />
Award. Ages 6+<br />
Director Erna Schmidt Producer Ingelore König<br />
Screenwriter Martin Dolejs Cinematographer<br />
Andreas Höfer Editor Karola Mittelstädt Cast Laura<br />
Berschuk, Hanna Schwamborn, Julius Römer, Uwe<br />
Kokisch, Edda Leesch Print Source Kinderfi lm GmbH<br />
GERMANY 2007 87 MINS<br />
PRECEDED BY<br />
DRAGONFLIES, THE BABY CRIES<br />
Mystery swirls in the thick of the forest when a<br />
big sister, left in charge of the baby, sneaks off<br />
to brew up some mischief.<br />
—Deanna Quinones<br />
Director/Screenwriter/Editor Jane Gillooly<br />
Producer Ken Winokur Cinematographer Vilma<br />
Gregoropoulos Print Source Jane Gillooly<br />
US 2005 10 MINS<br />
TOTAL PROGRAM 97 MINS<br />
Sunday, October 11, 10:30 am<br />
STEL11S, Sequoia<br />
Sunday, October 18, 12:00 pm<br />
STEL18R, Rafael<br />
SPONSORED BY BELLAM SELF-STORAGE<br />
& BOXES.<br />
mvff.com
STORM THE STRENGTH OF WATER SUPERSTAR<br />
WORLD CINEMA<br />
Accomplished, confident and distinctly feminine<br />
Hannah Maynard, played by a commanding<br />
Kerry Fox (Friends, MVFF 1993; Fanny and<br />
Elvis, MVFF 1999), is a prosecuting attorney on<br />
a mission for the truth, but the road to justice is<br />
full of detours in this smart, fast-paced political<br />
thriller. Assigned a high-profi le case at the International<br />
Criminal Court, Hannah confronts the<br />
former commander of the Yugoslavian National<br />
Army accused of war crimes against Bosnian<br />
Muslim civilians. Her colleagues in The Hague<br />
believe they’ve got their man. But as the apparatchiks<br />
maneuver towards a victory of their own liking,<br />
Hannah fi nds it’s her own social conscience<br />
that’s tried in a system where the guilty can still<br />
call the shots. A strong international cast featuring<br />
Stephen Dillane (John Adams), Rolf Lassgard<br />
(After the Wedding) and Anamaria Marinca<br />
(4 Months 3 Weeks and 2 Days) propels this<br />
nail-biting drama. US Premiere<br />
—Janis Plotkin<br />
Director Hans-Christian Schmid Producers Britta<br />
Knoeller, Hans-Christian Schmid Screenwriters<br />
Bernd Lange, Hans-Christian Schmid<br />
Cinematographer Bogumil Godfrejow Editor<br />
Hansjoerg Weissbrich Cast Kerry Fox, Anamaria<br />
Marinca, Stephen Dillane, Rolf Lassgard, Alexander<br />
Fehling Print Source <strong>Film</strong> Movement<br />
GERMANY/DENMARK/NETHERLANDS <strong>2009</strong><br />
102 MINS<br />
Monday, October 12, 6:45 pm<br />
STOR12C, Cinema<br />
Thursday, October 15, 7:00 pm<br />
STOR15T, 142 Throckmorton<br />
SPONSORED BY WELLS FARGO.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
GOETHE INSTITUT SAN FRANCISCO.<br />
Friends of the Festival screening on October 12 is<br />
free to members presenting a ticket from the box<br />
offi ce.<br />
tickets 877.874.6833<br />
WORLD CINEMA<br />
FOCUS: AUSTRALIA AND NEW ZEALAND<br />
In a remote Maori community on the weatherbeaten<br />
north coast of New Zealand, 10-year-old<br />
twins Kimi and Melody form an inseparable duo.<br />
They help with the family chicken business and<br />
keep tabs on the comings and goings of their<br />
neighbors. When a tragic accident befalls one of<br />
the twins, involving a well-meaning young man<br />
who’s just moved to the area, a number of tenuous<br />
connections strain to the limit. Kimi escapes<br />
from sadness and guilt into the solace of his<br />
imagination, veering ever further out of control.<br />
His search for a place in the world—a child’s perspective<br />
poignantly captured here—mirrors that<br />
of the restless teenagers frustrated by lack of<br />
opportunity and dreaming of the big city. This<br />
gritty, engrossing saga marks the stirring feature<br />
debut of two up-and-coming New Zealand<br />
women and important new talents: award-winning<br />
playwright-turned-screenwriter Briar Grace-<br />
Smith and acclaimed short-fi lm director Armagan<br />
Ballantyne.<br />
—Michael Fox<br />
Director Armagan Ballantyne Producer Fiona<br />
Copland Screenwriter Briar Grace-Smith<br />
Cinematographer Bogumil Godfrejow Editor<br />
Elizabeth King Cast Hato Paparoa, Melanie Mayall-<br />
Nahi, Nancy Brunning, Jim Moriarty Print Source<br />
New Zealand <strong>Film</strong> Commission<br />
NEW ZEALAND <strong>2009</strong> 86 MINS<br />
Saturday, October 17, 4:15 pm<br />
STRE17R, Rafael<br />
Sunday, October 18, 5:45 pm<br />
STRE18S, Sequoia<br />
SPONSORED BY QANTAS AIRWAYS.<br />
WORLD CINEMA<br />
Handsome movie superstar Kourosh seemingly<br />
has it made. He’s making a movie and is<br />
besieged by women—his voicemail plays a chorus<br />
of pleading, threatening and cooing female<br />
voices. But despite all their love, his fame and<br />
wealth have made him a narcissistic egomaniac<br />
with numerous addictions. One day a freshfaced<br />
girl with a camera distracts him on the<br />
set. He pursues her fi rst in the routine way, then<br />
his fascination deepens as her motives become<br />
more mysterious. Iranian director Tahmineh Milani’s<br />
fi lms have always focused on the lives and<br />
mores of contemporary women, but here she<br />
tackles the timeless theme of the truly good life<br />
through the cell phone calls, posh condos and<br />
restless SUVs of fast-lane Tehran. Superstar is<br />
a free rendering of Hermann Hesse’s fairy tale<br />
“Augustus,” in which a mother gets one wish for<br />
her infant son that will seal his peace of mind in a<br />
crazy world of image-making and excess.<br />
—Frako Loden<br />
Director/Screenwriter Tahmineh Milani Producer<br />
Mohammad Nikbin Cinematographer Alireza<br />
Zarrindast Editor Mastaneh Mohajer Cast Shahab<br />
Hosseini, Fataneh Malek-Mohammadi Print Source<br />
Farabi Cinema Foundation<br />
IRAN <strong>2009</strong> 106 MINS<br />
Saturday, October 10, 8:30 pm<br />
SUPE10R, Rafael<br />
Tuesday, October 13, 9:00 pm<br />
SUPE13R, Rafael<br />
FILMS S-S<br />
105
SURROGATE<br />
WORLD CINEMA<br />
In this sensually filmed and courageous first<br />
feature, director Tali Shalom Ezer explores the<br />
blurred line between tender sex and real love.<br />
When 32-year-old Eli develops intimacy and trust<br />
with Hagar, a sexual surrogate assigned by his<br />
therapist, the question of whether he is really<br />
loved comes up not only in session, but also in his<br />
emotional relationships with his mother, his sister<br />
and his beloved eight-year-old nephew, whom<br />
Eli protects from all possible damages his family<br />
did not protect him against. Winner of Best <strong>Film</strong><br />
at the Israeli International Women’s <strong>Film</strong> Festival,<br />
Surrogate exposes the frailty and strength of<br />
human connection. US Premiere<br />
—Sandy Handsher<br />
Director/ Screenwriter Tali Shalom Ezer Producer<br />
Elad Gavish Cinematographer Radek Ladczuk<br />
Editor Aya Somech Cast Amir Wolf, Lana Ettinger,<br />
Rosina Kambus, Liat Glick, Yonatan Swirski Print<br />
Source Marker Productions<br />
ISRAEL 2008 56 MINS<br />
PRECEDED BY<br />
THE MARINA EXPERIMENT<br />
In a powerful but disturbing examination of her<br />
father’s obsession with taking home movies, 10,000<br />
photographs and audio recordings for 16 years of<br />
his daughter’s life, Marina Lutz presents the audience<br />
with documentary evidence of the difference between<br />
love and child abuse. Lutz intercuts her father’s movie<br />
of a bullfi ght next to his photos of his child’s most<br />
private moments, creating a metaphor she means as<br />
an inevitable yet socially acceptable killing.<br />
Director Marina Lutz<br />
US <strong>2009</strong> 18 MINS<br />
TOTAL PROGRAM 74 MINS<br />
Wednesday, October 14, 7:00 pm<br />
SURR14S, Sequoia<br />
Saturday, October 17, 7:45 pm<br />
SURR17R, Rafael<br />
106<br />
PRESENTED IN ASSOCIATION<br />
WITH THE ISRAEL CENTER OF THE<br />
JEWISH COMMUNITY FEDERATION.<br />
A SWEETER MUSIC: A LIVE<br />
CONCERT BY SARAH CAHILL<br />
WITH VIDEO BY JOHN SANBORN<br />
US CINEMA<br />
FOCUS: ARCHITECTS OF THE AVANT-GARDE<br />
Celebrated pianist, writer and radio host Sarah<br />
Cahill actively investigates life through her music.<br />
Exploring the meaning of Dr. King’s words—“We<br />
must see that peace represents a sweeter music,<br />
a cosmic melody that is far superior to the discords<br />
of war”—and inspired by a recent arrangement<br />
of antiwar hymn “Down By the Riverside,”<br />
Cahill commissioned leading contemporary<br />
composers to create new works for solo piano. In<br />
what promises to be an unforgettable event—set<br />
against stunning visual poems by seminal video<br />
artist and longtime MVFF favorite John Sanborn—<br />
each piece in this live concert represents a composer’s<br />
vision of peace or reaction to war. The<br />
program will include, among much else, a West<br />
Coast premiere excerpt from a resetting of Steppe<br />
Music by Meredith Monk, The Residents’ drum<br />
no fi fe (Why We Need War) and Terry Riley’s Be<br />
Kind to One Another (Rag).<br />
—Ashley Nee<br />
120 MINS<br />
Sunday, October 18, 3:30 pm<br />
SWEE18T, 142 Throckmorton $20<br />
THE SWIMSUIT ISSUE<br />
(ALLT FLYTER)<br />
WORLD CINEMA<br />
Fredrik’s competitive nature may have made him<br />
a burgeoning (almost) champion fl oorball player,<br />
but it likely also cost him his job and his marriage.<br />
Now it threatens his relationship with Sara, his<br />
ebullient teenage daughter, temporarily foisted<br />
upon her dad as his reluctant roommate, while<br />
Fredrik’s ex-wife starts a new job in London.<br />
When an immature prank with his 40-something<br />
floorball buddies shows unexpected potential,<br />
Fredrik aims for a new goal: transforming his<br />
mates into Sweden’s fi rst all-male synchronized<br />
swimming team, with his single-minded sights<br />
on the world championship in Berlin. With Sara’s<br />
help, the somewhat motley crew—with questionable<br />
aquatic capacities—try to stay afl oat while<br />
battling hostile coaches, strict Olympic rules,<br />
sexism, homophobia and some nasty, calloused<br />
feet. The Swimsuit Issue plunges into the world<br />
of water ballet and masculine pedicures in<br />
this charming coming-of-middle-age comedy<br />
celebrating the spirit of perseverance and the<br />
importance of holding your breath.<br />
—Joanne Parsont<br />
Director Mans Herngren Producer Rebecka<br />
Hamberger Screenwriters Jane Magnusson, Mans<br />
Herngren Cinematographer Henrik Stenberg Editor<br />
Frederik Morheden Cast Jonas Inde, Amanda Davin,<br />
Paula McManus, Benny Haag Print Source Nordisk<br />
<strong>Film</strong><br />
SWEDEN 2008 102 MINS<br />
Wednesday, October 14, 4:15 pm<br />
SWIM14S, Sequoia<br />
Saturday, October 17, 6:45 pm<br />
SWIM17R, Rafael<br />
SPONSORED BY A PARTY CENTER.<br />
PRESENTED IN ASSOCIATION WITH<br />
THE CONSULATE GENERAL OF SWEDEN<br />
SAN FRANCISCO.<br />
mvff.com
TAPPED THE TEN LIVES OF TITANIC<br />
THE CAT (TITANICS TI LIV)<br />
VALLEY OF THE DOCS<br />
Water. Next to the air we breathe, it is the most<br />
fundamental resource for human survival. Yet that<br />
clear liquid that falls so readily from the sky, babbles<br />
pleasantly in streams and fl ows freely from<br />
our taps has become a commodity for a massive,<br />
multibillion dollar bottled water industry—an<br />
industry almost entirely self-regulated, which we<br />
support with every deceptively “pure” and refreshing<br />
bottle we drink in our blissfully ignorant efforts<br />
to stay hydrated and healthy. This incisive investigative<br />
documentary offers a blistering look<br />
be neath the bottle caps at the major economic,<br />
environmental and health impacts of the fl ood of<br />
bottled water manufactured and consumed in the<br />
United States. <strong>Film</strong>maker Stephanie Soechtig<br />
probes every angle of the story, from corporate<br />
control of water to the petrochemicals in plastic<br />
bottles, from plastic recycling to the sources and<br />
safety of bottled water. This fi lm will change the<br />
way you think and drink.<br />
—Joanne Parsont<br />
Director Stephanie Soechtig Producers<br />
Stephanie Soechtig, Sarah Gibson Screenwriters<br />
Stephanie Soechtig, Jason Lindsey, Josh David<br />
Cinematographer Michael Millikan Editor Jason<br />
Lindsey Print Source Atlas <strong>Film</strong>s<br />
US <strong>2009</strong> 76 MINS<br />
Sunday, October 11, 6:00 pm<br />
TAPP11S, Sequoia<br />
Wednesday, October 14, 9:00 pm<br />
TAPP14R, Rafael<br />
PRESENTED IN ASSOCIATION WITH FOOD<br />
AND WATER WATCH.<br />
tickets 877.874.6833<br />
CHILDREN’S FILMFEST<br />
In Norwegian with English subtitles. Liv gets her<br />
fondest wish for her 12th birthday: a family cruise<br />
on the maiden voyage of Danaworld. But Liv<br />
starts seeing things others don’t, a confusion of<br />
images that includes water, strange people, old<br />
photographs and a big black cat. She senses<br />
something’s in the basement, enlisting her friend<br />
Thomas to search it with her. But another vision<br />
sends Liv to the hospital with an asthma attack,<br />
threatening her chances of taking the cruise. Liv<br />
doesn’t believe asthma is what’s wrong with her,<br />
no matter what the adults say, and she and<br />
Thomas begin piecing together clues to a looming<br />
mystery from the past that has the cat, Titanic,<br />
at the center of it all. Arresting imagery, a moody<br />
score, distinctive and believable characters and<br />
a gripping climax all go into making The Ten<br />
Lives of Titanic the Cat a genuinely spooky yet<br />
touching adventure. Ages 6+<br />
—Roberta McNair<br />
Director Grethe Bøe Producer Cornelia Boysen<br />
Screenwriter Axel Hellstenius Cinematographer<br />
Calle Borresen Editor Wibecke Ronseth Cast Tiril<br />
Eeg-Henriksen, Martine Mbugua, Christian Skolmen,<br />
Anne Ryg, Sossen Krohg Print Source Nordisk <strong>Film</strong><br />
NORWAY 2007 74 MINS<br />
PRECEDED BY<br />
THE FAERIES OF FARTHINGALE<br />
A loving mother gives her lonely daughter her most<br />
treasured legacy: her wondrous and magical childhood<br />
friends.<br />
Director Melinda Darlington-Bach<br />
US <strong>2009</strong> 11 MINS<br />
TOTAL PROGRAM 85 MINS<br />
Saturday, October 10, 1:00 pm<br />
TENL10R, Rafael<br />
Sunday, October 18, 12:30 pm<br />
TENL18S, Sequoia<br />
TENDERLOIN<br />
US CINEMA<br />
Anyone who has walked the streets of San Francisco’s<br />
Tenderloin District has seen the seedy<br />
side of the city. It’s a place that isn’t on a first<br />
name basis with hope. When Ben takes a job<br />
as manager of a residential hotel there, he can’t<br />
deny he’s hit bottom. An Iraqi war veteran trying to<br />
keep his repressed anger under control, Ben just<br />
wants to hide. The last thing he expects to fi nd is<br />
a home. But before he knows it, he’s drawn into<br />
the lives of those around him, fi nding friendship in<br />
the faces of strangers. As he moves forward and<br />
tries to reconnect with his estranged young son,<br />
Ben learns that, wherever you live, choices are<br />
hard. Trying is one thing, believing another. Gritty<br />
and authentic, Marin director Michael Anderson’s<br />
Tenderloin brims with eccentric characters that<br />
give a heartfelt and familiar face to a lonely and<br />
desperate world. World Premiere<br />
—Kristine Kolton<br />
Director/Cinematographer/Editor Michael<br />
Anderson Producer Sam Rider Screenwriter Ned<br />
Miller Cast Kurt Yaeger, Jack Indiana, Tina Huang,<br />
Stephan Smith Collins, Liz Rolfe, Celia Aurora de<br />
Blas Print Source Michael Anderson<br />
US <strong>2009</strong> 79 MINS<br />
Friday, October 16, 6:45 pm<br />
TEND16S, Sequoia<br />
Saturday, October 17, 9:00 pm<br />
TEND17R, Rafael<br />
FILMS S-T<br />
107
THIS IS THE HUSBAND I WANT!<br />
(GHO MALA ASALA HAWA)<br />
WORLD CINEMA<br />
Farmer’s daughter Savitra rebels when her father<br />
consents to her marriage to foolish millworker<br />
Bopya. She wants the freedom to choose her<br />
own husband and has her heart set on fisherman<br />
Madhu, but she has no desire to cause a<br />
scandal or dishonor her family. Determined to<br />
be rid of her ridiculous would-be husband, the<br />
crafty girl seeks a way to change her fate as she<br />
manipulates superstitions and the traditions that<br />
would make her a man’s property. A modern-day<br />
riff on a tale from The Mahabharata—presented<br />
as a play within the fi lm—in which the sagacious<br />
Princess Savitra searches for her ideal mate,<br />
this Indian indie confection weaves its romantic<br />
spell with humor and charm, its languid pace<br />
and cheerful musical numbers disguising a more<br />
serious purpose. Beneath the comedy’s buoyant<br />
façade lurks sharp social commentary aimed<br />
at exposing the outmoded customs that deny<br />
women the right to determine their own futures.<br />
North American Premiere<br />
—Pam Grady<br />
Director Sumitra Bhave, Sunil Sukthankar Producer<br />
Mr. Khinvsara, Mr. Bharde, Mr. Chavan Screenwriter<br />
Sumitra Bhave Cinematographer Sanjay Memane<br />
Editor Mohit Takalkar Cast Radhika Apte, Omkar<br />
Govardhan, Ravindra Mankani, Nikhil Ratnaparakhi,<br />
Neena Kulkarni, Reema Print Source Vichitra Nirmiti<br />
INDIA 2008 120 MINS<br />
Thursday, October 15, 9:00 pm<br />
THIS15S, Sequoia<br />
Sunday, October 18, 12:00 pm<br />
THIS18R, Rafael<br />
108<br />
A THOUSAND SUNS/MUSTANG –<br />
JOURNEY OF TRANSFORMATION<br />
VALLEY OF THE DOCS<br />
For most of us, there’s a distinct separation<br />
between humans and nature. In the fertile African<br />
Rift Valley of Ethiopia, their interconnectedness<br />
is the essence of spirituality. But outside forces<br />
are threatening this delicate balance, from Christian<br />
evangelists to Western aid agencies importing<br />
agricultural technologies and pesticides.<br />
—Joanne Parsont<br />
Director Stephen Marshall Producers Emmanuel<br />
Vaughan-Lee, Gayatri Roshan Print Source The<br />
Global Oneness Project<br />
ETHIOPIA/US/KENYA <strong>2009</strong> 28 MINS<br />
MUSTANG - JOURNEY OF TRANSFORMATION<br />
On a high Himalayan plateau, the Forbidden Kingdom<br />
of Mustang is a virtual time capsule of ancient<br />
Tibetan Buddhist culture. But it’s on the verge of<br />
extinction. Mill Valley’s Will Parrinello tells a remarkable<br />
story of transformation as Mustang and its rich<br />
history are brought back to life through painstaking<br />
restoration. Narrated by Richard Gere.<br />
Director Will Parrinello<br />
US/NEPAL <strong>2009</strong> 29 MINS<br />
PRECEDED BY<br />
TRADING BOWS AND ARROWS FOR LAPTOPS<br />
To preserve their culture and endangered rainforest<br />
home, the Surui tribe of the Amazon turns to Google<br />
Earth to, literally, put themselves on the map.<br />
Director Denise Zmekhol<br />
US 2008 7 MINS<br />
TOTAL PROGRAM 64 MINS<br />
Friday, October 16, 7:00 pm<br />
THOU16S, Sequoia<br />
Saturday, October 17, 12:00 pm<br />
THOU17R, Rafael<br />
SPONSORED BY ZAENTZ MEDIA CENTER,<br />
A WAREHAM DEVELOPMENT.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
AMERICAN HIMALAYAN FOUNDATION<br />
TRIMPIN: THE SOUND OF<br />
INVENTION<br />
VALLEY OF THE DOCS<br />
FOCUS: ARCHITECTS OF THE AVANT-GARDE<br />
Director Peter Esmonde takes us into the mind<br />
of a musical iconoclast, Trimpin, the sole name<br />
of a German composer-engineer lured to the<br />
United States by the “high junk” he found in its<br />
junkyards. From that refuse, this consummate tinkerer<br />
constructs gigantic instruments—artworks<br />
in their own right—that recalibrate our ears with<br />
unanticipated syncopations and ethereal sound<br />
environments sometimes based on streams of<br />
seismic data. In an often hilarious collaboration,<br />
members of the musically omnivorous Kronos<br />
Quartet worry their traditional instruments may<br />
not survive his marvelous machines. But perhaps<br />
that’s the point. The strangeness of Trimpin and<br />
the beauty of his music are among those rare<br />
pleasures that can’t be analyzed, historicized or<br />
reduced to our normal categories. Beautifully<br />
shot and edited, Esmonde’s fi lm is enchantment<br />
for eyes and ears.<br />
—Alan Snitow<br />
Director/Producer/ Cinematographer Peter<br />
Esmonde Editor Rick Tejada-Flores Print Source<br />
Participant Observer, LLC<br />
US 2008 79 MINS<br />
Wednesday, October 14, 6:30 pm<br />
TRIM14S, Sequoia<br />
Friday, October 16, 9:00 pm<br />
TRIM16R, Rafael<br />
SPONSORED BY ZAENTZ MEDIA CENTER,<br />
A WAREHAM DEVELOPMENT.<br />
mvff.com
TROUPERS UP IN THE AIR VICTORIA<br />
VALLEY OF THE DOCS<br />
FOCUS: ARCHITECTS OF THE AVANT-GARDE<br />
The San Francisco Mime Troupe celebrates its<br />
50th anniversary this year, a milestone that may<br />
not have seemed attainable—or necessary—in<br />
its formative days. Inspired by the Beats on one<br />
hand, and the Free Speech Movement and organized<br />
labor on the other, the Mime Troupe quickly<br />
established itself as a fount of political theater,<br />
musical comedy and fun-in-the-sun agitprop.<br />
Glenn Silber and Claudia Vianello’s intimate<br />
1985 documentary seamlessly segues from rare<br />
‘60s performance clips and priceless insight<br />
from the likes of Peter Coyote and Bill Graham, to<br />
an on-the-road record of the “Steeltown” tour of<br />
the Midwest. The plight of soon-to-be-downsized<br />
Inland Steel workers in East Chicago, Indiana,<br />
echoes across the years to today’s autoworkers.<br />
As fresh and timely as the day it was released,<br />
this inspiring, song-fi lled portrait of a quintessentially<br />
Bay Area institution—if that word can apply<br />
to artists committed to revolution—rocks with joy<br />
and purpose.<br />
—Michael Fox<br />
Directors/Producers Glenn Silber, Claudia Vianello<br />
Cinematographer Michael Anderson Editor Mary<br />
Bauer Cast Peter Coyote, Bill Graham, The San<br />
Francisco Mime Troupe Print Source Catalyst Media<br />
Productions, LLC<br />
US 1985 85 MINS<br />
Friday, October 16, 7:30 pm<br />
TROU16T, 142 Throckmorton $20<br />
Shown as part of a live celebration of the SF Mime<br />
Troupe’s 50 th Anniversary.<br />
For full event information, see page 29.<br />
tickets 877.874.6833<br />
US CINEMA<br />
From Jason Reitman, the Oscar ® nominated<br />
director of Juno, comes a dramatic comedy<br />
called Up in the Air starring Oscar -® winner<br />
George Clooney as Ryan Bingham, a corporate<br />
downsizing expert whose cherished life on<br />
the road is threatened just as he is on the cusp<br />
of reaching ten million frequent fl yer miles and<br />
after he’s met the frequent-traveler woman of his<br />
dreams. US Premiere<br />
Director Jason Reitman Producers Daniel Dubiecki,<br />
Jeffrey Clifford, Ivan Reitman, Jason Reitman<br />
Screenwriter Jason Reitman, novel by Walter Kirn<br />
Cinematographer Eric Steelberg Editor Dana<br />
Glauberman Cast George Clooney, Vera Farmiga,<br />
Anna Kendrick, Jason Bateman Print Source<br />
Paramount Pictures<br />
US <strong>2009</strong> 104 MINS<br />
Wednesday, October 14, 6:30 pm<br />
SPOT14R, Rafael $30<br />
SPONSORED BY JENNIFER COSLETT<br />
MACCREADY.<br />
For Spotlight on Jason Reitman information, see<br />
page 59.<br />
WORLD CINEMA<br />
FILMS T-V<br />
Mesdames et Messieurs, Ladies and Gentlemen,<br />
meet Les Lolitas! Not one but two stars are born,<br />
as Stan and Jimmy, a duo of talented and delightfully<br />
inept young musicians, in sequined drag and<br />
not-quite-fi tted platinum blonde wigs, hit the road<br />
on a tour through Québec, lured by the thrill of a<br />
mystery and the promise of a free meal. But their<br />
journey leads them further than they ever dreamed<br />
to love, loss and inevitable self-discovery. With<br />
musical contributions from French songwriting<br />
sensation Philippe Katerine, Victoria is Anna Karina’s<br />
fi rst directorial effort in more than 30 years.<br />
One part Some Like It Hot, one part Breathless<br />
and yet thoroughly fresh and new, Victoria echoes<br />
the youthful zest of the world-shaking French<br />
New Wave, while brimming with a life entirely its<br />
own. North American Premiere<br />
—Karen Davis<br />
Director/Screenwriter Anna Karina Producer Héjer<br />
Charf Cinematographer Philippe Lavalette Editor<br />
Mathieu Arsenault Musical Composer Philippe<br />
Katerine Cast Anna Karina, Jean-François Moran,<br />
Woodson Louis Print Source Nadja Productions Inc.<br />
CANADA 2008 95 MINS<br />
Friday, October 16, 6:30 pm<br />
TRIB16R, Rafael<br />
Please note: this is a regularly-priced admission.<br />
WITH SUPPORT FROM UNIFRANCE, THE<br />
CONSULATE GENERAL OF FRANCE IN<br />
SAN FRANCISCO AND THE QUÉBEC<br />
GOVERNMENT OFFICE IN LOS ANGELES.<br />
PRESENTED IN ASSOCIATION WITH SF<br />
WOMEN’S FILM FESTIVAL<br />
For Tribute to Anna Karina information, see page 71.<br />
109
WHITE WEDDING<br />
(MARIAGE BLANC)<br />
WORLD CINEMA<br />
Elvis and Ayanda are about to get married. Elvis<br />
just needs to get from Johannesburg to Cape<br />
Town for the event. Ayanda just needs to fend off<br />
her mother’s efforts to turn her small, white wedding<br />
into a traditional village celebration—and the<br />
advances of a suave ex-boyfriend. After a rocky<br />
start involving a missed bus, a jealous girlfriend<br />
and a vandalized car, Elvis and best man Tumi<br />
fi nally hit the road and make their way south. En<br />
route, they share the ride with a young English<br />
woman. But while Elvis is eagerly rushing towards<br />
his impending marriage, Rose is running fast from<br />
hers. Can Elvis’s belief in the power of love thaw<br />
Rose’s cold cynicism? Can Rose’s candor and<br />
generosity change Tumi’s polyamorous ways?<br />
Can Ayanda really wait for them to arrive? Take<br />
a sweet South African road trip through the hills<br />
and valleys of love, friendship and post-apartheid<br />
culture clashes. North American Premiere<br />
—Joanne Parsont<br />
Director Jann Turner Producers/Screenwriters<br />
Kenneth Nkosi, Rapulana Seiphemo, Jann Turner<br />
Cinematographer Willie Nel Editor Tanja Hagen<br />
Cast Kenneth Nkosi, Rapulana Seiphemo, Jodie<br />
Whittaker, Zandile Msutwana, Marcel Van Heerden<br />
Print Source Stepping Stone Pictures<br />
SOUTH AFRICA <strong>2009</strong> 93 MINS<br />
Wednesday, October 14, 7:00 pm<br />
WHIT14R, Rafael<br />
Saturday, October 17, 1:30 pm<br />
WHIT17S, Sequoia<br />
SPONSORED BY MARIN FRENCH CHEESE<br />
COMPANY.<br />
110<br />
WINNEBAGO MAN A YEAR AGO IN WINTER<br />
VALLEY OF THE DOCS<br />
To millions of YouTube viewers, Winnebago Man<br />
needs no introduction. He’s Jack Rebney, “Angriest<br />
Man in the World,” whose epic frustrations<br />
filming a 1989 industrial RV commercial were<br />
mashed-up into a hilarious symphony of enraged<br />
profanity. Originally a VHS-era blooper-reel staple,<br />
“Winnebago Man” became the internet’s original<br />
viral video. <strong>Film</strong>maker Ben Steinbauer wondered<br />
whatever happened to Rebney. How did becoming<br />
the unwitting butt of cyber-age ridicule and<br />
offi ce-cubicle catharsis affect him? When Steinbauer<br />
fi nally tracks down Rebney—still a cantankerous,<br />
freely cursing old man—hiding hermit-like<br />
on a <strong>California</strong> mountaintop, an examination of<br />
shame, self-respect and YouTube infamy turns<br />
into its own compelling drama of redemption. At<br />
one point, someone asks Rebney the question in<br />
all our guilty, complicit hearts: “Do you hate us?”<br />
His response captures the knotted intersection<br />
of comedy and tragedy, humiliation and fellowship.<br />
Rebney is us, after all, and he is very much<br />
loved.<br />
—Jeff Campbell<br />
Director Ben Steinbauer Producers Joel Heller,<br />
James Payne, Malcolm Pullinger, Ben Steinbauer<br />
Screenwriters Malcolm Pullinger, Ben Steinbauer<br />
Cinematographers Bradley Beesley, Berndt Mader<br />
Editor Malcolm Pullinger Print Source The Bear<br />
Media<br />
US <strong>2009</strong> 87 MINS<br />
Thursday, October 15, 9:30 pm<br />
WINN15S, Sequoia<br />
Saturday, October 17, 9:45 pm<br />
WINN17S, Sequoia<br />
SPONSORED BY BEST BEVERAGE<br />
CATERING.<br />
(IM WINTER EIN JAHR)<br />
WORLD CINEMA<br />
The latest from Germany’s Caroline Link—director<br />
of Festival hit Beyond Silence (MVFF 1996) and<br />
Oscar-winning Nowhere in Africa (2002)—is a<br />
subtle, powerful drama about loss and reckoning.<br />
A Bavarian family struggles to pick up the pieces<br />
in the aftermath of a favored son’s death but, emotionally<br />
numb to the impact it has had, they proceed<br />
by keeping up appearances. The mother<br />
commissions a portrait of her two children, which,<br />
however, acts as a catalyst for delving into<br />
the psychic drama beneath frozen surfaces. As<br />
daughter Lilli, a dancer (in a subtle and deeply<br />
resonant performance by the striking Karoline<br />
Herfurth), sits for painter Max (Josef Bierbichler),<br />
she’s haunted by questions raised in the wake of<br />
her beloved younger brother’s demise. She<br />
careens along, increasingly late for dance classes,<br />
impervious to the interventions staged by her parents,<br />
until she and Max strike up a surprisingly<br />
rich friendship that speaks eloquently to the deepest<br />
ties between art and life. US Premiere<br />
—Michael Read<br />
Director Caroline Link Producers Robert W. Cort,<br />
Scarlett Lacey, Martin Moszkowicz, Oliver Nommsen,<br />
Uschi Reich Screenwriters Scott Campbell, Caroline<br />
Link Cinematographer Bella Halben Editor Patricia<br />
Rommel Cast Karoline Herfurth, Josef Bierbichler,<br />
Corinna Harfouch, Hanns Zischler, Cyril Sjostrom<br />
Print Source IFC <strong>Film</strong>s<br />
GERMANY 2008 128 MINS<br />
Monday, October 12, 9:00 pm<br />
YEAR12R, Rafael<br />
Saturday, October 17, 6:15 pm<br />
YEAR17S, Sequoia<br />
SPONSORED BY GORDON RADLEY.<br />
PRESENTED IN ASSOCIATION WITH THE<br />
GOETHE INSTITUT SAN FRANCISCO.<br />
mvff.com
THE YOUNG VICTORIA YOUTH IN REVOLT ZOMBIE GIRL: THE MOVIE<br />
WORLD CINEMA<br />
CLOSING NIGHT FOCUS: UNITED KING-<br />
DOM Light years from the aged, widowed<br />
Queen Victoria of popular imagination, Emily<br />
Blunt is radiant, vivacious and enchanting as the<br />
sheltered princess who as cended the British<br />
throne in 1837 at age 18. This captivating, sumptuously<br />
mounted production, beautifully performed<br />
and graced with an elegant, witty screenplay<br />
that adheres largely to the historical record,<br />
traces the earliest years of Victoria’s long reign:<br />
her struggle for autonomy from her mother, the<br />
Duchess of Kent (Miranda Richardson), as she<br />
takes the crown; hard knocks and political fallout<br />
from a checkered alliance with Prime Minister<br />
Lord Melbourne (Paul Bettany); and her gentle,<br />
cautious, fi nally fervent courtship with fi rst cousin<br />
Prince Albert (Rupert Friend). Depicting a formidable<br />
yet vulnerable court in the midst of tumultuous<br />
social upheaval, The Young Victoria takes<br />
this legendary royal romance as its heart, tracing<br />
the evolution of two young people who would<br />
be come the 19th century’s ultimate power<br />
couple.<br />
—Richard Peterson<br />
Director Jean-Marc Vallée Producers Graham King,<br />
Martin Scorsese, Tim Headington, Sarah Ferguson<br />
Screenwriter Julian Fellowes Cinematographer<br />
Hagen Bogdanski Editors Jill Bilcock, Matt Garner<br />
Cast Emily Blunt, Rupert Friend, Paul Bettany,<br />
Miranda Richardson, Jim Broadbent, Mark Strong<br />
Print Source Apparition<br />
UK/US <strong>2009</strong> 100 MINS<br />
Sunday, October 18, 5:15 pm<br />
YOUN18R, Rafael $30<br />
For Closing Night Party information, see page 25.<br />
SPONSORED BY PACIFIC GAS AND<br />
ELECTRIC COMPANY.<br />
tickets 877.874.6833<br />
US CINEMA<br />
He’s not mentally ill. He’s just a teenager. In the<br />
tradition of Superbad, and starring that fi lm’s own<br />
Michael Cera (also of the Oscar ® winning film,<br />
Juno), Youth in Revolt is a teen sex comedy that<br />
puts an entirely fresh and outrageous new stamp<br />
on adolescent obsession and rebellion. Based<br />
on the acclaimed novel by C.D. Payne, Youth<br />
in Revolt tells the riotous story of Nick Twisp, a<br />
sex-obsessed teen who falls hopelessly in love<br />
with Sheeni Saunders while on a family vacation.<br />
Sheeni is a beautiful, free spirited girl, but family,<br />
geography and jealous ex-lovers conspire to<br />
keep these two apart. Inspired by Sheeni’s free<br />
spirit, Nick abandons his dull, predictable life<br />
and develops a rebellious alter ego, Francois.<br />
Francois will stop at nothing to be with Sheeni<br />
and leads Nick on a path of destruction and<br />
on the run from local law enforcement that has<br />
uproarious and unpredictable consequences.<br />
Director Miguel Arteta Producer David Permut<br />
Screenwriter Gustin Nash Cinematographer Chuy<br />
Chávez Editors Pamela Martin, Andy Keir Cast<br />
Michael Cera, Ray Liotta, Justin Long, Jean Smart,<br />
Steve Buscemi, Portia Doubleday Print Source The<br />
Weinstein Company<br />
US <strong>2009</strong> 90 MINS<br />
Tuesday, October 13, 7:00 pm<br />
YOUT13C, Cinema<br />
SPONSORED BY WHOLE FOODS MARKET.<br />
VALLEY OF THE DOCS<br />
FILMS W-Z<br />
You have never, ever seen more adorable Grand<br />
Guignol! Twelve-year-old Emily Hagins has been<br />
editing a script for an original feature-length zombie<br />
movie for two years (yes, since she was 10).<br />
Blessed with her fantastically supportive parents<br />
and the equally stalwart Austin fi lm community<br />
(including Harry Knowles of aintitcool.com and<br />
film critic C. Robert Cargill), Emily is shooting<br />
that script. Light in tone and tempo, Zombie Girl:<br />
The Movie chronicles the two-year production of<br />
Emily’s fi lm (entitled Pathogen) in all its fi ts, starts,<br />
failures and triumphs. In the process, documentary<br />
fi lmmakers Justin Johnson, Erik Mauck and<br />
Aaron Marshall let us watch Emily grow up—from<br />
tween to teen and from dreamer to filmmaker.<br />
The story of a diligent kid and her mother’s tireless<br />
dedication, Zombie Girl delights as much as<br />
it promises to inspire any child or parent with a<br />
creative streak—whether or not that creativity<br />
requires raw liver to realize.<br />
—Sara Schieron<br />
Directors/Producers Aaron Marshall, Justin<br />
Johnson, Erik Mauck Cinematographers Justin<br />
Johnson, Erik Mauck Editor Aaron Marshall Print<br />
Source Greenberg Traurig, LLC<br />
US <strong>2009</strong> 91 MINS<br />
Saturday, October 10, 1:00 pm<br />
ZOMB10T, 142 Throckmorton<br />
Friday, October 16, 7:00 pm<br />
ZOMB16R, Rafael<br />
111
LATE ADDITION! LATE ADDITION!<br />
SWEET RUSH<br />
THE ROAD<br />
WORLD CINEMA<br />
Legendary Polish director Andrzej Wajda<br />
returns for the fourth time to the prose of Jaroslaw<br />
Iwaszkiewicz (following adaptations in The<br />
Birch Wood, 1970, The Maids of Wilko, 1979,<br />
and June Night, 2001) for this unusual fi lm centered<br />
on the lonely wife of a small-town doctor<br />
who begins a relationship with a young, simple<br />
laborer while coming to terms with the loss of<br />
her two sons. In the principal role of Marta,<br />
Wajda casts one of Poland’s most respected<br />
contemporary actresses, Krystyna Janda, who<br />
invests a personal, highly emotional theme in<br />
her decision to share her own grief at the loss<br />
of someone she loved. Thus, the static camera<br />
scrutinizes the actress as she sits in a dimly lit<br />
hotel room serenely describing the last days<br />
spent with her dying husband, cinematographer<br />
Edward Klosinski. Sweet Rush is a multi-layered<br />
refl ection on death and the thin line separating<br />
life and death.<br />
–Karlovy Vary <strong>Film</strong> Festival <strong>2009</strong><br />
Director Andrzej Wajda Producer Michal Kwiecinski<br />
Screenwriters Andrzej Wajda, Krystyna Janda<br />
Cinematographer Pawel Edelman Editor Milenia<br />
Fiedler Cast Krystyna Janda, Pawel Szajda, Jadwiga<br />
Jankowska-Cieslak, Julia Pietrucha, Jan Englert<br />
Print Source Akson Studio, TVP SA–<strong>Film</strong> Agency<br />
POLAND <strong>2009</strong> 85 MINS<br />
Friday, October 16, 4:00 pm<br />
SWRU16R, Rafael<br />
PRESENTED IN ASSOCIATION WITH<br />
www.PoloniaSF.org.<br />
112<br />
US CINEMA<br />
From Cormac McCarthy, author of No Country<br />
for Old Men, comes the highly-anticipated big<br />
screen adaptation of the beloved, best-selling<br />
and Pulitzer Prize-winning novel, The Road.<br />
Academy Award nominee Viggo Mortensen<br />
leads an all-star cast featuring Charlize Theron,<br />
Robert Duvall, Guy Pearce and young newcomer<br />
Kodi Smit-McPhee in this epic post-apocalyptic<br />
tale of the survival of a father (Mortsensen) and<br />
his young son (Smit-McPhee) as they journey<br />
across a barren America that was destroyed by a<br />
mysterious cataclysm. A masterpiece adventure,<br />
The Road boldly imagines a future in which men<br />
are pushed to the worst and the best that they<br />
are capable of—a future in which a father and his<br />
son are sustained by love.<br />
Director John Hillcoat Producers Nick Wechsler,<br />
Steve Schwartz and Paula Mae Schwartz<br />
Screenwriter Joe Penhall Cinematographer Javier<br />
Aguirresarobe Editor Jon Gregory Cast Viggo<br />
Mortensen, Kodi Smit-McPhee, Robert Duvall,<br />
Guy Pearce and Charlize Theron Print Source The<br />
Weinstein Company<br />
US <strong>2009</strong> 112 MINS<br />
Thursday, October 8, 9:40 pm<br />
ROAD08S, Sequoia<br />
SCREENING COMMITTEE<br />
MEMBERS<br />
RALPH BERETS<br />
TERESA CONCEPCION<br />
ELISE COVLIN<br />
WILLIAM FARLEY<br />
ABIGAIL FARRELL<br />
JUSTINE GUBAR<br />
JENNIFER HAMMETT<br />
NANCY KELLY<br />
ELLEN LAKE<br />
DONNA LEE<br />
BEN LEVIN<br />
PAULA LEVINE<br />
CARRIE LOZANO<br />
JASON MITCHELL<br />
MIKE MOONEY<br />
MORTEN NILSSEN<br />
JOANNE PARSONT<br />
FRANCESCA PRADA<br />
BILL PROCTOR<br />
CARMEN ROZESTRATEN<br />
CATHERINE RYAN<br />
TERRIE SAMUNDRA-GIRDNER<br />
STARR E. SHULMAN<br />
WENDY SLICK<br />
DALE SOPHIEA<br />
JESSE SPENCER<br />
PHILIP STILLMAN<br />
NOMI TALISMAN<br />
CHRIS WIGGUM<br />
DOUG WOLENS<br />
KENJI YAMAMOTO<br />
BEN ZWEIG<br />
SCREENING COMMITTEE<br />
DONORS<br />
VIDEO ARTS<br />
SAUL ZAENTZ MEDIA CENTER<br />
mvff.com
THURSDAY OCTOBER 8<br />
SATURDAY OCTOBER 10<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
tickets i k<br />
877.874.6833<br />
THROCK<br />
FILM CALENDAR<br />
US CINEMA WORLD CINEMA VALLEY OF THE DOCS CHILDREN’S FILMFEST 5@5 & MVFF SHORTS TRIBUTES/SPOTLIGHTS SEMINARS/MUSIC/TBA<br />
Precious: Based on<br />
the Novel “Push” by<br />
Sapphire<br />
7:00PM PREC08R<br />
109 MINS<br />
The Boys Are Back<br />
7:00PM<br />
BOYA08S<br />
104 MINS<br />
The Boys Are Back<br />
7:15PM<br />
BOYB08S<br />
104 MINS<br />
11 AM 12 PM 1 PM 2 PM 3 PM 4 PM 5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM 12 AM<br />
The Ten Lives of<br />
Titanic the Cat<br />
1:00PM<br />
TENL10R<br />
85 MINS<br />
Stalin Thought of<br />
You<br />
1:15PM<br />
STAL10R<br />
100 MINS<br />
Ricky Rapper<br />
1:30PM<br />
RICR10S<br />
85 MINS<br />
Zombie Girl: The<br />
Movie<br />
1:00PM<br />
ZOMB10T<br />
91 MINS<br />
Breath Made Visible<br />
2:00PM<br />
BREA10S<br />
80 MINS<br />
Miracle in a Box:<br />
A Piano Reborn<br />
3:00PM<br />
MIRA10R<br />
85 MINS<br />
Four of a Kind<br />
3:30PM<br />
FOUR10R<br />
115 MINS<br />
12 AM<br />
Aching Hearts<br />
3:45PM<br />
ACH10R<br />
125 MINS<br />
Race to Nowhere<br />
3:30PM<br />
RACE10S<br />
83 MINS<br />
FRIDAY OCTOBER 9<br />
Awakening from<br />
Sorrow<br />
4:30PM<br />
AWAK10S<br />
67 MINS<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
Bomber<br />
6:30PM<br />
BOMB09R<br />
84 MINS<br />
Aching Hearts<br />
6:00PM<br />
ACH09R<br />
125 MINS<br />
Tribute to Uma Thurman:<br />
Motherhood<br />
6:00PM<br />
TRIB10R<br />
130 MINS<br />
Passengers<br />
6:30PM<br />
PASS10R<br />
86 MINS<br />
Original<br />
6:15PM<br />
ORIG10R<br />
100 MINS<br />
Here and There<br />
6:00PM<br />
HERE10S<br />
90 MINS<br />
Spotlight on Clive Owen:<br />
Croupier<br />
7:00PM<br />
SPOT09P<br />
139 MINS<br />
An Education<br />
6:30PM<br />
EDUC09S<br />
100 MINS<br />
Soundtrack for a<br />
Revolution<br />
7:00PM<br />
SOUN10S<br />
82 MINS<br />
Saint Misbehavin’:<br />
The Wavy Gravy<br />
Movie<br />
6:45PM SAIN09S<br />
87 MINS<br />
Superstar<br />
8:30PM<br />
SUPE10R<br />
106 MINS<br />
Imbued<br />
9:00PM<br />
IMBU10R<br />
83 MINS<br />
Fish Tank<br />
8:30PM<br />
FISH10S<br />
124 MINS<br />
Eat the Sun<br />
8:30PM<br />
EAT09R<br />
90 MINS<br />
Original<br />
8:45PM<br />
ORIG09R<br />
100 MINS<br />
Ricky<br />
9:15PM<br />
RICY09S<br />
90 MINS<br />
Dark and Stormy<br />
Night<br />
9:15PM<br />
DARK10R<br />
93 MINS<br />
The Bass Player:<br />
A Song for Dad<br />
9:00PM<br />
BASS09S<br />
62 MINS<br />
Guy and Madeline<br />
on a Park Bench<br />
9:30PM<br />
GUY10S<br />
82 MINS<br />
Concert for a<br />
Revolution<br />
9:30PM<br />
MUSC10T<br />
120 MINS<br />
113
SUNDAY OCTOBER 11<br />
MONDAY OCTOBER 12<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
CINEMA<br />
US CINEMA WORLD CINEMA VALLEY OF THE DOCS CHILDREN’S FILMFEST 5@5 & MVFF SHORTS TRIBUTES/SPOTLIGHTS SEMINARS/MUSIC/TBA<br />
10 AM 11 AM 12 PM 1 PM 2 PM 3 PM 4 PM 5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
4 PM<br />
Stella and the Star<br />
of the Orient<br />
10:30AM<br />
STEL11S<br />
97 MINS<br />
5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
Room and a Half<br />
4:00PM<br />
ROOM12R<br />
130 MINS<br />
The Red Machine<br />
4:30PM<br />
REDM12R<br />
84 MINS<br />
5@5: Oscillate<br />
Wildly<br />
5:00PM<br />
5AT512R<br />
67 MINS<br />
5@5: America<br />
is Not...<br />
5:00PM<br />
5AT512S<br />
73 MINS<br />
Barking Water<br />
6:00PM<br />
BARK12S<br />
81 MINS<br />
The Letter for the King<br />
12:30PM<br />
LETT11R<br />
108 MINS<br />
Children’s <strong>Film</strong>Fest<br />
Party<br />
12:30PM<br />
PARTY11<br />
120 MINS<br />
Linoleum<br />
7:00PM<br />
LIN12R<br />
75 MINS<br />
Breath Made<br />
Visible<br />
6:45PM<br />
BREA12R<br />
80 MINS<br />
New Movies Lab:<br />
Girl Geeks<br />
1:00PM<br />
SEM11R<br />
120 MINS<br />
HomeGrown<br />
1:00PM<br />
HOME11S<br />
79 MINS<br />
Jermal<br />
7:15PM<br />
JERM12R<br />
88 MINS<br />
Shylock<br />
1:15PM<br />
SHYL11R<br />
108 MINS<br />
Jim Thorpe, The<br />
World’s Greatest<br />
Athlete<br />
1:15PM JIMT11S<br />
86 MINS<br />
The Private Lives of<br />
Pippa Lee<br />
7:00PM<br />
PRIV12S<br />
93 MINS<br />
Storm<br />
6:45PM<br />
STOR12C<br />
102 MINS<br />
–MEMBER SCREENING–<br />
Four of a Kind<br />
8:00PM<br />
FOUR12S<br />
115 MINS<br />
Insight: Henry Selick<br />
& the Art of Coraline<br />
3:15PM<br />
SEL11R<br />
90 MINS<br />
The Red Machine<br />
3:45PM<br />
REDM11R<br />
84 MINS<br />
Guy and Madeline<br />
on a Park Bench<br />
3:30PM<br />
GUY11R<br />
82 MINS<br />
Ricky<br />
3:30PM<br />
RICY11S<br />
90 MINS<br />
A Year Ago in Winter<br />
9:00PM<br />
YEAR12R<br />
128 MINS<br />
Sorry, Thanks<br />
9:30PM<br />
SORR12R<br />
93 MINS<br />
Here and<br />
There<br />
9:15PM<br />
HERE12R<br />
90 MINS<br />
Sparrow<br />
9:30PM<br />
SPAR12S<br />
87 MINS<br />
TBA<br />
Icons Among Us:<br />
jazz in the present<br />
tense<br />
4:00PM ICON11S<br />
97 MINS<br />
TUESDAY OCTOBER 13<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
CINEMA<br />
The Private Lives of<br />
Pippa Lee<br />
5:45PM<br />
PRIV11R<br />
93 MINS<br />
Elevator<br />
5:30PM<br />
ELEV11R<br />
85 MINS<br />
Room and a Half<br />
6:00PM<br />
ROOM11R<br />
130 MINS<br />
Tapped<br />
6:00PM<br />
TAPP11S<br />
76 MINS<br />
Motherhood<br />
6:30PM<br />
MOTH11S<br />
90 MINS<br />
The Eclipse<br />
8:15PM<br />
ECL11R<br />
88 MINS<br />
The Bass Player:<br />
A Song for Dad<br />
7:30PM<br />
BASS11R<br />
62 MINS<br />
The Maid<br />
8:15PM<br />
MAID11S<br />
95 MINS<br />
Imbued<br />
9:00PM<br />
IMBU11R<br />
83 MINS<br />
Live Show: Jazz<br />
Icons Among Us<br />
8:00PM<br />
MUSC11T<br />
90 MINS<br />
Sorry, Thanks<br />
9:00PM<br />
SORR11S<br />
93 MINS<br />
5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
5@5: Sister<br />
I’m a Poet<br />
5:00PM<br />
5AT513R<br />
62 MINS<br />
5@5: The<br />
More You...<br />
5:00PM<br />
5AT513S<br />
63 MINS<br />
Pierrot le fou<br />
6:00PM<br />
PIER13R<br />
110 MINS<br />
Saint Misbehavin’:<br />
The Wavy Gravy<br />
Movie<br />
7:00PM SAIN13R<br />
87 MINS<br />
HomeGrown<br />
6:45PM<br />
HOME13R<br />
79 MINS<br />
Skin<br />
6:45PM<br />
SKIN13S<br />
107 MINS<br />
The Horse Boy<br />
6:30PM<br />
HORS13S<br />
93 MINS<br />
Youth in<br />
Revolt<br />
7:00PM<br />
YOUT13C<br />
90 MINS<br />
The Maid<br />
9:15PM<br />
MAID13R<br />
95 MINS<br />
Shameless<br />
8:45PM<br />
SHAM13R<br />
88 MINS<br />
Superstar<br />
9:00PM<br />
SUPE13R<br />
106 MINS<br />
Passengers<br />
9:15PM<br />
PASS13S<br />
86 MINS<br />
Fish Tank<br />
9:00PM<br />
FISH13S<br />
124 MINS<br />
TBA<br />
mvff.com
WEDNESDAY OCTOBER 14<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
4 PM<br />
tickets i k 877.874.6833<br />
5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
FRIDAY OCTOBER 16<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
THURSDAY OCTOBER 15<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
4 PM<br />
The Girl on the<br />
Train<br />
4:00PM<br />
GIRL15R<br />
105 MINS<br />
FILM CALENDAR<br />
US CINEMA WORLD CINEMA VALLEY OF THE DOCS CHILDREN’S FILMFEST 5@5 & MVFF SHORTS TRIBUTES/SPOTLIGHTS SEMINARS/MUSIC/TBA<br />
The Horse Boy<br />
4:30PM<br />
HORS14R<br />
93 MINS<br />
The Swimsuit<br />
Issue<br />
4:15PM<br />
SWIM14S<br />
102 MINS<br />
5@5: America<br />
is Not...<br />
5:00PM<br />
5AT514R<br />
73 MINS<br />
5@5: Oscillate<br />
Wildly<br />
5:00PM<br />
5AT514S<br />
67 MINS<br />
Spotlight on Jason<br />
Reitman: Up in the Air<br />
6:30PM<br />
SPOT14R<br />
144 MINS<br />
White Wedding<br />
7:00PM<br />
WHIT14R<br />
93 MINS<br />
Linoleum<br />
7:15PM<br />
LIN14R<br />
75 MINS<br />
Surrogate<br />
7:00PM<br />
SURR14S<br />
74 MINS<br />
TRIMPIN:<br />
the sound of<br />
invention<br />
6:30PM TRIM14S<br />
79 MINS<br />
Elevator<br />
8:45PM<br />
ELEV14S<br />
85 MINS<br />
Insight: The<br />
Cassel Touch<br />
8:00PM<br />
CASS14T<br />
70 MINS<br />
The Eclipse<br />
9:15PM<br />
ECL14R<br />
88 MINS<br />
Tapped<br />
9:00PM<br />
TAPP14R<br />
76 MINS<br />
Hellsinki<br />
9:00PM<br />
HELL14S<br />
133 MINS<br />
MVFF HOSPITALITY LOUNGE<br />
Adjacent to the lobby of the Smith Rafael <strong>Film</strong> Center<br />
1118 Fourth St., San Rafael<br />
For our VIP guests, the Hospitality Lounge is the place to<br />
meet, mingle and relax before and after screenings and other<br />
Festival events. Decorated by Ruby LivingDesign, the Lounge<br />
offers complimentary newspapers from The New York Times,<br />
free internet access, premium wine courtesy of Townley<br />
Wines and Courtesan Wines, healthy snacks from popchips<br />
and delicious fare from Whole Foods Market. The Lounge<br />
is open daily to <strong>Film</strong>makers, Sponsors and other Festival<br />
badge-holders, as well as our Fast Pass, Cinema Benefactor<br />
and Premier Patron members. Please make sure to bring your<br />
badge or membership card to gain access to the lounge.<br />
HOSPITALITY LOUNGE SCHEDULE<br />
Oct. 8: 4:00–7:30 pm<br />
Oct. 9: 4:00–10:00 pm<br />
Oct. 10: 12:00–10:00 pm<br />
Oct. 11: 12:00–9:00 pm<br />
OUTDOOR ART CLUB<br />
1 West Blithedale Ave., Mill Valley<br />
From October 9–11, join us at the Outdoor Art Club (OAC)<br />
in downtown Mill Valley, just across the street from Ciné-<br />
Arts@Sequoia theater. It’s the hub of Festival activity, with<br />
daily happy hours, live music and Jamba Juice serving a menu<br />
of fresh smoothies, salads, wraps and sandwiches. Wine will<br />
be available courtesy of Balboa Café Mill Valley, with beer<br />
provided by Lagunitas Brewing Company.<br />
CAFÉ SCHEDULE<br />
Oct. 9: 4:00–8:00 pm<br />
Oct. 10-11: 12:00–8:00 pm<br />
Oct. 12-15: 4:00–9:00 pm<br />
Oct. 16: 4:00–10:00 pm<br />
Oct. 17: 12:00–10:00 pm<br />
Oct. 18: 12:00–6:00 pm<br />
5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
Reach for Me<br />
4:30PM<br />
REAC15R<br />
90 MINS<br />
5@5: The<br />
More...<br />
5:00PM<br />
5AT515R<br />
63 MINS<br />
5@5: Sister<br />
I’m a Poet<br />
5:00PM<br />
5AT515S<br />
62 MINS<br />
Jim Thorpe, The<br />
World’s Greatest<br />
Athlete<br />
5:15PM JIMT15S<br />
86 MINS<br />
Tribute to Woody<br />
Harrelson: The<br />
Messenger<br />
7:00PM TRIB15P<br />
152 MINS<br />
Meredith Monk -<br />
Inner Voice<br />
6:45PM<br />
MERE15R<br />
82 MINS<br />
Icons Among Us:<br />
jazz in the present<br />
tense<br />
6:30PM ICON15R<br />
97 MINS<br />
Apron Strings<br />
6:45PM<br />
APR15S<br />
89 MINS<br />
The Missing<br />
Person<br />
7:30PM<br />
MISS15S<br />
95 MINS<br />
Storm<br />
7:00PM<br />
STOR15T<br />
102 MINS<br />
4 PM 5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM 12 AM<br />
LATE ADDITION<br />
Sweet Rush<br />
4:00PM<br />
SWRU16R<br />
85 MINS<br />
SEE PAGE 112<br />
Shylock<br />
4:00PM<br />
SHYL16S<br />
108 MINS<br />
5@5: The<br />
Edges...<br />
5:00PM<br />
5AT516R<br />
61 MINS<br />
Shameless<br />
5:00PM<br />
SHAM16S<br />
88 MINS<br />
Tribute to Anna<br />
Karina: Victoria<br />
6:30PM<br />
TRIB16R<br />
135 MINS<br />
Stalin Thought<br />
of You<br />
6:00PM<br />
STAL16R<br />
100 MINS<br />
Zombie Girl:<br />
The Movie<br />
7:00PM<br />
ZOMB16R<br />
91 MINS<br />
Tenderloin<br />
6:45PM<br />
TEND16S<br />
79 MINS<br />
A Thousand<br />
Suns/Mustang<br />
7:00PM<br />
THOU16S<br />
64 MINS<br />
Jermal<br />
8:15PM<br />
JERM16R<br />
88 MINS<br />
Troupers: 50 Years of<br />
the San Francisco<br />
Mime Troupe<br />
7:30PM TROU16T<br />
150 MINS<br />
Red Cliff<br />
9:30PM<br />
REDC16R<br />
148 MINS<br />
TRIMPIN: the<br />
sound of invention<br />
9:00PM<br />
TRIM16R<br />
79 MINS<br />
One Crazy Ride<br />
8:45PM<br />
ONE16S<br />
87 MINS<br />
Happy Tears<br />
9:15PM<br />
HAPP16S<br />
95 MINS<br />
Hipsters<br />
9:00PM<br />
HIPS15R<br />
125 MINS<br />
Barking Water<br />
9:15PM<br />
BARK15R<br />
81 MINS<br />
This Is the Husband<br />
I Want!<br />
9:00PM<br />
THIS15S<br />
120 MINS<br />
Winnebago Man<br />
9:30PM<br />
WINN15S<br />
87 MINS<br />
115
SATURDAY OCTOBER 17<br />
SUNDAY OCTOBER 18<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
RAFAEL<br />
RAFAEL<br />
RAFAEL<br />
SEQUOIA<br />
SEQUOIA<br />
THROCK<br />
10 AM 11 AM 12 PM 1 PM 2 PM 3 PM 4 PM 5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
[BLANK.]<br />
11: 00AM<br />
BLAN17R<br />
96 MINS<br />
The Letter for the King<br />
10:30AM<br />
LETT17S<br />
108 MINS<br />
A Thousand<br />
Suns/Mustang<br />
12:00PM<br />
THOU17R<br />
64 MINS<br />
Eat the Sun<br />
12:00PM<br />
EAT17S<br />
90 MINS<br />
New Movies Labs:<br />
Distribution<br />
12:30PM<br />
SEM17T<br />
120 MINS<br />
10 AM 11 AM 12 PM 1 PM 2 PM 3 PM 4 PM 5 PM 6 PM 7 PM 8 PM 9 PM 10 PM 11 PM<br />
MINE<br />
12:30PM<br />
MINE18R<br />
80 MINS<br />
Stella and the<br />
Star of the Orient<br />
12:00PM<br />
STEL18R<br />
97 MINS<br />
Ricky Rapper<br />
1:00PM<br />
RICR17R<br />
85 MINS<br />
This Is the Husband<br />
I Want!<br />
12:00PM<br />
THIS18R<br />
120 MINS<br />
The Ten Lives of<br />
Titanic the Cat<br />
12:30PM<br />
TENL18S<br />
85 MINS<br />
The Girl on the Train<br />
1:45PM<br />
GIRL17R<br />
105 MINS<br />
Hellsinki<br />
2:00PM<br />
HELL17R<br />
133 MINS<br />
White Wedding<br />
1:30PM<br />
WHIT17S<br />
93 MINS<br />
Meredith Monk –<br />
Inner Voice<br />
1:00PM<br />
MERE18S<br />
82 MINS<br />
New Movies Lab:<br />
Active Cinema<br />
12:30PM<br />
SEM18T<br />
120 MINS<br />
Oh My God<br />
3:00PM<br />
OHMY17R<br />
98 MINS<br />
Miracle in a Box: A<br />
Piano Reborn<br />
2:30PM<br />
MIRA17S<br />
85 MINS<br />
Dark and Stormy Night<br />
3:45PM<br />
DARK17S<br />
93 MINS<br />
Project Happiness<br />
3:00PM<br />
PROJ17T<br />
87 MINS<br />
Soundtrack for<br />
a Revolution<br />
2:45PM<br />
SOUN18R<br />
82 MINS<br />
Apron Strings<br />
2:30PM<br />
APR18R<br />
89 MINS<br />
Oh My God<br />
2:30PM<br />
OHMY18S<br />
98 MINS<br />
One Crazy Ride<br />
3:00PM<br />
ONE18R<br />
87 MINS<br />
The Strength of<br />
Water<br />
4:15PM<br />
STRE17R<br />
86 MINS<br />
The Most Dangerous<br />
Man in America: Daniel<br />
Ellsberg<br />
3:15PM MOST18S<br />
94 MINS<br />
A Sweeter Music: A<br />
Live Concert - Sarah<br />
Cahill, John Sanborn<br />
3:30PM SWEE18T<br />
120 MINS<br />
Awakening from<br />
Sorrow<br />
4:45PM<br />
AWAK17R<br />
67 MINS<br />
MINE<br />
5:00PM<br />
MINE17S<br />
80 MINS<br />
The Missing<br />
Person<br />
5:30PM<br />
MISS17R<br />
95 MINS<br />
5@5: The<br />
Edges...<br />
5:30PM<br />
5AT517T<br />
61 MINS<br />
The Young<br />
Victoria<br />
5:15PM<br />
YOUN18R<br />
100 MINS<br />
Project Happiness<br />
5:00PM<br />
PROJ18R<br />
87 MINS<br />
The Most Dangerous<br />
Man in America: Daniel<br />
Ellsberg<br />
6:45PM MOST17R<br />
94 MINS<br />
The Swimsuit<br />
Issue<br />
6:45PM<br />
SWIM17R<br />
102 MINS<br />
A Year Ago in Winter<br />
6:15PM<br />
YEAR17S<br />
128 MINS<br />
Race to Nowhere<br />
5:45PM<br />
RACE18R<br />
83 MINS<br />
Looking for Eric<br />
5:15PM<br />
LOOK18S<br />
116 MINS<br />
The Strength of Water<br />
5:45PM<br />
STRE18S<br />
86 MINS<br />
FILM CALENDAR<br />
US CINEMA WORLD CINEMA VALLEY OF THE DOCS CHILDREN’S FILMFEST 5@5 & MVFF SHORTS TRIBUTES/SPOTLIGHTS SEMINARS/MUSIC/TBA<br />
Surrogate<br />
7:45PM<br />
SURR17R<br />
74 MINS<br />
Reach for Me<br />
7:15PM<br />
REAC17S<br />
90 MINS<br />
Cinemasports<br />
7:30PM<br />
CINE17T<br />
120 MINS<br />
TBA<br />
Skin<br />
7:30PM<br />
SKIN18R<br />
107 MINS<br />
Bomber<br />
7:45PM<br />
BOMB18R<br />
84 MINS<br />
TBA<br />
TBA<br />
Hipsters<br />
9:15PM<br />
HIPS17R<br />
125 MINS<br />
TBA<br />
Tenderloin<br />
9:00PM<br />
TEND17R<br />
79 MINS<br />
Hi De Ho Show<br />
9:15PM<br />
HIDE17S<br />
80 MINS<br />
Winnebago Man<br />
9:45PM<br />
WINN17S<br />
87 MINS<br />
mvff.com
FOUNDER AND DIRECTOR<br />
Mark Fishkin<br />
DIRECTOR OF PROGRAMMING<br />
Zoë Elton<br />
PROGRAMMING<br />
SENIOR PROGRAMMERS<br />
Karen Davis<br />
Janis Plotkin<br />
PROGRAMMERS<br />
Kelly Clement<br />
Amanda Todd<br />
CFI EDUCATION DIRECTOR/<br />
CHILDREN’S FILMFEST PROGRAMMER<br />
John Morrison<br />
PROGRAMMING ADMINISTRATOR/<br />
PROGRAMMER<br />
Holly Roach<br />
PROGRAMMING ASSISTANT<br />
Krissy Bailey<br />
SEMINAR COORDINATOR/<br />
PROGRAMMING ASSISTANT<br />
Beverly Thorman<br />
ACTIVE CINEMA COORDINATOR<br />
Ashley Nee<br />
122<br />
OPERATIONS<br />
FESTIVAL MANAGING DIRECTOR<br />
David Owen<br />
SYSTEMS AND OPERATIONS MANAGER<br />
Jack Roush<br />
PRINT TRAFFIC COORDINATOR<br />
Jesse Dubus<br />
FESTIVAL RECEPTIONIST<br />
Wendy Krueger<br />
VOLUNTEER COORDINATOR<br />
Jennie-Marie Adler<br />
SPECIAL EVENTS<br />
SPECIAL EVENTS MANAGER<br />
Jesse Lindow<br />
SPECIAL EVENTS ASSISTANT<br />
Jennifer Oberti<br />
OUTDOOR ART CLUB COORDINATOR<br />
Elise Kushner<br />
LOGISTICS MANAGER<br />
Paul Hegarty<br />
LOGISTICS ASSISTANT<br />
Craig Walton<br />
ADMINISTRATION/DEVELOPMENT<br />
EXECUTIVE ASSISTANT<br />
Maureen Galliani<br />
FINANCE MANAGER<br />
Connie Chang<br />
CORPORATE DEVELOPMENT DIRECTOR<br />
Liana Bender<br />
FOUNDATION AND INDIVIDUAL GIVING<br />
DIRECTOR<br />
Atissa Manshouri<br />
DEVELOPMENT ASSOCIATE<br />
Elizabeth Duran<br />
MEMBERSHIP MANAGER<br />
John Risos<br />
DEVELOPMENT COORDINATOR<br />
Beau Blanchard<br />
ADMINISTRATIVE ASSISTANT<br />
Joanne Sorresse<br />
MEMBERSHIP ASSISTANT<br />
Suzi Hynes<br />
mvff.com
MARKETING/PUBLICITY<br />
CFI MARKETING & COMMUNICATIONS<br />
MANAGER<br />
Maureen Dixon<br />
WEB MANAGER<br />
Ilya Tovbis<br />
MARKETING & COMMUNICATIONS<br />
ASSISTANT<br />
Ashley Soares<br />
PUBLICITY COORDINATOR<br />
Natalie Mulford<br />
PRINCIPAL PUBLICISTS<br />
Stephanie Clarke, Hamilton Ink<br />
Karen Larsen, Larsen Associates<br />
PUBLICISTS<br />
Clara Franco, Gabrielle Harris, Kelda<br />
McKinney, Leo Wong<br />
PHOTOGRAPHY COORDINATOR/LEAD<br />
PHOTOGRAPHER<br />
Tommy Lau<br />
PUBLICATIONS/DESIGN<br />
CFI ART DIRECTOR<br />
John Mavroudis<br />
MANAGING EDITOR<br />
Rose Anne Raphael<br />
COPY EDITOR<br />
Robert Avila<br />
PROOFREADER<br />
Susan Sachs Lipman<br />
PRINT ADS<br />
Winifred MacLeod<br />
GRAPHIC DESIGNER<br />
Melissa LaChance<br />
GUEST SERVICES<br />
GUEST SERVICES MANAGER<br />
Joni Cooper<br />
tickets 877.874.6833<br />
HOSPITALITY COORDINATOR<br />
Susie Dodge<br />
TRANSPORTATION COORDINATOR<br />
Phoebe Tooke<br />
THEATER/TECHNICAL<br />
OPERATIONS<br />
THEATER OPERATIONS COORDINATOR<br />
Lauren Freyer<br />
TECHNICAL DIRECTOR<br />
Jeremy Stevermer<br />
TECHNICAL ADVISOR<br />
Marty Brenneis<br />
TECHNICAL ADVISOR/EDITOR<br />
Marcus Pun<br />
BOX OFFICE COORDINATOR<br />
Mitch Vaughn<br />
BOX OFFICE MANAGEMENT<br />
In Ticketing<br />
LEAD PROJECTIONIST<br />
Ryan Hastie<br />
PROJECTIONISTS<br />
Wayland Bell, Alexandra Cantin, Zoe Cohen,<br />
Griffi n Couillard, Kara Harald, Nathan<br />
Hoffman, Maria Judice, David Krah, Lucy<br />
Laird, Brendan Lucas, Nayt Myers, Doug<br />
Nadeau, Max Savage, Jake Waddell<br />
THEATER MANAGER<br />
Kate Aragon<br />
THEATER STAFF<br />
Chalena Alston, Ashley Baker, Michael<br />
Beuttler, Julian Calella, Sue Campbell, Ryan<br />
Castañeda, Gyllian Christiansen, R.J.<br />
Ciccaglione, Chelsea Cooper, Jennifer<br />
Dardis, Saundra Efron, Kristen Fay, Roy<br />
Harlib, Chase Harris, Suzi Hynes, Tim Isom,<br />
Nadine Johnson, John Kemmeter, Morgan<br />
LaManna, A.T. Lynne, Ben Madrigali, L.<br />
Jeffrey Moore, Hayley Nenadal, Derek<br />
Petrillo, Brittany Poling, Dylan Redford, Matt<br />
Smith, Katelyn Sullivan, Cole Sutton,<br />
Alysanne Taylor, Jennifer Tien, Nicole Vu<br />
<strong>2009</strong> FESTIVAL STAFF<br />
CHRISTOPHER B. SMITH RAFAEL<br />
FILM CENTER<br />
DIRECTOR OF PROGRAMMING<br />
Richard Peterson<br />
MANAGER<br />
Dan Zastrow<br />
PROGRAM CONSULTANT<br />
Jan Klingelhofer<br />
ASSISTANT MANAGER<br />
Tim Fross<br />
SHIFT MANAGER<br />
Emily Hill<br />
INTERNS<br />
PROGRAMMING INTERNS<br />
Veronica Bretzer<br />
Mandy Groshong<br />
Anna Laclergue<br />
Natalie Martens<br />
Fabienne Menette<br />
Benjamin Thornton<br />
Joie Tran<br />
COMMUNITY OUTREACH INTERNS<br />
John Ahlers<br />
Chase Azimi<br />
SPECIAL EVENTS INTERN<br />
Katie White<br />
EDUCATION INTERNS<br />
Melanie Nichols<br />
Stradi Sibulboro<br />
OPERATIONS INTERNS<br />
Thomas Churchill<br />
Andrew Rose<br />
Scott Sandefur<br />
123
As we move through the markers of our year, there are<br />
reminders of Pam—her enthusiasm, her connections with<br />
people, with friends. Fleeting moments,<br />
a reminder, then gone. Or a memory<br />
surfaces—remember that great image<br />
of Pam with Pierce Brosnan when he<br />
was here with his fi lm The Matador? Or<br />
the wonderful recognition of all her volunteer<br />
work, when she was named Mill<br />
128<br />
PAM HAMILTON<br />
1947—2008<br />
The image of our longtime publicist<br />
Pam Hamilton’s vibrant presence—<br />
impeccable, smiling, welcoming, very<br />
together—at Mill Valley <strong>Film</strong> Festival’s<br />
opening night is deeply embedded in the<br />
annals of this organization, this event. So it was<br />
an odd experience, a little nerve-wracking, to<br />
attend the opening last year and know that Pam<br />
would not be there. She was a constant for the<br />
last two-plus decades—since 1986, actually—and<br />
there was always comfort in knowing she was on<br />
the job. We are a part of each other’s rituals.<br />
MEMORIAL<br />
Valley Citizen of the Year in 2008? Such memories give<br />
pause for thought, a reminder that she will always have<br />
a presence in the things we have<br />
created together. And while we still<br />
miss Pam, the resonance of who<br />
she is in our lives is undiminished.<br />
We are, indeed, a part of each<br />
other’s rituals—and a part of each<br />
other’s lives.<br />
mvff.com
MVFF THEATRICAL TRAILER<br />
tickets 877.874.6833<br />
CREATIVE CREDITS<br />
Concept/Written By Dennis Scheyer<br />
Creative Direction Dennis Scheyer<br />
Produced By Dennis Scheyer<br />
Production and Design L.inc Design<br />
Creative Director Lisa Berghout<br />
Director/Editor Ed Apodaca<br />
Director of Photography Chris Conroy<br />
Designers Mont Watanasiriroch, Cameron McEfee<br />
Camera Calumet Photographic<br />
For Branch Represents Anastacia Maggioncalda<br />
For Capitola Media Chris Bunney<br />
Hair/Makeup Tacha Scott<br />
<strong>Film</strong> Transfer Spy Post, Chris Martin<br />
Found Footage The Other Cinema<br />
Music/Sound Design Sine Language<br />
Composer/Sound Designer Steve Bissinger/Sine Language<br />
Sound Mix Skywalker Sound<br />
Director of Operations Josh Lowden<br />
Re-recording Mix Jurgen Scharpf<br />
Sound Opticals NT Audio<br />
<strong>Film</strong> Processing/Prints Technicolor<br />
DI Technicolor Digital Intermediates<br />
Telecine/Layback Technicolor Creative Services, Hollywood<br />
Producer Matt Bellanger<br />
<strong>Film</strong> Print Stock Eastman Kodak Company<br />
Thank You Dario Apodaca, Olivia Barnett, Sarah Bunney, Blake Bunney, Angira Angie Chinda,<br />
Remy Davenport, Ellen Davenport, Kevin Head, Tacha Scott, Robin Taylor<br />
PRINTED MATERIALS<br />
MVFF32 GRAPHIC DESIGN<br />
Poster John Casado<br />
<strong>Program</strong> Cover John Casado<br />
Advertisements John Casado<br />
PROGRAM PRODUCTION<br />
Graphic Design, Art Direction John Mavroudis<br />
Production, Digital PrePress Giraffex Inc., Kenneth Lockerbie, Richard Repas<br />
PUBLICITY<br />
AGENCY Larsen Associates<br />
Principal Karen Larsen<br />
Publicist Kelda McKinney, Leo Wong<br />
AGENCY Hamilton Ink<br />
Principal Stephanie Clarke<br />
Publicists Clara Franco, Gabrielle Harris<br />
129
Ioan Allen<br />
Brian Auger<br />
Michal Aviad<br />
Richard Barker<br />
Pat Barlow<br />
Nat Baruch<br />
Jane Bay<br />
Peter Belsito<br />
David Bergad<br />
Dan Berger<br />
Robert Berney<br />
Andrew Bernstein<br />
Andrea Bertolini<br />
Tim Bird<br />
Linda Blackaby<br />
David Bonbright<br />
Janis Bosenko<br />
Bruno Bossio<br />
Donna Bradford<br />
Ann Brebner<br />
Marty Brenneis<br />
Ken Broad<br />
Peter Broderick<br />
Jim Browne<br />
Tom Bruchs<br />
Stefanie Budiman<br />
Desiree Buford<br />
Meghann Burns<br />
Rita Cahill<br />
John Casado<br />
Sarah Cathers<br />
Chris Chappell<br />
Mich Chau<br />
Stephanie Clarke<br />
Howard Cohen<br />
John Comerford<br />
Keith Cowling<br />
Peter Coyote<br />
Ninfa Dawson<br />
Aurora Dennis<br />
Stephen Dobbs<br />
Kathleen Drumm<br />
Alexa Dvorson<br />
Michael Dyett<br />
Eric Edmeades<br />
Ingrid Eggers<br />
Jens Carl Ehlers<br />
Larry Eilenberg<br />
Moy Eng<br />
Michael Farmer<br />
Emily Feingold<br />
David Fenkel<br />
Doug Ferguson<br />
Cathy Ferrari<br />
Lindsay Fishkin<br />
Lorrie Fishkin<br />
Nancy Fishman<br />
Gary Flatow<br />
tickets 877.874.6833<br />
ADDITIONAL ACKNOWLEDGMENTS<br />
Jim Flavell<br />
Ben Fong-Torres<br />
Julie Fontaine<br />
Michael Fox<br />
Neil Friedman<br />
Sid Ganis<br />
Daven Gee<br />
John Goddard<br />
John Godsey<br />
Len Gordon<br />
Sandy Gow<br />
Laurel Graver<br />
Alice Gray<br />
Ted Greenberg<br />
Nancy Gribler<br />
David Guastavino<br />
Robin Gurland<br />
Shawn Guthrie<br />
Peggy Haas<br />
Lynne Hale<br />
Muriel and Murray<br />
Hammond<br />
Hilary Hart<br />
David Haydon<br />
Eva Haydon<br />
Anna Heidinger<br />
Burr Heneman<br />
Melissa Howden<br />
Mary Hrize<br />
Marcus Hu<br />
Suzi Hynes<br />
Richard Idell<br />
Susan Idell<br />
Joel Jaffe<br />
Jin Woo Joo<br />
Bruce Katz<br />
John Killacky<br />
Jan Klingelhofer<br />
Rose Kuo<br />
Anne-Marie Kurstein<br />
Claudia Landsberger<br />
Graham Leggat<br />
Chad Lent<br />
Lee Lewis<br />
Ken Lockerbie<br />
Brendan Lucas<br />
Mickey Luckoff<br />
Tom Luddy<br />
Jennifer MacCready<br />
Becky MacDonald<br />
John MacLeod<br />
Christa Maerker<br />
Anastacia Maggioncalda<br />
Janet Magleby<br />
Van and Lydia Maroevich<br />
Charles McGlashan<br />
Peter McLaughlin<br />
Denise Meehan<br />
Ann Marie Melanephy<br />
Lucy Mercer<br />
Gary Meyer<br />
Sean Mitchell<br />
Anne Montgomery<br />
Cornelius Moore<br />
Julie Morgan<br />
Christophe Musitelli<br />
Russell Nelson<br />
Simone Nelson<br />
Laureen Novak<br />
Erin Orr<br />
Courtney Ott<br />
Joanne Parsont<br />
MJ Peckos<br />
Brandon Peters<br />
Dr. Thomas Peters<br />
Mark Pitta<br />
Mimi Plauché<br />
Paul Powers<br />
Sue Priolo<br />
Elaine Proctor-Bonbright<br />
Marcus Pun<br />
Denise Ream<br />
Steven Reder<br />
Richard Repas<br />
Steven Restivo<br />
Jeff Ross<br />
Peg Roush<br />
Scott Rowitz<br />
Hal Rowland<br />
George Rush<br />
John Sanborn<br />
Patricia Sarris<br />
Jason Saunders<br />
Peter Scarlet<br />
Dennis Scheyer<br />
Susan Schwartz<br />
Kathy Severson<br />
Ali Reza Shahroki<br />
Steve Shane<br />
Tiffany Shlain<br />
Toril Simonsen<br />
Dr. Joel Sklar<br />
Christopher B. and Jeannie<br />
Meg Smith<br />
Fiske Smith<br />
Shelley Spicer<br />
Peter Stein<br />
Ruthe Stein<br />
Anna Stenberg<br />
Judy Stone<br />
Tim Stone<br />
Paul Supplee<br />
Melanie Tebb<br />
Blake and Bev Thorman<br />
Kyle Thorpe<br />
Amanda Todd<br />
Evelyn Topper<br />
Marc Urbaitel<br />
Sean Uyehara<br />
Janet Visick<br />
Marc Vogl<br />
Clare Wasserman<br />
Rob Wasserman<br />
John C. Weaver III<br />
Joanne Webster<br />
Steve Weisz<br />
Ryan Werner<br />
Jay Wertzler<br />
Jeff White<br />
Skip Whitney<br />
Morty Wiggins<br />
Chris Wiggum<br />
Deanna Williams<br />
Kimberly Wilson<br />
Susan Wolfe<br />
Chi-hui Yang<br />
Indi Young<br />
Simon Young<br />
Saul Zaentz<br />
Christine and Roberto<br />
Zecca<br />
Zach Zeisler<br />
Ilona Ziok<br />
Ben Zweig<br />
131
CINEMA BENEFACTOR<br />
Dennis Bouvier, Joe Carlomagno, Peter<br />
Coyote, Joanne Dunn, Steve Edelman, Larry<br />
Eilenberg, Paul Elliott, Carla Emil, Melissa<br />
Fairgrieve, Tracy Ferron, Joseph Fink, Karen<br />
Fry, Yolanda Gibson, Paul Ginsburg, Michelle<br />
Griffi n, Robert Griswold, Leslie Hansen,<br />
Doug Kaye, Don Kelleher, Anne LaFollette,<br />
Deborah Matthies, Nion McEvoy, Harold<br />
Parker, Dwight Peterson, Ellie Phipps Price,<br />
Chuck Pratt, James Redford, Art Rothstein,<br />
Deborah Santana, Bradley Shore, Vickie<br />
Soulier, Francoise Stone, Peter Trethewey<br />
PREMIER PATRON<br />
Laurie Ackman, Stewart Boxer, Virginia<br />
Brenner, David Elliott, Jennifer Fearon, James<br />
Finkelstein, Joan Glassheim, Scott Hanson,<br />
Roy Hardiman, Lynn Holton, Devorah Jacoby,<br />
Elisabeth Jaffe, Kathryn Johnson, Conrad<br />
Jorgensen, Michael Kasman, Timothy La<br />
Badie, Carol Marshall, Alia Meyer, Bill Meyer,<br />
Dennis Muren, Catherine Newman, Thomas<br />
Obletz, Liz Palacios, Sarita Patel, Bruce<br />
Raabe, Kirsten Shilakes, Martin Smith, J.<br />
Dietrich Stroeh, Ray Taylor, Elaine Tope,<br />
Eileen West<br />
DIRECTOR’S CIRCLE<br />
Ioan Allen, David Anderman, Amy Baldin,<br />
Helen Baldovinos, Michael Besselievre, Mark<br />
Bettini, lori Bonn, Albert Boro, Gina Brewer,<br />
Michael Bronshvag, Kelly Browning, William<br />
Burkart, Anne Caple, Joel Coopersmith, Kristi<br />
Denton Cohen, George Diruscio, Julian<br />
Eggebrecht, Judith Ets-Hokin, Stephanie<br />
Evans, Josh Felser, Jean-Louis Forcina, James<br />
Forsell, Richard Gordon, Catherine Goshay,<br />
Laurel Graver, Pat Gurin, Alfred Heller, Allan<br />
Herzog, Marcelo Hirschler, Clarke Holland,<br />
Donna Howard, Allan Jackman, Larry Krames,<br />
Huey Lewis, Tamra Mobley, David Nasaw,<br />
Linda Nelson, Jacklyn Ng, Erika Noli, Ellen<br />
Obstler, Robin Parer, Joy Phoenix, Russ Pratt,<br />
Natalie Redpath, Gary Rifkind, Nancee<br />
Rubinstein, Daniel Scher, Dorene Schiro,<br />
Mary Lee Strebl, Julia Sze, Kerry Tepperman,<br />
Blake Thorman, Kathryn Thyret, Evelyn<br />
Topper, Amy Tuthil-Strachan, Diane Wakelin,<br />
Ginger Watson, Judy Webb, Richard Wimmer<br />
GOLD STAR<br />
Pam Abendroth, Claire Adams, Jack Adams,<br />
Chris Adessa, Elliot Adler, Marianne Agnew,<br />
Karen Albini, Daniel Altman, Juliette<br />
Ambatzidis, Janice Anderson-Gram, Thomas<br />
Andrews, Nancy Angelo, Joel Armstrong,<br />
Douglas Ascher, Miriam Attias, Ann Aversa,<br />
tickets 877.874.6833<br />
Maria Aversa, Georgia Bailey, Stanley Bailis,<br />
Karen Barbour, Kathryn Barcos, Theodore<br />
Barnett, Cora Baron, Lorraine Barry, Greg<br />
Batlin, Joanna Beard, Angela Beck, Rita<br />
Becker, Robert Becker, Jean Bedecarrax,<br />
Madeleine Behle, Bahram (Bob) Behray,<br />
Patricia Hale Belden, Irene Belknap, David<br />
Benjamin, Sue Bennett, Marshall Bentley,<br />
Ernest Bergman, Rayna Bernard, Linden<br />
Berry, Robert Berry, Mark Bewsher, Kathryn<br />
Beyers, Adrienne Biggs, Deborah Binnion,<br />
Arthur Bjork, Franklin Blackford, Earl Blauner,<br />
Margaret Blunt, Jacqueline Bly, Melinda<br />
Booth, Alan Boyar, Claire Bradenberg,<br />
Roberta Bradshaw, Daniel Brady, Peter<br />
Brandelius, Cheryl Brandon, Mimi Brasch,<br />
Mara Brazer, Anji Brenner, Girija Brilliant, Lisa<br />
Brow, Jane Brown, Matthew Brown,<br />
Stephanie Brown, Nanci Buck, Joe Bunker,<br />
Judy Burgio, Machelle Burkstrand, Marilyn<br />
Burns, Arlene Burstrem, Robert Burton, Kathy<br />
Burwell, Robert Butler, Cia Byrnes, Bill Cahill,<br />
Jo Alice Canterbury, Lauren Cargill, Terry<br />
Carlisle, Lynne Carmichael, Lee Carson,<br />
Donna Casella, Mark Casillas, Brian<br />
Chadbourne, Kirk Citron, Marilyn Cleland,<br />
Barbara Clifford, Leslee Coady, Ann Coffey,<br />
Richard Cogan, J. Donald Cohen, Nina<br />
Cohen, Don Cohon, Cayla Coleman, Kevin<br />
Conklin, Cecilia Conte, Pali Cooper, Wayne<br />
Cooper, Ron Cope, Jacqueline Cormier,<br />
Elaine Cramer, Teresa Crosbie, Jeff Cullen,<br />
Eliza Cummings, Gatian Cunningham,<br />
Richard Cunningham, Nancy Curley, Linda<br />
Curtis, Violaine D’Amour, Gail Danchig, Abby<br />
Danielson, Jennifer Dardis, Melinda<br />
Darlington-Bach, Rosemarie Davies, Thomas<br />
Davis, Ellen Day, Warren DeGraff, Sally<br />
Dehart, Kathy DeLeon, Janine DeMartini, Mari<br />
Jon Di Basilio, Ernie Dibenedetto, Le Roy<br />
Diotte, Victoria Diotte, Stephen Dobbs,<br />
Hillary Don, John Donley, Gayle Donsky,<br />
Daniel Drasin, Carol Duffy, Susan Duncan,<br />
David Dunham, Tedi Dunn, Bette Durham,<br />
Sheila Dutton, Cathy Edgett, Mary Edwards,<br />
Richard Einstein, Nancy Ellenbogen, Lisa<br />
Ellis, Suzanne Engelberg, Monique Epstein,<br />
Hayden Evens, Anna Everest, Julie Exley,<br />
Joanne Fabian, Joseph Faimali, Tawna Farmer,<br />
Bill Farrer, Alan Feren, Rachel Ferrier, Lynda<br />
Fiesel, Richard Fikes, Greg Filder, Phillip<br />
Fleishman, Carl Flemming, Margritha Fliegauf,<br />
Abbi Fox, Linda Fox, Sharon Fox, Rose Ann<br />
Frank, Bruce Frantzis, Jeffrey Freedman,<br />
Richard Fregulia, Jeffrey Freiberg, Sheldon<br />
Freisinger, Lindsey Fross, Christopher Fuller,<br />
Neysa Furey, Kathleen Gaines, Sue Galassi,<br />
Luisiana Gale, Frank Gamma,<br />
CFI MEMBERS<br />
Sanford Garfi nkel, Barbara Gay, Robert<br />
Gehlen, David Geisinger, Warren George,<br />
Rita Gershengorn, Jacqueline Gerson, Lewis<br />
Gibbs, Jeffrey Gilliam, Nina Gladish, James<br />
Goldberg, Karen Goldberg, Barbara Golden,<br />
Alvin Goldstein, Nancy Goldstein, Lois<br />
Goodall, Stephen Gordon, Lenore Gordon-<br />
Kokjer, Bernard Gore, Loraine Grace, Linda<br />
Graham, Frances Gray, William Green,<br />
Mitchell Greenberg, Frank Greene, Peggy<br />
Greenfi eld, William Griffi n, Maureen Groper,<br />
Daniel Grossman, Wynne Grossman, Nancy<br />
Grover, Diane Grubb, Sabrina Guthrie,<br />
Marijane Guy, Stuart Hagmann, Kathleen<br />
Hahn, Carie Haimovitch, Fran Halperin,<br />
Marvin Halpern, Rosalind Hamar, Muriel<br />
Hammond, Thomas Hand, Karen Hardesty,<br />
Steve Harnsberger, Kevin Haroff, Lauri<br />
Harper, Elizabeth Harrington, Richard Harris,<br />
Gayle Hartsook, Eliza Haskins Koeppel, Fern<br />
Hassin, Reilly Hayes, Ann-Eve Hazen, Helen<br />
Hebert, Roger Hedin, Richard Heisel, Wayne<br />
Heldt, Karen Hemmeter, Monica Heredia, Tom<br />
Herington, Nancy Hills, Faye Hinze, Jacquelyn<br />
Hoffner, James Holden, Jill Holden, Patricia<br />
Holden, Holly Hollenbeck, Lori Holmgren,<br />
Eliot Holtzman, Philip Hordiner, Richard<br />
Hoskins, Pat Houck, James Howard, Jo<br />
Howard, Richard Howard, Nancy Hudson,<br />
Robert Huebner, Sandy Hufford, Bettina<br />
Hughes, Kimberly Hughes, Trevor Hughes,<br />
Cara Hunt, Richard Hunt, Chris Hurwitz, Eric<br />
Ingerson, Patricia Irwin, Rex Ishibashi, Gary<br />
Jaffe, Helene Jaffe, Paula Jaffe, Nick Javaras,<br />
Roberta Jeffrey, Janet Jennings, Gail Joerger,<br />
Buz Johanson, Leslie Johnson, Thomas<br />
Johnson, Jyll Johnstone, Mary Jones, Alison<br />
Juestel, Jeanette Kadesh, Susan Kaeuper,<br />
Laurie Kahn, Erin Kane, Raymonde Kaplan,<br />
Beth Karsen, Dan Kasman, James Kasper,<br />
Peggy Katcher, Alan Kay, Cara Kazanowski,<br />
Kathryn Keating, Virginia Keeley, Gillian<br />
Keirle, David Kell, Gregg Kellogg, Claudia<br />
Kelly, Deborah Kemper, Todd Kendall, Tom<br />
Kernan, Russ Kiernan, Jean Killacky, Julie<br />
Kimball, Kathleen King, Manuela King, Gail<br />
Kirst, Christina Kitze, William Kleinecke, Lori<br />
Kline, Thomas Knez, Steve Knox, Bruce<br />
Koren, Kathleen Korth, Mary Beth Kraft,<br />
Susan Kraft, Josephine Kreider, Travis<br />
Krepelka, Jeff Kroot, K.H. William Krueger,<br />
Lynn Kuhn, Kevin Kurtz, Robert Kustel,<br />
Andrew Land, Cindy Lang, Monica Lange,<br />
Paul Laperriere, Jeffrey Lapic, Tanya Laramie,<br />
Jean Larette, Michael Lasky, Teresa Law,<br />
Judith Layne, Kathryn Lazzaretti,<br />
Eileen Leatherman, Nancy Leavens,<br />
Peter Lenn, Louis Lenzen,<br />
143
Bonnie Leonard, Leslie Leslie, David Levine,<br />
Susan Levine, Warren Levinson, Mark Levy,<br />
Janice Link, Jessica Link, Mark Litwin, Ruth<br />
Livingston, John Lobato, Lisa Lord, Ellen<br />
Loring, Ed Lowe, J Mitchell Lowe, Tracy Loy,<br />
Michael Luckoff, Marijane Lynch, Cheryl<br />
Lyons, Charles Maher, Michael Malone, Bill<br />
Manheim, Lisa Mannheimer, Richard<br />
Mannheimer, Michele Manos, Jeanette<br />
Margolin, Gordon Marks, Michael Marron,<br />
Cecily Martin, Diane Martin, Roberta Masson,<br />
Leonard Mastromonaco, Yvonne McAllister,<br />
Trish McCabe, Duncan McCandless, Bryan<br />
McCarthy, Carla McDonald, Patricia<br />
McDowell, James McElwee, Judith McKelvey,<br />
Bill McKeon, Cameron McKinley, C.D.<br />
McKown, Marcia McLean, Steve McNamara,<br />
Wallace McOuat, Miriam McPhaul, Meleea<br />
Meden, Paige Medina, Ann Marie Melanephy,<br />
Bob Mendelsohn, Nikki Meredith, Miriam<br />
Meshel, Merle Meyers, Jan Mickelson,<br />
Kathleen Mikkelson, Abigail Millikan-States,<br />
Mary Miner, Laura Miwa, Stephen Mizroch,<br />
Geo Monley, Kathryn Moore, Melinda Moore,<br />
Sheila Moore, Jann Moorhead, Chris Morgan,<br />
Mark Morris, Deborah Moskowitz, David<br />
Mount, Katie Mullowney, Chris Mumford,<br />
Linda Munoz, Russell Munsell, Walter Murch,<br />
Jeffrey Myer, Barbara Myers, Alice Nadler,<br />
Louise Nave, Katrina Neill, Mark Nelson, Linda<br />
Nero, Robert Newcomer, Bea Newhall,<br />
Melanie Nichols, Marianne Nishifue, Mark<br />
Northcross, Wulfrin Oberlin, Constance<br />
Oclassen, Thomas O’Connell, Roger<br />
Odenberg, Patti Ogden, Kevin O’Malley, Paul<br />
Orbuch, Marilyn Oronzi, Steve Oroza, David<br />
Ortez, Philip Ouyang, John Palmer, David<br />
Parisi, Cynthia Parker, Diana Parker, Debra<br />
Paterson, Jeffrey Pearl, Richard Pechner,<br />
Robert Pedrin, Bob Peisert, Debra Pellinacci,<br />
Melanie Pena, Glenn Perelson, Jennifer<br />
Perini, Kelli Petersen, Neil Peterson, Patricia<br />
Pignan, Peter Pike, Stephanie Plante, Janne<br />
Platt, Michael Polaire, Denise Polt, Marie<br />
Porti, Laura Powell, Owen Prell, Madeleine<br />
Provost, Sarah Pruden, Paul Prusiner, Mary<br />
Lou Ragghianti, Wini Ragus, Lidia Rajeff,<br />
Charles Raven, Margaret Redfi eld, Kathy<br />
Reed, Morgan Reis, Frank Rettenberg,<br />
Elwood Reynolds, Alice Rich, Cathy Richardi,<br />
Barbara Richardson, Peter Richmond, Steve<br />
Riffkin, Susan RoAne, Diane Robak, Ken<br />
Robin, Cathleen Roche, Narenda Rocherolle,<br />
Thomas Rosbrow, Louis Rosenbaum, Joel<br />
Rosenberg, Dan Ross, Stewart Ross, Morton<br />
Rothman, Richard Rozen, Alan<br />
Rubin, Jillian Rudman, Neil<br />
Rudolph, Fred Rudow,<br />
144<br />
Susanna Russo, Carole Rutherford, Helen<br />
Rutledge, Donna Saberman, Edwin Sabrack,<br />
Benny Sadeh, Gretchen Saeger, Tom<br />
Sampson, Mark Sanders, Marlene Saritzky,<br />
Frank Sarmir, Maggi Saunders, Naomi<br />
Saunders, Jack Schafer, Mark Schatz, Lois<br />
Scheinberg, Sonja Schmid, Elizabeth<br />
Schmitt, David Schnapf, Lorin Schneider,<br />
Roseann Schneider, David Schrader, Donald<br />
Schuerholz, Herb Schuyten, Jane Scott,<br />
Barbara Searles, Jeff Sears, Peg Shalen, Ann<br />
Shaw, Lynda Sheehan, Shannon Sheppard,<br />
Kathleen Shore, Richard Shore, Eileen<br />
Siedman, Dan Siegel, Michael Silberstein,<br />
Bibi Sillem, Ivan Silverberg, Jon Sinclaire,<br />
Jane Singer, Marcus Siu, Helen Sklov,<br />
Matthew Slepin, Caroline Smith, Judy Smith,<br />
Lee Smith, Antoinette Snyder, Vivian Snyder,<br />
Carol Solomon, Judy Sommer, Cheryl<br />
Spalinger, Leonard Sperry, Marilyn Spiering,<br />
Bonnie Spiesberger, Laurie Spiesberger,<br />
Bettina Sporkenbach, Mae Stadler, George<br />
Stameroff, Leonard Stecklow, Alan Steier, Jill<br />
Stephens, Molly Sterling, Richard Stern,<br />
Beverly Sterry, Saor Stetler, Iris Stevens,<br />
Barbara Stewart, Joe Stewart, Norman Stone,<br />
Terry Strauss, Steve Stromberg, Chuck<br />
Stuckey, Charles Sugarman, Gail Sullivan,<br />
Barbara Summers, Susan Sutton, Sanford<br />
Svetcov, Toby Symington, Peter Tabet, Cheryl<br />
Tallman, Carole Talmage, Patricia Tanoury,<br />
Graham Taylor, Sari Taylor, Rochelle Teising,<br />
Donna Terdiman, Phyllis Thelen, Robert<br />
Thesman, John Thomas, Joyce Thomas,<br />
Kathleen Thompson, Will Thompson, Tom<br />
Thorner, Jane Todd, Barbara Tomber, Mel<br />
Tukman, Gene Turtle, Kirk Uhrlaub, Kevin<br />
Uriu, Chris Valentino, WM Van Ingen, Mary<br />
Vella, Andrea Visconte, Linda Waddington,<br />
Kenneth Waldeck, Martha Walters, Deirdre<br />
Warin, Jessica Wasserman, Dan Watrous,<br />
Elizabeth (Betsy) Waud, Barbara Webb,<br />
Phyllis Weber, Sandra Weinberg, Susan<br />
Wheel, Lawrence White, September<br />
Williams, Karen Willig, Chris Wilsey, Jody<br />
Wilson, Monique Winkler, Mordechai Winter,<br />
Bruce Wintroub, Najean Witt, Stephanie<br />
Witt, Amber Wong, Michael Woods, Kirke<br />
Wrench, Deborah Wright, Annella Wynyard,<br />
Jerry Young, Barbara Zamost, Martin Zankel,<br />
Josephine Zeitlin<br />
FILM FAN<br />
Paul Alpert, Juliette Anthony, Ann Armour,<br />
Lawrence Babow, Diane Baker, Mary Barone,<br />
Wyna Barron, Bruce Baumann, Entela<br />
Belishova, Diane Ahaifa Bellas, Mary Belshe,<br />
Virginie Berger, Jan Berry-Kadrie, Pam Bird,<br />
Joan Bissell, Teresa Blok, Katherine<br />
Bloodworth, Elizabeth Bolton, Patricia<br />
Bonfi lio, Bonnie Borenstein, Joseph<br />
Bouckaert, Sue Bowser, Ed Boyce, Jaclyne<br />
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Brooks, Martin Brownstein, Carla Buchanan,<br />
David Buller, Carolyn Burt, Patricia Cahill,<br />
Carney Campion, Louise Capozzi, Marti Cate,<br />
Padma Catell, Ed Catmull, Jane Cheshire-<br />
Allen, Bridget Crowe, Lana Davis, RenÈe Des<br />
Tombe, Christophe Dinello, Harold Dinter,<br />
Janeanne Doar, Elaine Dvirnak, Kristen<br />
Eimiller, Nancy Farese, Aaron Ferguson,<br />
Joanne Ferro, Cheryl Finley, Yolanda Fletcher,<br />
Barry Flicker, William Forbes, Thomas Foster,<br />
Federick Fox, Michael Fox, Gerald Fraser,<br />
Ruth Friedman, Holly Gadsby, Alicia Garl,<br />
John Godsey, Marie Goff-Tuttle, Sylvia<br />
Goodman, Peter Gordon, Ken Gosliner, Zane<br />
Gresham, Bill Groshelle, Connie Guerry,<br />
David Guggenhime, George Gund III, Joan<br />
Hansen, Kathe Hardy, Cherrill Hillman, Nancy<br />
Hilty, Russell Holdstein, Bruce Hopper,<br />
Jolene Huey, Krista Inchausti, Chuck Isen,<br />
Susan Jacobs, Peter Jones, Barbara Kautz,<br />
Francesca Kennedy, Amy Keroes, Jack<br />
Kronfi eld, Geoffrey Kwiat, David Lannon,<br />
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Stephen McMahon, Barbara Meislin,<br />
Stephanie Mendel, Lauren Metzroth, Marvin<br />
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Veronica Napoles, Al Nathe, Steve Olian,<br />
Carol Olwell, Cindy Ostroff, Joyce Pavlovsky,<br />
Larry Pearson, Linda Petri, Sandy Pfaff,<br />
Christa Quinn, Barbara Raymond, Douglas<br />
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Angelo Siracusa, Lillian Smith, Matthew<br />
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William Stephens, Cynthia Sullivan, Beverly<br />
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Robert Tollen, Marsha Torkelson, Rick<br />
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Chris Ward, Milton Weiss, D. Werdegar,<br />
Judith Whitson, Chris Wilson, Derek Wilson,<br />
Jeanne Wilson, Catherine Winder,<br />
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Costanza, Gregory Costopoulos, Carolyn<br />
Sue Couls, Robert Couly, Linda County,<br />
Diana Coupard, Frances Cowan, Clancy Cox,<br />
Tony Cox, Susan Coyle, Janice Coyne, Janet<br />
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Maradee Davis, Nancy Davis, Peter Davis,<br />
Russ Davis, Stephen Davis, Nancy de Bartok,<br />
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Demeduc, Helene Denebeim, Louise Denish,<br />
Edward DeRosis, Robert Desmond, Joan<br />
CFI MEMBERS<br />
Dettmer, William Devlin, Janet DiGiovanna,<br />
Barbara Dittmann, Glenn Dombeck, Patrick<br />
Donohew, David Donohue, Ann Donovan,<br />
Linda Dorse, Anne Dorsey, Paula Doubleday,<br />
Emily Douglas, Angelo Douvos, Liz Dowling,<br />
Oak Dowling, Joe Downey, Diane Dresser,<br />
William Driscoll, Ali Duerr, Laura Duffy, Wren<br />
Duffy, F Dunn, Robert Dunn, Carol Durham,<br />
Jan Dutton, John Duvall, Alicia Dyrwal, Heidi<br />
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Efros, Alice Egan, Cristy Egan, Virginia<br />
Eggleston, Anita Eickenhorst, Evelyn Eisen,<br />
Julie Eisenberg, Herb Eisenburch, Dinna<br />
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Curt Ford, Alex Forman, Cheri Forrester,<br />
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Constance Fox, David Fox, Janet Fox, Jim Fox,<br />
Michael Fox, Barbara Framm, Scott France,<br />
Paula Frances, Jennifer Frank, Jean Fraschina,<br />
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Gheri Gallagher, Joan Gallagher, Rose<br />
Gallagher, Kathleen Gallivan, Barbara Galyen,<br />
Robert Garb, Beth Garbutt, Deborah Garcia,<br />
Daniel Gardner, Rosalind Gardner, Julie<br />
Garner, Alex Garris, Ronald Garry, Barbara<br />
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Gay-Catania, Jay Gayner, Samuel Gelbart,<br />
Lorraine Gemigniani, Hartmut Gerdes,<br />
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Gilbert, Jill Gilbert, RK Gin, Joel Gingold,<br />
Libby Ginsberg, Abby Ginzberg, Marcia<br />
Girardi, Amiram Givon, Denis Gleason, James<br />
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Goff, Candice Gold, Carol Golden,<br />
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145
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Gothelf, Angela Gott, Jacqui Gottlieb, Dave<br />
Govrin, Eric Gower, Lindy Graham, Kathleen<br />
Grant, Raphael Graziani, L.D. Greenberg,<br />
Gisela Greene, Jeremy Greene, Joanne<br />
Greene, Laura Greenfi eld, Ellen Greenwald,<br />
Sarah Greiner, Clara Greisman, Betsy<br />
Griffi th, John Griffi th, Linda Groah, Jane<br />
Groner, Michele Groshong, Michael Gross,<br />
Bonnie Grossman, Pam Grossman, Linda<br />
Grove, Margaret Guevara, Matthew Guilfoyle,<br />
Rachel Gwin, William Haardt, Helen Haas,<br />
Khalil Habeeb, Richard Habib, Lois Hadfi eld,<br />
James Haig, Allen Haim, Dana Halley, Arlene<br />
Halligan, Lauren Hallinan, Maribeth Halloran,<br />
Sandra Hamilton, Nancy Hamlett, Louise<br />
Hammond, Doug Hancock, Hunter Hancock,<br />
Wendy Hannum, Peri Hansen, Nancy Hanson,<br />
John Hardgrave, Robert Haro, David Harp,<br />
Carol Harris, Barbara Harrison, Robert<br />
Harrison, Tom Harrison, Adrienne Hart, Gene<br />
Hartsell, Janet Hass, Ann Hathaway, Sheryl<br />
Hausman, Galen Hayes, Doris Headington,<br />
Barbara Heffernan, Marjorie Helfet, Arlene<br />
Helfrich, Rundi Heller, Jeff Hennier, Susan<br />
Henry, Elizabeth Herb, Stacy Hering Astar,<br />
Earl Herrick, Susan Hersey, Sheila Hershon,<br />
Joe Herzberg, Nancy Herzoff, Bonnie Herzog,<br />
Sam Hirabayashi, Georgyn Hittelman, Joanne<br />
Hiveley, Karin Hobbel, Lucelle Hoefnagels,<br />
Arlene Hoffman, John Hoffman, Cheryl<br />
Hogan, Sue Hohlweg, Barbara Holden,<br />
Michael Holland, Patricia Holland, Clare<br />
Hollander, Michael Hollander, Carol<br />
Hollenberg, Laura Holliday, Teri Hollowell,<br />
Mary Holt, Nick Hontalas, Bradea Horan,<br />
Kare Hornschuch, Margaret Hosmer, Liz<br />
Hotchkin, Peter Houser, Julia Howard, Jay<br />
Hubert, Mary Hubert, Marian Hubler, Bonnie<br />
Hughes, Douglas Huneke, Cynthia Hunter,<br />
Devin Hurd, Ron Hurwin, Marcie Hutchings-<br />
Oeler, Charlene Huxtable, Lisa Hynes, Joe<br />
Iguchi, Elizabeth Imholz, Gina Inez, Carol<br />
Inkellis, Anna Irvine, Mary Ellen Irwin,<br />
Suzanne Irwin-Wells, Leslie Isaacs, Patricia<br />
Island, Jeff Ivarson, Ellie Jackson, Kenneth<br />
Jacobs, Deborah Jacobsen, Kristin Jakob,<br />
Nancy Jancar, Michael Jantze, Gail Jarach,<br />
Laurie Javier, Elizabeth Jennings, Scott<br />
Jensen, Phyllis Jeroslow, Jay Jestadt, Richard<br />
Jeweler, Denise Jindrich, Abby Johnson,<br />
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Johnson, Justin Johnson, Leland<br />
Johnson, Richard Johnson, William<br />
Johnson, Jane Jonckheer,<br />
146<br />
Berit Jordan, Mary Jordan, Robert Jordan, TC<br />
Jordan, Diana Jorgensen, Claudette<br />
Josephson, Edie Joslin, Sara Jotoku, Tom<br />
Joyce, Kimberly Jupe, Jennifer Kaae, Arnold<br />
Kahn, Ruth Kalb, S. David Kalish, D. Ward<br />
Kallstrom, Barbara Kalmanson, Laurie Kalter,<br />
Jack Kanner, Eliot Kaplan, Ellis Kaplan,<br />
Lawrence Kaplan, Ron Kappe, Kay<br />
Karchevski, Lena Kasdan, Athena Katsaros,<br />
Gail Katz, Sharon Kaufman, Vivian Kaufman,<br />
Lewis Kawahara, Baillie Kay, Celik Kayalar,<br />
Ann Kaye, Robert Keast, Jane Keegan, Susan<br />
Keel, William Kelley, Dianne Kelly, Kathleen<br />
Kelly, Forrester Kennedy, Lloyd Kenneth,<br />
Lowell Kepke, Marie Kerpan, Arjan Khalsa,<br />
Lindy Khan, Ashok Khanna, Dorothy Kidd,<br />
Dianne Kirchner, Joan Kirsner, William<br />
Kissinger, Pam Klein, Veronica Kleinberg,<br />
Kathy Klinge, Debra Knotek, Kari Kobil, Lisa<br />
Koblentz, Katherine Koelle, Joseph Kohn,<br />
Craig Kolb, Howard Kopit, Janice Koprowski,<br />
Karen Koster, Tuomas Kostiainen, Thomas<br />
Koundakjian, Stephen Kozora, Mark Krahling,<br />
Jill Kramer, Sue Kramer, Ellen Krantz Weiss,<br />
Neil Kraus, Stanley Krippner, Constance<br />
Kroeck, Wendy Krueger, Holly Kuhlman,<br />
Karen Kuhn, Elise Kushner, Terri Kwiatek, Kiki<br />
La Porta, Maureen Labro, Denise Labuda,<br />
Laurel Ladevich, Karen Laffey, Geoffrey Lake,<br />
J.Ronald Lally, Lela Landman, Wendy Lang,<br />
Nissim Lanyadoo, Dana Lanzl, Laura Larkin,<br />
Dan Larkins, Antoinette LaRocca, Paul<br />
Larson, Richard Lassus, Loren Latourelle,<br />
Shawn Latourelle, Anne Latta, Virginia<br />
Laudisio, Alison Lavoy, David Law, Kay Law,<br />
Robert Lawson, Lois Layne, Marie Lazzari,<br />
Terry Lazzari, Claudine Le Moal, Arthur<br />
Leaffer, Dennis leary, Alexandra Lederer,<br />
Anna Lee, Howard Lee, Jacqui Lehman,<br />
Bobbie Lemontt, Lynn Lent, Ray Lent, Don<br />
leonard, Francoise Lepage, Nina Lescher,<br />
Deborah Levine, Jane Levinsohn, Joanie<br />
Levinsohn, Nancy Levinsohn, Sue Levinson,<br />
Marlene Levy, Kevin Lew, Michael Lewenson,<br />
Maryline Daviaud Lewett, Premsiri Lewin,<br />
Cathryn Lewis, Edward Lewis, Andrew Lie,<br />
Linda Lieberman, Beth Lillard, Robin Linde,<br />
Daniel Linder, Kathy Lindley, Jerri Linn, Ellen<br />
Litwiller, Minhoi Loanic, Rita Lockett, Paula<br />
Loeffl er, Kathleen Loehr, James Long, Shirley<br />
Long, Susan Long, Judy Loring, Catherine<br />
Loudis, Tina Marie Love, Stephanie Lovette,<br />
Kathleen Lucas, Denise Lucy, Thomas<br />
Luehrsen, Kristine Lund, Mats Lund, Bruce<br />
Lusignan, Barbara Luttig-Haber, Janette Lutz,<br />
A.T. Lynne, Paul Mac Mahon, Shirley Machin,<br />
Donna Maffei, Jill Maier, Peter Maier, John<br />
Major, John Malenic, Gordon Manashil,<br />
Jerry Mander, Marianne Mander, Harriot<br />
Manley, Claire Marchand, Susan Mark, Belle<br />
Marko, Brian Marks, Laura Marks, Jim<br />
Maroney, Paul Marra, Joe Marrino, Helena<br />
Marsh, Gloria Marth, Diane Balmer Martin,<br />
Eduardo Martinez, Gloria Martinez, Susan<br />
Martling, Lisa Maslow, Kristin Masri, Deborah<br />
Masters, Susan Masters, Cathryn Mathews,<br />
Melvin Matsamoto, Jane Matthewman, Gary<br />
Maxworthy, Susan Mayne, Suzanne Mc<br />
Cormac, Celeste McAdam, Claire McBride,<br />
Cristi McCabe, Michael Dean McCabe,<br />
Chelan McCandless, Scott McCargar,<br />
Charles McCarthy, Charmene McClarren,<br />
Sam McClellan, Samuel McClellan, Mary<br />
Beth McClure, Nancy McCombs, Gary<br />
McConnell, Marilyn McCoppen, Susan<br />
McCormick, Sandie McCreary, Timothy<br />
McDonald, Patricia McDonough, Anne<br />
McElfresh, Marie McEnnis, Jeanice McGee,<br />
Kathryn McGrath, Shirley McGrath, Bobbie<br />
McHugh, Drew McIntyre, Kelly McLaughlin,<br />
Sandra McMahan, Erin McMahon, Janis<br />
McNair, Kristine McNeal, Sarah McNeil,<br />
Sarah Mead, Carolyn Means, Gail Meblin,<br />
Ellie Mednick, Dennie Mehocich, Ann<br />
Meredith, John Mergendoller, John Merrill,<br />
Kay Merrill, Wendy Metrogen, Marcia Meyers,<br />
Doreen Miao, Caleb Miller, Janiss Miller,<br />
Ronald Miller, Vukadin Milojevic, Daniel<br />
Milosevich, Rosenberg Mindy, Kathy Miner,<br />
Sholeh Mir, Charlie Miruiss, Debbie Miskell,<br />
Chris Mitrovich, Curt Miyashiro, Yuko<br />
Miyazaki, Dana Moe, Lawrence Moehrke,<br />
Susan Montrose, Anne Moore, Linda Moore,<br />
Loren Moore, Michael Moore, Nancy Moore,<br />
Juliana Morelli, Gail Morfi n, Katrina Morgan,<br />
Tamara Morgan, Susan Moritz, Karl Morris,<br />
Shirley Morrison, Cindy Morton, John Moses,<br />
Claudia Mosias, Jacqueline Moskowitz,<br />
Harriet Moss, Phyllis Motell, Philip Moyer,<br />
Douglas Muir, Marianne Mullen, John Muller,<br />
Pamela Mullins, Anne Mulvaney, Kathy<br />
Munderloh, Catherine Munson, Laura Murra,<br />
Eve Murto, Barbara Myers, Daniel Nackerman,<br />
Nancy Nagle, Sarah Nagle, Julie Nakao, Hiro<br />
Narita, Nadine Narita, Alison Nash, John Natt,<br />
Myra Natter, Ali Navarro, Stephen Naventi,<br />
Pagan Neil, Marty Nelson, Russell Nelson,<br />
Phyllis Nervianni, Debra Newman, Rochelle<br />
Newman, Thomas Newman, Mindy Nguyen,<br />
Cheri Nielsen Nightsage, Dan Nishimura,<br />
Maryann Noble, Scott Noble, Charlotte<br />
Nolan, Paul Nolan, Sandra Norberg, Lorraine<br />
Norby, Clair Norman, Rachel Norman,<br />
Katherine Normant, Cris Nuttall, Bruce Nye,<br />
Risa Nye, Karla Nygaard, Jen Oberti, Lily<br />
O’Brien, Sean O’Brien, Phyllis Odea,<br />
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Rem O’Donnelley, Margaret O’Hanlon, Kaytie<br />
O’Hara, Anne Oklan, Carol Oldham, Eve<br />
Oliva, Martha Olson, Robert Olson, Peri<br />
Olsson, Roberta O’Neale, Mary O’Neill, John<br />
Oppenheimer, Catherine O’Reilly, Susan<br />
Orma, Howard Ortman, Judy Osborne, Cindy<br />
Osburn, Mark Osler, Kathleen Osterhout,<br />
David Ostiller, Maryann O’Sullivan, Nancy<br />
Oswald, Allyn Otnes, Barbara Otto, Christine<br />
Owens, Julia Padilla, Jane Pallas, Pat Palmer,<br />
Anita Palonsky, Celeste Parcell, Angela<br />
Parrinello, Gerald Parsons, Margaret Partlow,<br />
Janet Pasha, William Pasichow, Dean<br />
Pasvankias, Randi Patten, Sherri Patterson,<br />
Samantha Payne, Carol Paz, Andrea Pearce,<br />
Ursula Pedersen, Eve Pell, Dana Pepp, Penny<br />
Pera, P.J. Perring, Joan Peters, Tamra Peters,<br />
Johanna Petersen, Jessie Peterson, Michael<br />
Peterson, Sherry Petrini, John Petrovsky,<br />
James Phalon, Ronald Pharis, Linda Philipps,<br />
Stephen Piatek, Dana Piazza, neal Pickus,<br />
Yvonne Pierce, Kathlyn Pihl, Josh Pilkington,<br />
Mindy Pines, Edith Piness, Selma Pinsker,<br />
Harry Podany, Emeigh Poindexter, Ann<br />
Poletti, Dorian Polite, Carol Pollak, Randall<br />
Pollak, Suzanna Pollak, William Pollak, Bill<br />
Polson, Lisa Polson, Lona Poole, Susan<br />
Porth, Maria Powers, Flora Praszker, Dana<br />
Pratt, Kevin Pratt, Eilleen Prendiville, Sean<br />
Prendiville, Charlotte Preston, Jeanne Price,<br />
Linda Price, Gillian Printon, Martha Proctor,<br />
Susan Proctor, Alan Ptashek, Henry<br />
Puccinelli, Bob Pulvino, Dennis Puorro,<br />
Bonnie Pybus, Marjorie Quon, Kenn Rabin,<br />
Evi Rachelson, Howard Rachelson, Alissa<br />
Ralston, Michael Ralston, Ingrid Ramsay,<br />
Anita Raquien, Robin Ratner, Kirsten Rea,<br />
Miranda Rees, Leah Reich, Regina Reilly,<br />
Steven Reinstein, Deborah Ress, M.A.<br />
Reybear, Darcy Reynolds, Robert Riboli,<br />
Barbara Rice, Sheri Rice, Shelley Richardson,<br />
Kieran Ridge, Maybeth Ries, Nancy Riess,<br />
Thomas Riess, Meredith Riley, Patricia<br />
Rinere, Ann Rivo, Barry Robbins, Carolyn<br />
Robbins, Annie Roberts, Margaret Roberts,<br />
Beverly Robertson, Cynthia Robertson,<br />
Marion Robertson, Carol Robinson, Monte<br />
Robison, Nola Rocco, Jeffrey Roe, Sharon<br />
Roe, Andre Roegiers, Henrietta Sharda<br />
Rogell, BJ Rolph, Jessica Romm, Peter<br />
Roodhuyzen, Barbara Rose, Hank Rose, Lisa<br />
Rose, Terry Rose, Melvin Rosen, Ruth Rosen,<br />
Barbara Rosenbaum, Mindy Rosenberg,<br />
Abram Rosenblatt, Stan Rosenfeld, Richard<br />
Rosenthal, Ashley Ross, Bonnie Ross,<br />
Rhonda Rossi, Stacy Roth, Alice Rothlind,<br />
Barbara Rowe, Sylvia Roye, Danny<br />
Rubenstein, David Rubinstein, Peter Rudy,<br />
tickets 877.874.6833<br />
Shauna Rudy, Catherine Rufer, Michelle Ruff,<br />
James Russell, Karrie Nye Ryan, Joan Saffa,<br />
Iris Saligman, Pamela Salter, Marietta<br />
Saltzman, Susan Sanders, Leslie Saperstein,<br />
Adam Sasso, Rosemary Scarmon, Judy<br />
Schaefer, Erica Schafer, Lisa Schallenberger,<br />
Sharilyn Scharf, Gary Schefsky, Mary<br />
Scheidt, Arnie Scher, David Scheufl er, Dan<br />
Schlager, Eric Schmautz, Bob Schneider,<br />
Diane Schneider, Peter Schneiderman,<br />
Caroline Schoenbach, Carol Schoenfeld,<br />
David Schonbrunn, Carl Schrader, Allan<br />
Schreiber, Joyce Schroder, Peter Schubert,<br />
Shiva Schulz, James Schwartz, Josette<br />
Schwartz, Mark Schwartz, Sylvia Schwartz,<br />
Valerie Schweyer, Jeanne Scott, Michael<br />
Scott, Jean Dagmar Scoutten, Donna Scriven,<br />
Robert Sedor, Roberta Seifert, Steven<br />
Seifert, Rand Selig, Terry Seligman, David<br />
Selzer, Susan Severin, Joyce Seymour, Judith<br />
Shaffer, Nimish Shah, Denise Shaheen, Mark<br />
Shannon, Nancy Shehi, Sally-Jean Shepard,<br />
Merritt Sher, Dianne Sheridan, David<br />
Sherman, Dianne Sherman, Carrie Sherriff,<br />
Stephen Shimm, Seung Shin, Marianne<br />
Shine, Nick Shyrock, Stradivari-Koo<br />
Sibulboro, Diane Sidjakov, Gail Siegel, Larry<br />
Siegel, Gail Silva, Nadia Silvershine, Jan<br />
Simonds, David Simonini, Esther Sinclaire,<br />
Pilar Sinelnikoff, Tom Sipes, Carole Sirulnick,<br />
Ron Skellenger, Amy Skewes-Cox, Claire<br />
Skinner, Nancy Skinner, Jane Slack, Rex<br />
Slater, Chuck Slaughter, Helga Slessarev,<br />
Christy Sloan, Barbara Smith, Dwight Smith,<br />
Fred Smith, Ted Smith, Teressa Snyder,<br />
Carola Sohns, Lawrence Sokolsky, Jane<br />
Solomons, Zulaikha Soltesz, Steve Sommer,<br />
Daniel Sonkin, Phyllis Sorensen, Deborah<br />
Sorondo, Sandra Soulet, Charles Spaulding,<br />
Marcia Sperling, Walt Spevak, Barbara<br />
Spicer, Michele Spitz, Pamela Spitz, B.B.<br />
Spolter, Suzanne Stafford, Nathan Stanton,<br />
Steve Starkey, Pru Starr, Janice Stein, Jane<br />
Steinberg, Renate Stendhal, Michael<br />
Stevenson, Laura Stewart, Susan Stewart,<br />
Peggy Stine, Janet Stock, Luben Stoilov,<br />
Elizabeth Stone, Mike Stone, Gregory Stoute,<br />
D. A. Strange, Debra Stratton, Rex Stratton,<br />
Suzan Stringari, Dee Stuever, Jacqueline Sue,<br />
Diane Suffridge, Kim Sugrue, Richard<br />
Sullivan, Jane Summers, Michael<br />
Sundermeyer, Karen Sutherland, Paula<br />
Suyehiro, Sandy Sverdloff, Alta Swander,<br />
Richard Swanson, Kecia Talbot, Kathyrn<br />
Tama, Else Tamayo, Lauri Tanner, Simon<br />
Tarlen, Joyce Tayer, Arlene Taylor, Mary Taylor,<br />
Robin Taylor, Valerie Taylor, Catherine<br />
Teague, Irene Tegelvik, Laurie Telder, Marcy<br />
CFI MEMBERS<br />
Telles, Mimi Tellis, Nancy Terry, Judy Thier,<br />
Deanne Thomas, Claudia Thomaso, Kristy<br />
Thompson, Laurie Thompson, Marilyn<br />
Thompson, Vicky Thormodsgaard, Mary<br />
Tilbury, Chris Timossi, Ellen Tobe, Catherine<br />
Tobin, Nancy Tompkins, Susan Torres,<br />
Richard Torretto, Elizabeth Tracy, Michael<br />
Traina, Anita Treash, Linda Trenholm, Karen<br />
Tripp, Peggy Tuescher, Elizabeth Tullis,<br />
Victoria Tuorto, Aline Udry Kia, Marco Ugolini,<br />
David Ulansey, Janna Ullrey, Trudi Unger,<br />
Mariela Valderrama, Amy Valens, Tom Valens,<br />
Judy Valentine, Madelon Van Lier, Constance<br />
Vandament, Christine Vandenbroucke, David<br />
Vandergriff, Lauren Vanett, Xavier<br />
Vanvlasselaer, Lourdes Vargas, Mary Rita<br />
Vasquez, Jane Veen, Janet Visick, Daina<br />
Vitols, Lydia Vogtner, Harrison Voight, Anne<br />
Vollen, Jean Von Berg, Therese Vreeland,<br />
Ethel Wadsworth, Rachel Wahba, Bonita<br />
Wahl, John Walker, Patricia Wall, Leslie<br />
Wallach, Michael Wanger, Bardet Wardell,<br />
Kate Warner, Suzanne Warner, Jessica<br />
Warren, Rick Warren, Silvia Wasek, Anabelle<br />
Wasserman, Carol Watson, James Watson,<br />
Marcia Watson, Leeza Watstein, Michael<br />
Waughtel, Donna Wayne, Robert Wazeka,<br />
James Weatherhead, Julia Weaver, Philip<br />
Weber, Bruce Webster, Mary Webster, Jiayau<br />
Wei, Janet Weil, Marlena Weinstein, Olivia<br />
Weinstein, Rachel Weinstein, Rona<br />
Weintraub, Bonnie Weiss, Leona Weiss,<br />
Patricia Weisselberg, Jill Weissich, David<br />
Weissman, Frank Wells, Lawrence Wells,<br />
Penny Wells, Hank Wendt, Zia Wesley, Mary<br />
Jane Wets, Barbara Wetzell, Barbara<br />
Wheeler, Richard Wheeler, Irene White,<br />
Debra Whitehouse, Robert Widinski, William<br />
Wiess, Sarah Wilder, Barbara Wilkes, Nancy<br />
Willard, Derek Willhite, Ann Williams, Anna<br />
Williams, Anne Williams, Carol Williams,<br />
Dora Williams, Valrie Williams, Sally<br />
Wilmington, Martha Wilson, Thomas Wilson,<br />
Susan Windman, Barbara Winkler, Kraemer<br />
Winslow, Jennifer Winter, April Wolcott,<br />
Eugene Wolf, Teresa Wolf, Carol Wolfe, Rita<br />
Wolle, Kathryn Wong, Annika Wood, Peter<br />
Woodgate, Marjorie Wordsworth, Mimi<br />
Worth, Georgia Wright, Lori Wright,<br />
Christopher Wu, David Yam, Paula Yam, Seth<br />
Yanow, Deborah Yarish, Margaret Yates,<br />
Frank Yee, Robert York, Lois Yuen, Kathleen<br />
Zalecki, Claudia Zani, Jeffery Zankel, Audrey<br />
Zavell, Kate Zawistowski, Betsy Zeger, Robert<br />
Zeiger, Sima Zeiger, Gilbert Zeimer, Karl<br />
Ziegler, Zoe Zuber, Claire Zurack,<br />
Dina Zvenko<br />
147
MVFF HOSPITALITY LOUNGE<br />
Adjacent to the lobby of the<br />
Rafael <strong>Film</strong> Center<br />
1118 Fourth St., San Rafael<br />
For our VIP guests, the Hospitality Lounge<br />
is the place to meet, mingle and relax before<br />
and after screenings and other Festival<br />
events. Decorated by Ruby LivingDesign,<br />
the Lounge offers complimentary newspapers<br />
from The New York Times, free<br />
internet access, premium wine courtesy<br />
of Townley Wines and Courtesan Wines,<br />
healthy snacks from popchips and delicious<br />
fare from Whole Foods Market. The Lounge<br />
is open daily to fi lmmakers, sponsors and<br />
other Festival badge-holders, as well as our<br />
Fast Pass, Cinema Benefactor and Premier<br />
Patron members. Please make sure to bring<br />
your badge or membership card to gain<br />
access to the lounge.<br />
HOSPITALITY LOUNGE SCHEDULE<br />
October 8: 4:00–7:30 pm<br />
October 9: 4:00–10:00 pm<br />
October 10: 12:00–10:00 pm<br />
October 11: 12:00–9:00 pm<br />
October 12: 4:00–9:00 pm<br />
October 13: 4:00–9:00 pm<br />
October 14: 4:00–9:00 pm<br />
October 15: 4:00–9:00 pm<br />
October 16: 4:00–10:00 pm<br />
October 17: 12:00–10:00 pm<br />
October 18: 12:00–6:00 pm<br />
OUTDOOR ART CLUB<br />
1 West Blithedale Ave., Mill Valley<br />
From October 9–11, join us at the Outdoor<br />
Art Club (OAC) in downtown Mill Valley,<br />
just across the street from CinéArts@<br />
Sequoia theater. It’s the hub of Festival<br />
activity, with daily happy hours, live music<br />
and Jamba Juice serving a menu of fresh<br />
smoothies, salads, wraps and sandwiches.<br />
Wine will be available courtesy of Balboa<br />
Café Mill Valley, with beer provided by<br />
Lagunitas Brewing Company.<br />
CAFÉ SCHEDULE<br />
October 9: 4:00–8:00 pm<br />
October 10: 12:00–8:00 pm<br />
October 11: 12:00–8:00 pm<br />
HOSPITALITY
Aching Hearts<br />
Lizette Gram<br />
Danish <strong>Film</strong> <strong>Institute</strong><br />
lizetteg@dfi.dk<br />
www.kaldmigbareaksel.dk<br />
Alex’s Story<br />
John Morrison<br />
CFI Education<br />
415.383.5256<br />
jmorrison@cafilm.org<br />
cafilm.org<br />
April’s Story<br />
John Morrison<br />
CFI Education<br />
415.383.5256<br />
jmorrison@cafilm.org<br />
cafilm.org<br />
Apron Strings<br />
Dan Story<br />
New Zealand <strong>Film</strong><br />
+644 382 7680<br />
www.nzfilm.co.nz<br />
Arresting Ana<br />
Lucie Schwartz<br />
646.331.4188<br />
lucie.s.schwartz@gmail.com<br />
Art?<br />
David Tarpinian<br />
Tamalpais High School<br />
415.388.3292<br />
dtarpinian@tamdistrict.org<br />
Awakening from Sorrow:<br />
Buenos Aires 1997<br />
Karina Epperlein<br />
Karinafilms<br />
510.559.8892<br />
karina@karinafilms.us<br />
karinafilms.us<br />
Barking Water<br />
Chad Burris<br />
Indion Entertainment Group<br />
918.591.5211<br />
chad@indionfilm.com<br />
The Bass Player: A Song for<br />
Dad<br />
Niall McKay<br />
The Media Factory<br />
510.638.4871<br />
niall@sfirishfilm.com<br />
tickets 877.874.6833<br />
Betty Banned Sweets<br />
Juliette Verber<br />
New Zealand <strong>Film</strong> Commission<br />
+644 382 7686<br />
juliette@n2film.co.nz<br />
www.n2film.co.nz<br />
Bomber<br />
Paul Cotter<br />
Boris <strong>Film</strong>s<br />
213.985.3212<br />
paul@paulcotter.net<br />
bomberthemovie.com<br />
Boutonniere<br />
Coley Sohn<br />
323.662.7560<br />
coley@urbaniteinc.com<br />
coleysohn.com<br />
The Boys Are Back<br />
Miramax <strong>Film</strong>s<br />
www.miramax.com<br />
Breath Made Visible<br />
Jim Browne<br />
Argot Pictures<br />
718.389.1180<br />
jim@argotpictures.com<br />
www.argotpictures.com<br />
Broken<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
Broken Time<br />
Ilan Amit<br />
+232 9608<br />
ilanamit@netvision.net.il<br />
Care<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
Charlie Thistle<br />
Bragi Schut Jr.<br />
Gallantyne Pictures<br />
323.839.7965<br />
bragischut@hotmail.com<br />
Close to Home<br />
Theo Rigby<br />
Theo Rigby Productions<br />
415.867.5977<br />
theorigby@yahoo.com<br />
Croupier<br />
Nicholas Varley<br />
Park Circus<br />
+44 141 332 2175<br />
nick@parkcircus.com<br />
www.parkcircus.com<br />
Dark and Stormy Night<br />
Larry Blamire<br />
Bantam Street<br />
818.845.0465<br />
corrigan.marrion@gmail.com<br />
Don’t Waste Water<br />
Dana Tamura<br />
Marin School of the Arts<br />
415.309.0576<br />
dtamura@me.com<br />
Dragonfl ies, the Baby Cries<br />
Jane Gillooly<br />
617.491.5585<br />
jgillooly@verizon.net<br />
www.janegillooly.com<br />
Dumb Luck<br />
Bret Kerven<br />
212.203.8354<br />
bretkerven@rcn.com<br />
Eat the Sun<br />
Peter Sorcher<br />
Sorcher <strong>Film</strong>s<br />
415.381.8992<br />
peter@sorcherfilms.com<br />
The Eclipse<br />
Martin Wendel<br />
Magnolia Pictures<br />
212.924.6701<br />
mwendel@magpictures.com<br />
magpictures.com<br />
An Education<br />
Michael Piaker<br />
Sony Pictures Classics<br />
212.833.8846<br />
michael_piaker@spc.com<br />
www.sonyclassics.com<br />
Elevator<br />
Alexandra Paun<br />
Keep Movieng<br />
alexandra.paun@yahoo.com<br />
(enough)<br />
Barry Dignam<br />
+353 87 2328990<br />
barry@hitandrunfilms.com<br />
barrydignam.com<br />
PRINT SOURCES<br />
The Faeries of Farthingale<br />
Melinda Darlington-Bach<br />
Xanadu Entertainment<br />
415.459.5015<br />
The Finger Trap<br />
Bryony McIntyre<br />
Scottish Screen<br />
+44 141 3021756<br />
bryony.mcintyre@scottishscreen.com<br />
www.scottishscreen.com<br />
Fish Tank<br />
Nat Baruch<br />
IFC First Take<br />
212.324.4635<br />
natbaruch@ifcfilms.com<br />
www.ifcfilms.com<br />
Four of a Kind<br />
Fiona Cochrane<br />
f-reel pty. ltd.<br />
+61 395 101 880<br />
info@junglepictures.com.au<br />
The Girl on the Train<br />
Brandon Peters<br />
Strand Releasing<br />
310.836.7500<br />
brandon@strandreleasing.com<br />
www.strandreleasing.com<br />
Glottal Opera<br />
Deborah Szapiro<br />
Reel Regular <strong>Film</strong>s<br />
+61 407 249 693<br />
deborah@beloved.com.au<br />
Good Advice<br />
Andreas Fock<br />
Swedish <strong>Film</strong> <strong>Institute</strong><br />
+46 8 665 1136<br />
andreas.fock@sfi.se<br />
www.sfi.se<br />
Gul (fl ower)<br />
Adnan Hussain<br />
310.384.0597<br />
adnanmg@hotmail.com<br />
Guy and Madeline on a Park<br />
Bench<br />
Damien Chazelle<br />
609.516.8066<br />
damienchazelle@gmail.com<br />
www.guyandmadeline.com<br />
155
Happy Tears<br />
Meghann Burns<br />
Roadside Attractions<br />
323.828.8490<br />
MeghannB@roadsideattractions.com<br />
Harrison Bergeron<br />
Jim Helmer<br />
Santa Rosa High School<br />
707.528.5292<br />
jhelmer@srcs.k12.ca.us<br />
artquestonline.org<br />
Hellsinki<br />
Markus Selin<br />
Solar <strong>Film</strong>s Inc.<br />
+358 9 417 44 700<br />
markus.selin@solarfilms.com<br />
www.solarfilms.com<br />
Here and There<br />
Charlotte Renaut<br />
<strong>Film</strong>s Boutique<br />
+49 0 3069537850<br />
charlotterenaut@filmsboutique.com<br />
Hidden Bounty of Marin: Farm<br />
Families in Transition<br />
David Lewis<br />
University of <strong>California</strong><br />
Cooperative Extension (UCCE)<br />
415.499.4204<br />
growninmarin.org<br />
Hipsters<br />
Dmitry Davidenro<br />
Krasnaya Strela - Red Arrow<br />
Company<br />
+7 495 504 2223<br />
davidenroda@gmail.com<br />
www.krasnayastrela.ru<br />
Home<br />
Matt Faust<br />
225.226.5506<br />
lsu.faust@gmail.com<br />
HomeGrown<br />
Robert McFalls<br />
Good River LLC<br />
323.525.1987<br />
rmcfalls@homegrownfilm.com<br />
156<br />
Horn Dog<br />
John Holderried<br />
Plymptoons<br />
212.741.0322<br />
plymptoons@aol.com<br />
www.plymptoons.com<br />
The Horse Boy<br />
Benjamin Crossley-Marra<br />
Zeitgeist <strong>Film</strong>s<br />
212.274.1989<br />
ben@zeitgeistfilms.com<br />
zeitgeistfilms.com<br />
I’m Not My Tights<br />
David Tarpinian<br />
Tamalpais High School<br />
415.388.3292<br />
dtarpinian@tamdistrict.org<br />
Icons Among Us: jazz in the<br />
present tense<br />
John W. Comerford<br />
Paradigm Studio<br />
206.282.2162<br />
Paradigmstudio1@aol.com<br />
www.iconsamongus.com<br />
Imbued<br />
Rob Nilsson<br />
Citizen Cinema<br />
510.527.7217<br />
rnilsson@robnilsson.com<br />
www.robnilsson.com<br />
Immersion<br />
Richard Levien<br />
Widdershins <strong>Film</strong><br />
510.610.2900<br />
richard.levien@gmail.com<br />
Ingelore<br />
Frank Stiefel<br />
Stiefel & Company Inc.<br />
310.664.4534<br />
stiefel@radicalmedia.com<br />
Inside Story<br />
Jacob Simas<br />
415.994.9227<br />
jacob_simas@hotmail.com<br />
Jermal<br />
Suryani Liauw<br />
Ecco <strong>Film</strong>s Indonesia<br />
+622 1392 3738<br />
www.eccofilms.com<br />
Jim Thorpe, The World’s<br />
Greatest Athlete<br />
Tom Weidlinger<br />
Moira Productions<br />
510.558.8013<br />
tomweidlinger@sbcglobal.net<br />
swimfortheriver.com<br />
Keep the Home Fires Burning<br />
Ryan O’Toole<br />
<strong>Film</strong> Poet, LLC<br />
718.606.0683<br />
rot@filmpoet.com<br />
www.filmpoet.com<br />
The Kinda Sutra<br />
Patrick Degan<br />
Nonfiction Unlimited<br />
310.399.9600 x 228<br />
patrick@spots.net<br />
Kunjo<br />
Terrie Samundra<br />
Kuro <strong>Film</strong>s<br />
707.548.1713<br />
tnsamundra@yahoo.com<br />
www.kunjothefilm.com<br />
Ladies, Please<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
The Last Dragon Kingdom<br />
David Emery<br />
Lost Continent <strong>Film</strong>s<br />
310.617.2689<br />
epg1@aol.com<br />
The Legend of Toilet-seat<br />
Charlie<br />
Jeremy Kaller<br />
415.297.1192<br />
jeremy@charliedealdoc.com<br />
The Letter for the King<br />
Melissa Van Middelaar<br />
Eyeworks Egmond<br />
+31 20 666 1892<br />
Lies<br />
Andreas Fock<br />
Swedish <strong>Film</strong> <strong>Institute</strong><br />
+46 8 665 1136<br />
andreas.fock@sfi.se<br />
www.sfi.se<br />
The Life and Times of Buster<br />
Chaplin<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
Linoleum<br />
Marcel Visbeen<br />
Selwyn <strong>Film</strong><br />
+31 10 477 0505<br />
info@selwynfilm.nl<br />
www.selwynfilm.nl<br />
Looking for Eric<br />
Nat Baruch<br />
IFC First Take<br />
212.324.4635<br />
natbaruch@ifcfilms.com<br />
www.ifcfilms.com<br />
Love Child<br />
Daniel Wirtberg<br />
Daemon <strong>Film</strong><br />
+46736724218<br />
daniel@daemonfilm.se<br />
Lucha<br />
Maria Breaux<br />
MBreauxsia <strong>Film</strong>s<br />
415.285.9236<br />
maria_breaux@hotmail.com<br />
www.luchafilm.com<br />
The Maid<br />
Dave Robinson<br />
Elephant Eye <strong>Film</strong>s<br />
212.488.7788<br />
dave@elephanteyefilms.com<br />
elephanteyefilms.com<br />
Marin School of the Arts Public<br />
Service Announcement<br />
Dana Tamura<br />
Marin School of the Arts<br />
415.309.0576<br />
dtamura@me.com<br />
The Marina Experiment<br />
Marina Lutz<br />
917.815.5144<br />
marinalutz@gmail.com<br />
Meredith Monk – Inner Voice<br />
Babeth M. VanLoo<br />
BOS<br />
+31 35 677 1611<br />
babethvl@buddhistmedia.com<br />
mvff.com
The Messenger<br />
Dan Berger<br />
Oscilloscope Laboratories<br />
212.219.4029<br />
dan@oscilloscope.net<br />
oscilloscopepictures.com<br />
Mine<br />
Geralyn Pezanoski<br />
Smush Media<br />
415.359.4600<br />
geralynpez@mac.com<br />
Miracle in a Box: A Piano<br />
Reborn<br />
John Korty<br />
Korty FIlms<br />
415.663.9552<br />
kortyviz@svn.net<br />
The Missing Person<br />
Brandon Peters<br />
Strand Releasing<br />
310.836.7500<br />
brandon@strandreleasing.com<br />
www.strandreleasing.com<br />
Morning Echo<br />
Hope Dickson Leach<br />
+44 796 335 0646<br />
hope@dicksonleach.com<br />
The Most Dangerous Man in<br />
America: Daniel Ellsberg and<br />
the Pentagon Papers<br />
Judith Ehrlich/Rick Goldsmith<br />
Kovno Communications<br />
510.849.3225<br />
jie@paradigmproductions.org<br />
Motherhood<br />
Patrick Lombardo<br />
iDeal Partners <strong>Film</strong> Fund<br />
212.396.9209<br />
idealpartnersasst@gmail.com<br />
Mustang – Journey of<br />
Transformation<br />
Will Parrinello<br />
Mill Valley <strong>Film</strong> Group<br />
415.332.0300<br />
pwillp@aol.com<br />
www.mvfg.com<br />
The Natural World<br />
James Helmer<br />
Santa Rosa High School<br />
707.528.5292<br />
jhelmer@srjc.k12.ca.us<br />
artquestonline.org<br />
tickets 877.874.6833<br />
Oh My God<br />
MJ Peckos<br />
Mitropoulos <strong>Film</strong>s<br />
310.567.9336<br />
mj@mitropoulosfilms.com<br />
mitropoulosfilms.com<br />
One Crazy Ride<br />
Gaurav Jani<br />
Dirt Track Productions<br />
+91 22 2877 4620<br />
gaurav@dirttrackproductions.com<br />
www.dirttrackproductions.com<br />
Original<br />
Lizette Gram<br />
Danish <strong>Film</strong> <strong>Institute</strong><br />
lizetteg@dfi.dk<br />
www.kaldmigbareaksel.dk<br />
Passengers<br />
Michael Bond<br />
Bondfilm<br />
323.953.8334<br />
mb@bondfilm.us<br />
Pierrot le fou<br />
Brian Belovarac<br />
Janus <strong>Film</strong>s<br />
212.756.8761<br />
belovarac@janusfilms.com<br />
Precious: Based on the Novel<br />
“Push” by Sapphire<br />
Kantara Fueston<br />
Lionsgate<br />
310.255.4074<br />
kfueston@lionsgate.com<br />
lionsgate.com<br />
The Private Lives of Pippa Lee<br />
Tom Yagielski<br />
Screen Media <strong>Film</strong>s<br />
212.308.1790<br />
Tom@screenmedia.net<br />
www.screenmedia.net<br />
Project Happiness<br />
Randy Taran<br />
Project Happiness<br />
650.464.5717<br />
randy@projecthappiness.com<br />
projecthappiness.com<br />
Race to Nowhere<br />
Vicki Abeles<br />
Reel Link <strong>Film</strong>s<br />
925.962.0330<br />
vicki@reellinkfilms.com<br />
www.reellinkfilms.com<br />
Ramona’s Story<br />
John Morrison<br />
CFI Education<br />
415.383.5256<br />
jmorrison@cafilm.org<br />
cafilm.org<br />
Reach for Me<br />
Charlene Blaine-Schulenburg<br />
AMediaVision Productions<br />
818.981.4997<br />
char@amediavision.com<br />
Red Cliff<br />
Jeff Reichert<br />
Magnolia Pictures<br />
212.924.6701<br />
jreichert@magpictures.com<br />
The Red Machine<br />
Stephanie Argy<br />
Alec Boehm<br />
Mental Slapstick LLC<br />
323.663.9911<br />
info@mentalslapstick.com<br />
www.mentalslapstick.com<br />
Ricky<br />
Nat Baruch<br />
IFC First Take<br />
212.324.4635<br />
natbaruch@ifcfilms.com<br />
www.ifcfilms.com<br />
Ricky Rapper<br />
Risto Salomaa<br />
Kinotar<br />
+358 9 7740040<br />
risto@kinotar.com<br />
www.ristorappaaja.fi<br />
Room and a Half<br />
Alla Verlotsky<br />
Seagull <strong>Film</strong>s<br />
646.707.3879<br />
alla.verlotsky@gmail.com<br />
Saint Misbehavin’: The Wavy<br />
Gravy Movie<br />
Michelle Esrick<br />
Ripple Effect <strong>Film</strong>s<br />
212.439.6383<br />
michelle@rippleeffectfilms.com<br />
www.rippleeffectfilms.com<br />
PRINT SOURCES<br />
Shadow & Light: The Life and<br />
Art of Elaine Badgley Arnoux<br />
William Farley<br />
415.505.5288<br />
farleyfilm@aol.com<br />
www.farleyfilm.com<br />
Shameless<br />
Neil Friedman<br />
Menemsha <strong>Film</strong>s<br />
310.452.1775<br />
neilf@menemshafilms.com<br />
Shooting Craps<br />
Stella Cilman<br />
413.230.7817<br />
stellbell12@comcast.net<br />
Shylock<br />
André Naus<br />
Holland <strong>Film</strong> Promotion<br />
+31 20 570 7575<br />
a.naus@hollandfilm.nl<br />
Skin<br />
Mike Thomas<br />
Jour de Fete <strong>Film</strong>s<br />
323.650.8100<br />
mkrthomas@aol.com<br />
Skylight<br />
David Baas<br />
1296613 Ontario Inc<br />
416.705.4709<br />
dave_baas@hotmail.com<br />
skylight-short.com<br />
Sorry, Thanks<br />
Aida LiPera<br />
Visit <strong>Film</strong>s<br />
718.312.8210<br />
al@visitfilms.com<br />
visitfilms.com<br />
Soundtrack for a Revolution<br />
Cynthia Schwartz<br />
42 West<br />
212.277.7555<br />
www.42west.net<br />
Space Monkeys<br />
Elizabeth Rosen<br />
The National <strong>Film</strong> School of<br />
Denmark<br />
+45 32686400<br />
elr@filmskolen.dk<br />
157
Sparrow<br />
Jon Soo<br />
Tai Seng Entertainment<br />
650.871.8118<br />
jonsoo@taiseng.com<br />
www.taiseng.com<br />
Stalin Thought of You<br />
Kevin McNeer<br />
Oblomov <strong>Film</strong>s<br />
+7 916 318 5232<br />
a_macnaughton@yahoo.com<br />
Stella and the Star of the<br />
Orient<br />
Anna Heubner<br />
Kinderfilm GmbH<br />
+493616586621<br />
heubner@kinderfilm-gmbh.de<br />
kinderfilm-gmbh.de<br />
Storm<br />
Cambria Matlow<br />
<strong>Film</strong> Movement<br />
212.941.7744<br />
cambria@filmmovement.com<br />
The Strength of Water<br />
Sophie Cherry<br />
New Zealand <strong>Film</strong> Commission<br />
+64 4 382 7680<br />
Sophie@nzfilm.co.nz<br />
www.nzfilm.co.nz<br />
Styx<br />
Robert Robinson<br />
+07 913 353541<br />
robertsrobinson@gmail.com<br />
Superstar<br />
Amir Esfandiari<br />
Farabi Cinema Foundation<br />
+98 21 2734939<br />
fcf1@dpi.net.ir<br />
www.fcf-ir.com<br />
Surrogate<br />
Elad Gavish<br />
Marker Productions<br />
+972 54 2441124<br />
office@markerph.com<br />
surrogatethemovie.com<br />
158<br />
Sweet Rush<br />
Michal Kwiecinski<br />
Akson Studio, TVP SA–<strong>Film</strong><br />
Agency<br />
+48 22 547 9167<br />
Aleksandra.Biernacka@tvp.pl<br />
The Swimsuit Issue<br />
Susan Wendt<br />
Nordisk <strong>Film</strong><br />
susan@trustnordisk.com<br />
The Sylpphid<br />
Elizabeth Rosen<br />
The National <strong>Film</strong> School of<br />
Denmark<br />
+45 32686400<br />
elr@filmskolen.dk<br />
Tapped<br />
Stephanie Soechtig<br />
Atlas <strong>Film</strong>s<br />
646.621.6206<br />
amalliatv@aol.com<br />
www.tappedthemovie.com<br />
The Ten Lives of Titanic the Cat<br />
Susan Wendt<br />
Nordisk <strong>Film</strong><br />
susan@trustnordisk.com<br />
Tenderloin<br />
Michael Anderson<br />
415.454.8099<br />
docfilms@aol.com<br />
A Thousand Suns<br />
Emmanuel Vaughan-Lee<br />
The Global Oneness Project<br />
415.457.9447<br />
evaughanlee@globalonenessproject.org<br />
This Is the Husband I Want!<br />
Sunil Sukthankar<br />
Vichitra Nirmiti<br />
+91 20 2541 0607<br />
sunilsukthankar@yahoo.com<br />
Trading Bows and Arrows for<br />
Laptops<br />
Denise Zmekhol<br />
ZDFILMS<br />
415.378.7436<br />
denise@zdfilms.com<br />
www.zdfilms.com<br />
www.childrenoftheamazon.com<br />
Transatlantique<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
Trece Años<br />
Topaz Adizes<br />
917.658.0845<br />
topaz@mantrapictures.com<br />
www.theamericanaproject.com<br />
TRIMPIN: the sound of<br />
invention<br />
Peter Esmonde<br />
Participant Observer, LLC<br />
415.250.0533<br />
peter.esmonde@gmail.com<br />
Troupers<br />
Glenn Silber<br />
Catalyst Media Productions,<br />
LLC<br />
973.566.9000<br />
glenn@catalyst-media.com<br />
Underwear<br />
Tomer Gendler<br />
Studio Perle<br />
512.689.6005<br />
tomer@studioperle.com<br />
Untouchable<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
Up in the Air<br />
Paramount Pictures<br />
323.956.5000<br />
Victoria<br />
Héjer Charf<br />
Nadja Productions Inc<br />
514.282.3371<br />
nadja@ca.inter.net<br />
www.hejercharf.com<br />
Western Spaghetti<br />
Anonymous Content<br />
310.588.6000<br />
anonymouscontent.com<br />
What’d ya want, a happy<br />
ending?<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
PRINT SOURCES<br />
White Wedding<br />
Stepping Stone Pictures<br />
Jann@steppingstone.co.za<br />
www.steppingstone.co.za<br />
Winnebago Man<br />
Ben Steinbauer<br />
The Bear Media<br />
512.633.9903<br />
ben@thebearmedia.com<br />
winnebagoman.com<br />
A Year Ago in Winter<br />
Kim Kalyka<br />
IFC <strong>Film</strong>s<br />
546.273.7209<br />
kakalyka@ifcfilms.com<br />
The Yellow Smiley Face<br />
Saga <strong>Film</strong><br />
+40213173360<br />
sagafilm@sagafilm.ro<br />
www.sagafilm.ro<br />
You Turn<br />
Cheri Gaulke<br />
Harvard-Westlake School<br />
818.487.6596<br />
cgaulke@hw.com<br />
The Young Victoria<br />
Vicky Eguia<br />
Apparition<br />
vicky.eguia@gmail.com<br />
www.apparition.com<br />
Youth in Revolt<br />
Marc Balgavy<br />
The Weinstein Company<br />
646.862.3404<br />
marc.balgavy@weinsteinco.com<br />
www.weinsteinco.com<br />
Zombie Girl: The Movie<br />
Steven Beer<br />
Greenberg Traurig, LLC<br />
212.801.9200<br />
beers@gtlaw.com<br />
mvff.com
The * symbol indicates a fi lm is<br />
concerned with that country,<br />
even though it originates in<br />
another.<br />
AUSTRALIA<br />
The Boys Are Back<br />
Four of a Kind<br />
Glottal Opera<br />
Passengers<br />
BHUTAN<br />
The Last Dragon Kingdom*<br />
BRAZIL<br />
Trading Bows and Arrows for<br />
Laptops*<br />
CANADA<br />
Skylight<br />
Victoria<br />
Winnebago Man*<br />
CHILE<br />
The Maid<br />
CUBA<br />
Trece Años<br />
CZECH REPUBLIC<br />
Shameless<br />
DENMARK<br />
Aching Hearts<br />
Original<br />
Space Monkeys<br />
Storm<br />
The Sylpphid<br />
EL SALVADOR<br />
Lucha<br />
ETHIOPIA<br />
A Thousand Suns<br />
FINLAND<br />
Hellsinki<br />
Ricky Rapper<br />
FRANCE<br />
Arresting Ana<br />
Croupier<br />
The Girl on the Train<br />
Guy and Madeline on a Park<br />
Bench*<br />
Pierrot le fou<br />
Ricky<br />
tickets 877.874.6833<br />
GERMANY<br />
Bomber*<br />
Ingelore*<br />
Stella and the Star of the<br />
Orient<br />
Storm<br />
A Year Ago in Winter<br />
HONG KONG<br />
Red Cliff<br />
Sparrow<br />
INDIA<br />
Kunjo<br />
One Crazy Ride<br />
This Is the Husband I Want!<br />
INDONESIA<br />
Jermal<br />
IRAN<br />
Superstar<br />
IRELAND<br />
The Bass Player: A Song for<br />
Dad<br />
The Eclipse<br />
(enough)<br />
ISRAEL<br />
Broken Time<br />
Surrogate<br />
ITALY<br />
Pierrot le fou<br />
KENYA<br />
A Thousand Suns<br />
MEXICO<br />
Close to Home*<br />
The Maid<br />
MONGOLIA<br />
The Horse Boy*<br />
NEPAL<br />
Mustang – Journey of<br />
Transformation<br />
NETHERLANDS<br />
Jermal*<br />
The Letter for the King<br />
Linoleum<br />
Meredith Monk – Inner Voice<br />
Shylock<br />
Stalin Thought of You<br />
Storm<br />
NEW ZEALAND<br />
Apron Strings<br />
Betty Banned Sweets<br />
The Strength of Water<br />
NORWAY<br />
The Ten Lives of Titanic the<br />
Cat<br />
PAKISTAN<br />
Gul (fl ower)*<br />
POLAND<br />
Sweet Rush<br />
QATAR<br />
What’d ya want, a happy<br />
ending?<br />
ROMANIA<br />
Elevator<br />
The Yellow Smiley Face<br />
RUSSIA<br />
Hipsters<br />
Room and a Half<br />
Stalin Thought of You<br />
SCOTLAND<br />
The Finger Trap<br />
SERBIA<br />
Here and There<br />
SOUTH AFRICA<br />
Skin<br />
White Wedding<br />
SWEDEN<br />
Good Advice<br />
Lies<br />
Love Child<br />
The Swimsuit Issue<br />
SWITZERLAND<br />
The Bass Player: A Song for<br />
Dad*<br />
Breath Made Visible<br />
UKRAINE<br />
Stalin Thought of You*<br />
UK<br />
Bomber<br />
The Boys Are Back<br />
Croupier<br />
An Education<br />
Fish Tank<br />
Looking for Eric<br />
Morning Echo<br />
FILMS BY COUNTRY<br />
Skin<br />
Styx<br />
The Young Victoria<br />
US<br />
Alex’s Story<br />
April’s Story<br />
Arresting Ana<br />
Art?<br />
Awakening from Sorrow:<br />
Buenos Aires 1997<br />
Barking Water<br />
The Bass Player: A Song for Dad<br />
Bomber<br />
Boutonniere<br />
Breath Made Visible<br />
Broken<br />
Care<br />
Charlie Thistle<br />
Close to Home<br />
Dark and Stormy Night<br />
Don’t Waste Water<br />
Dragonfl ies, the Baby Cries<br />
Dumb Luck<br />
Eat the Sun<br />
An Education*<br />
The Faeries of Farthingale<br />
Gul (fl ower)<br />
Guy and Madeline on a Park<br />
Bench<br />
Happy Tears<br />
Harrison Bergeron<br />
Here and There<br />
Home<br />
HomeGrown<br />
Horn Dog<br />
The Horse Boy<br />
I’m Not My Tights<br />
Icons Among Us: jazz in the<br />
present tense<br />
Imbued<br />
Immersion<br />
Ingelore<br />
Inside Story<br />
Jim Thorpe, The World’s<br />
Greatest Athlete<br />
Keep the Home Fires Burning<br />
The Kinda Sutra<br />
Kunjo<br />
Ladies, Please<br />
The Last Dragon Kingdom<br />
The Legend of Toilet-seat<br />
Charlie<br />
The Life and Times of Buster<br />
Chaplin<br />
Lucha<br />
The Maid*<br />
Marin School of the<br />
161<br />
Arts Public Service<br />
Announcement
The Marina Experiment<br />
Meredith Monk – Inner Voice<br />
The Messenger<br />
Mine<br />
Miracle in a Box: A Piano<br />
Reborn<br />
The Missing Person<br />
The Most Dangerous Man in<br />
America: Daniel Ellsberg and<br />
the Pentagon Papers<br />
Motherhood<br />
Mustang – Journey of<br />
Transformation<br />
The Natural World<br />
Oh My God<br />
Passengers<br />
Precious: Based on the Novel<br />
“Push” by Sapphire<br />
The Private Lives of Pippa Lee<br />
Project Happiness<br />
Race to Nowhere<br />
Ramona’s Story<br />
Reach for Me<br />
The Red Machine<br />
Saint Misbehavin’: The Wavy<br />
Gravy Movie<br />
Shadow & Light: The Life and<br />
Art of Elaine Badgley Arnoux<br />
Shooting Craps<br />
Sorry, Thanks<br />
Soundtrack for a Revolution<br />
Stalin Thought of You<br />
Tapped<br />
Tenderloin<br />
This Is the Husband I Want!*<br />
A Thousand Suns<br />
Trading Bows and Arrows for<br />
Laptops<br />
Transatlantique<br />
Trece Años<br />
TRIMPIN: the sound of<br />
invention<br />
FILMS BY COUNTRY<br />
Troupers<br />
Underwear<br />
Untouchable<br />
Up in the Air<br />
Western Spaghetti<br />
What’d ya want, a happy<br />
ending?<br />
Winnebago Man<br />
You Turn<br />
The Young Victoria<br />
Youth in Revolt<br />
Zombie Girl: The Movie
Abeles, Vicki<br />
Race to Nowhere .......................99<br />
Adizes, Topaz<br />
Trece Años ...............................................82<br />
Amit, Ilan<br />
Broken Time ............................................82<br />
Anderson, Michael<br />
Tenderloin ...............................................107<br />
Argy, Stephanie<br />
The Red Machine .............................100<br />
Arnold, Andrea<br />
Fish Tank ....................................................88<br />
Arteta, Miguel<br />
Youth in Revolt .................................... 111<br />
Baas, David<br />
Skylight ........................................................83<br />
Ballantyne, Armagan<br />
The Strength of Water .................105<br />
Ballo, Avi<br />
Harrison Bergeron .............................85<br />
Bellochio, Jaycob<br />
Harrison Bergeron .............................85<br />
Bengtson, Dorte<br />
The Sylpphid ...........................................83<br />
Bharwani, Ravi<br />
Jermal ...........................................................92<br />
Bhave, Sumitra<br />
This Is the Husband<br />
I Want! ...................................................108<br />
Black, Julia<br />
Art? .................................................................85<br />
Blamire, Larry<br />
Dark and Stormy Night ...................86<br />
Bøe, Grethe<br />
The Ten Lives of Titanic<br />
the Cat ..................................................107<br />
Boehm, Alec<br />
The Red Machine .............................100<br />
Bond, Michael<br />
Passengers ..............................................98<br />
Breaux, Maria<br />
Lucha ............................................................82<br />
164<br />
Brøndsted, Alexander<br />
Original ..............................97<br />
Burton, LeVar<br />
Reach for Me .......................................100<br />
Buschel, Noah<br />
The Missing Person ..........................96<br />
Cahill, Sarah<br />
A Sweeter Music: A Live Concert<br />
by Sarah Cahill with Video by<br />
John Sanborn ..................................106<br />
Carey, Aine<br />
The Last Dragon Kingdom ..........82<br />
Chazelle, Damien<br />
Guy and Madeline on a Park<br />
Bench .......................................................89<br />
Cilman, Stella<br />
Shooting Craps .....................................85<br />
Cochrane, Fiona<br />
Four of a Kind ........................................88<br />
Cotter, Paul<br />
Bomber ........................................................85<br />
D’Allesandro, Romina<br />
Care ................................................................85<br />
Daniels, Lee<br />
Precious: Based on the Novel<br />
“Push” by Sapphire ........................98<br />
Darlington-Bach, Melinda<br />
The Faeries of Farthingale .......107<br />
Dieckmann, Katherine<br />
Motherhood .............................................96<br />
Dignam, Barry<br />
(enough) .....................................................83<br />
Dorobantu, George<br />
Elevator .......................................................88<br />
Ehrlich, Judith<br />
The Most Dangerous Man in<br />
America: Daniel Ellsberg and<br />
the Pentagon Papers ...................96<br />
Emery, David<br />
The Last Dragon Kingdom ..........82<br />
Epperlein, Karina<br />
Awakening from Sorrow:<br />
Buenos Aires 1997 .......................84<br />
Esmonde, Peter<br />
TRIMPIN: the sound<br />
of invention ........................................108<br />
Esrick, Michelle<br />
Saint Misbehavin’: The Wavy<br />
Gravy Movie ......................................102<br />
Ezer, Tali Shalom<br />
Surrogate ................................................106<br />
Fabian, Anthony<br />
Skin ..............................................................103<br />
Farley, William<br />
Shadow & Light: The Life and Art<br />
of Elaine Badgley Arnoux .........95<br />
Faust, Matt<br />
Home ............................................................82<br />
Fink, John<br />
Glottal Opera ..........................................83<br />
Forster, Taylor<br />
I’m Not My Tights ................................85<br />
Foster, Lucas<br />
Transatlantique ......................................85<br />
Gendler, Tomer<br />
Underwear ................................................83<br />
Gerber, Ruedi<br />
Breath Made Visible .........................86<br />
Gillooly, Jane<br />
Dragonfl ies, the Baby Cries ....104<br />
Godard, Jean-Luc<br />
Pierrot le fou ...........................................98<br />
Goddard, John<br />
Hi De Ho Show .....................................90<br />
Goldsmith, Rick<br />
The Most Dangerous Man in<br />
America: Daniel Ellsberg and<br />
the Pentagon Papers ...................96<br />
Guttentag, Bill<br />
Soundtrack for a Revolution .....103<br />
Hamilton, Evan<br />
Broken..........................................................85<br />
Hamilton, Evan<br />
The Life and Times of Buster<br />
Chaplin .....................................................85<br />
Harjo, Sterlin<br />
Barking Water ........................................84<br />
Herngren, Mans<br />
The Swimsuit Issue .........................106<br />
Heston, Jack<br />
Untouchable ............................................85<br />
You Turn ......................................................85<br />
Hicks, Scott<br />
The Boys Are Back ...........................86<br />
Hodges, Mike<br />
Croupier .......................................................47<br />
Hrebejk, Jan<br />
Shameless .............................................102<br />
Hussain, Adnan<br />
Gul (fl ower) ...............................................83<br />
Jacobson, Luke<br />
The Natural World ..............................85<br />
Jani, Gaurav<br />
One Crazy Ride .....................................97<br />
Johnson, Justin<br />
Zombie Girl: The Movie ................ 111<br />
Kaller, Jeremy<br />
The Legend of Toilet-seat<br />
Charlie ......................................................82<br />
Karina, Anna<br />
Victoria ......................................................109<br />
Kerven, Bret<br />
Dumb Luck ...............................................85<br />
Khrzhanovsky, Andrey<br />
Room and a Half ............................... 101<br />
Kleinbart, Kyle<br />
What’d ya want,<br />
a happy ending? ...............................85<br />
Knoop, John<br />
Awakening from Sorrow:<br />
Buenos Aires 1997 ...........................84<br />
Korty, John<br />
Miracle in a Box: A Piano<br />
Reborn......................................................95<br />
Larson, Lars<br />
Icons Among Us: jazz in the<br />
present tense ......................................92<br />
Leach, Hope Dickson<br />
Morning Echo .........................................82<br />
Levien, Richard<br />
Immersion ..................................................83<br />
Levine, Justin<br />
Untouchable ............................................85<br />
Lichtenstein, Mitchell<br />
Happy Tears ............................................89<br />
Link, Caroline<br />
A Year Ago in Winter .....................110<br />
Loach, Ken<br />
Looking for Eric ....................................94<br />
mvff.com
Lungulov, Darko<br />
Here and There ....................................90<br />
Lutz, Marina<br />
The Marina Experiment ...............106<br />
Maberry-Gaulke, Xochi<br />
Ladies, Please .......................................85<br />
Mäkelä, Aleksi<br />
Hellsinki ......................................................90<br />
Malmros, Nils<br />
Aching Hearts .......................................83<br />
Marshall, Aaron<br />
Zombie Girl: The Movie ................ 111<br />
Marshall, Stephen<br />
A Thousand Suns .............................108<br />
Mauck, Eric<br />
Zombie Girl: The Movie ................ 111<br />
McFalls, Robert<br />
HomeGrown .............................................91<br />
McKay, Niall<br />
The Bass Player: A Song<br />
for Dad .....................................................85<br />
McLean, Julia<br />
The Finger Trap ....................................83<br />
McNeer, Kevin<br />
Stalin Thought of You ...................104<br />
McPherson, Conor<br />
The Eclipse ...............................................87<br />
Milani, Tahmineh<br />
Superstar ................................................105<br />
Miller, Rebecca<br />
The Private Lives of<br />
Pippa Lee ...............................................99<br />
Montoya, Joe<br />
Don’t Waste Water<br />
Marin School of the Arts Public<br />
Service Announcement..............85<br />
Moverman, Oren<br />
The Messenger .....................................95<br />
Nilsson, Rob<br />
Imbued .........................................................92<br />
O’Toole, Ryan<br />
Keep the Home Fires<br />
Burning .....................................................82<br />
Odell, Jonas<br />
Lies .................................................................83<br />
tickets 877.874.6833<br />
Ozon, François<br />
Ricky ........................................................... 101<br />
Parrinello, Will<br />
Mustang – Journey of<br />
Transformation ...............................108<br />
PES<br />
Western Spaghetti .............................83<br />
Pezanoski, Geralyn<br />
MINE ..............................................................95<br />
Plympton, Bill<br />
Horn Dog ...................................................83<br />
Polk, Ramona<br />
Ramona’s Story .....................................85<br />
Popescu, Constantin<br />
The Yellow Smiley Face .................83<br />
Quirt, Steve<br />
Hidden Bounty of Marin: Farm<br />
Families in Transition.....................91<br />
Rahbek, Jan<br />
Space Monkeys ....................................83<br />
Rantasila, Mari<br />
Ricky Rapper ....................................... 101<br />
Reitman, Jason<br />
Up in the Air .........................................109<br />
Rigby, Theo<br />
Close to Home ......................................82<br />
Rilla, Ellie<br />
Hidden Bounty of Marin: Farm<br />
Families in Transition.....................91<br />
Rivoira, Michael<br />
Icons Among Us: jazz in the<br />
present tense ......................................92<br />
Robinson, Robert<br />
Styx .................................................................83<br />
Rodger, Peter<br />
Oh My God ...............................................97<br />
Samundra, Terrie<br />
Kunjo .............................................................82<br />
Sanborn, John<br />
A Sweeter Music: A Live Concert<br />
by Sarah Cahill with Video by<br />
John Sanborn ..................................106<br />
Savill, Michelle<br />
Betty Banned Sweets .....................82<br />
Scherfi g, Lone<br />
An Education ..........................................87<br />
FILMS BY FILMMAKER<br />
Schmid, Hans-Christian<br />
Storm ..........................................................105<br />
Schmidt, Erna<br />
Stella and the Star of the<br />
Orient .....................................................104<br />
Schut Jr., Bragi<br />
Charlie Thistle ........................................83<br />
Schwartz, Lucie<br />
Arresting Ana .........................................82<br />
Scott, Michel O.<br />
The Horse Boy ..................................... 91<br />
Shabtay, Michal<br />
Shylock .....................................................102<br />
Silber, Glenn<br />
Troupers ...................................................109<br />
Silva, Sebastian<br />
The Maid ....................................................94<br />
Simas, Jacob<br />
Inside Story ..............................................84<br />
Soechtig, Stephanie<br />
Tapped ......................................................107<br />
Sohn, Coley<br />
Boutonniere .............................................82<br />
Sokol, Dia<br />
Sorry, Thanks .......................................103<br />
Sorcher, Peter<br />
Eat the Sun ..............................................87<br />
Sorensen, John<br />
Project Happiness ..............................99<br />
Steinbauer, Ben<br />
Winnebago Man .................................110<br />
Stiefel, Frank<br />
Ingelore ....................................................102<br />
Sturman, Dan<br />
Soundtrack for a Revolution ......103<br />
Sukthankar, Sunil<br />
This Is the Husband<br />
I Want! ...................................................108<br />
Téchiné, André<br />
The Girl on the Train .........................89<br />
Tesoro, Alexandria<br />
Alex’s Story ..............................................85<br />
Tibblin, Andreas<br />
Good Advice ............................................82<br />
To, Johnnie<br />
Sparrow ....................................................104<br />
Todorovsky, Valery<br />
Hipsters ........................................................91<br />
Tublén, Antonio<br />
Original ........................................................97<br />
Turner, Jann<br />
White Wedding ....................................110<br />
Urale, Sima<br />
Apron Strings .........................................84<br />
Vallée, Jean-Marc<br />
The Young Victoria .......................... 111<br />
VanLoo, Babeth M.<br />
Meredith Monk – Inner Voice ....94<br />
Verhoeff, Pieter<br />
The Letter for the King ..................93<br />
Vianello, Claudia<br />
Troupers ...................................................109<br />
Visbeen, Marcel<br />
Linoleum .....................................................93<br />
Vogt, Peter J.<br />
Icons Among Us: jazz in the<br />
present tense ......................................92<br />
Wajda, Andrzej<br />
Sweet Rush ............................................112<br />
Weidlinger, Tom<br />
Jim Thorpe, The World’s<br />
Greatest Athlete ...............................93<br />
Whiton, Jacob<br />
Harrison Bergeron .............................85<br />
Williams, April<br />
April’s Story ..............................................85<br />
Wirtberg, Daniel<br />
Love Child .............................................. 101<br />
Woo, John<br />
Red Cliff ...................................................100<br />
Yu, Jessica<br />
The Kinda Sutra ...................................82<br />
Zmekhol, Denise<br />
Trading Bows and Arrows<br />
for Laptops ........................................108<br />
165
13 Bernard . . . . . . . . . . . . . . . . . . . . . . . . .154<br />
20/20 Optical . . . . . . . . . . . . . . . . . . . . . . . . 5<br />
The Academy of Motion Picture<br />
Arts and Sciences . . . . . . . . . . . . . . . . . . 10<br />
Allegria Biscotti . . . . . . . . . . . . . . . . . . . . . .78<br />
Amici’s East Coast Pizzeria . . . . . . . . . . . .30<br />
Angelica Limousines . . . . . . . . . . . . . . . . . .35<br />
AT&T . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119<br />
AT&T Yellow Pages . . . . . . . . . . . . . . . . . .149<br />
Bank of Marin . . . . . . . . . . inside front cover<br />
Barefoot Wine & Bubbly . . . . . . . . . . . . . .134<br />
Baskin Robbins . . . . . . . . . . . . . . . . . . . . .138<br />
Bay Club Marin . . . . . . . . . . . . . . . . . . . . . . . 2<br />
Bellam Self-Storage & Boxes . . . . . . . . . . .76<br />
Best Beverage Catering . . . . . . . . . . . . . . 118<br />
Bloomingdale’s . . . . . . . . . . . . . . . . . . . . . .80<br />
Bogie’s Cafe/From Soup to Nuts<br />
Catering . . . . . . . . . . . . . . . . . . . . . . . . . .140<br />
Capitola Media . . . . . . . . . . . . . . . . . . . . .124<br />
Casa Madrona Hotel and Spa . . . . . . . . .126<br />
Cavallo Point . . . . . . . . . . . . . . . . . . . . . . .127<br />
CBS 5 . . . . . . . . . . . . . . . . . . . . . . . . . . . . .50<br />
Comcast . . . . . . . . . . . . . . . . . . . . . . . . . . . .44<br />
Courtesan Wines . . . . . . . . . . . . . . . . . . .124<br />
Crystal Geyser Water Company . . . . . . . . 17<br />
Delicious! Catering . . . . . . . . . . . . . . . . . .154<br />
Dolby Laboratories . . . . . . . . . . . . . . . . . . .62<br />
Dominican University . . . . . . . . . . . . . . . . . . 4<br />
Dorothy Slattery, DDS . . . . . . . . . . . . . . .126<br />
Dream Dynamic . . . . . . . . . . . . . . . . . . . . .138<br />
East Bay Express . . . . . . . . . . . . . . . . . . .140<br />
Eastman Kodak Company . . . . . . . . . . . .136<br />
Eileen Fisher . . . . . . . . . . . . . . . . . . . . . . . . 16<br />
ETC Catering . . . . . . . . . . . . . . . . . . . . . . .138<br />
Extended Stay Deluxe Hotel . . . . . . . . . . . .35<br />
Fabrizio Ristorante. . . . . . . . . . . . . . . . . . .138<br />
Final Draft . . . . . . . . . . . . . . . . . . . . . . . . . .166<br />
Fiske Video Productions . . . . . . . . . . . . . .154<br />
Fort Docs . . . . . . . . . . . . . . . . . . . . . . . . . .134<br />
Framecrafters Gallery . . . . . . . . . . . . . . . .148<br />
Frantoio Ristorante & Olive Oil Co. . . . . . .32<br />
Frogs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .162<br />
FUREVERMORE.com . . . . . . . . . . . . . . .159<br />
Galliani Dental . . . . . . . . . . . . . . . . . . . . . .162<br />
Giraffex Graphic Design . . . . . . . . . . . . . .159<br />
Hall Wines . . . . . . . . . . . . . . . . . . . . . . . . . .78<br />
tickets 877.874.6833<br />
Helen Baldovinos-Morgan Stanley . . . . . . 18<br />
Hornblower Cruises and Events . . . . . . . .70<br />
ICG Magazine . . . . . . . . . . . . . . . . . . . . . .142<br />
Idell & Seitel . . . . . . . . . . . . . . . . . . . . . . . . . 18<br />
Idyllwild Arts . . . . . . . . . . . . . . . . . . . . . . . . .39<br />
Il Davide Cucina Italiana . . . . . . . . . . . . . .124<br />
In Ticketing . . . . . . . . . . . . . . . . . . . . . . . . .153<br />
Joie de Vivre Hospitality . . . . . . . . . . . . . .151<br />
Judy’s Breadsticks . . . . . . . . . . . . . . . . . . . . 18<br />
KDFC Classical 102.1 FM . . . . . . . . . . . .120<br />
KGO Newstalk 810 . . . . . . . . . . . . . . . . . . .44<br />
KQED . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56<br />
Kuleto’s Italian Restaurant . . . . . . . . . . . . .68<br />
L.inc Design . . . . . . . . . . . . . . . . . . . . . . . .133<br />
La Ginestra . . . . . . . . . . . . . . . . . . . . . . . . .20<br />
Larkspur Hotels & Restaurants . . . . . . . . .69<br />
Lexus of Marin . . . . . . . . . . . . . . . . . . . . . . .28<br />
Linda Walsh . . . . . . . . . . . . . . . . . . . . . . . . .20<br />
LRG Capital Group . . . . . . . . . . . . . . . . . . .26<br />
Lucasfi lm Ltd. . . . . . . . . . . . . . . . . .back cover<br />
Main Street Research LLC . . . . . . . . . . . . .45<br />
Margot Duane Images. . . . . . . . . . . . . . . .132<br />
Marin Acupuncture Works . . . . . . . . . . . .148<br />
Marin Community Foundation . . . . . . . . . . 51<br />
Marin County Farmer’s Market . . . . . . . . . .30<br />
Marin French Cheese Co. . . . . . . . . . . . . .75<br />
Marin Independent Journal . . . . . . . . . . . . .42<br />
Marin Magazine . . . . . . . . . . . . . . . . . . . . . .57<br />
Marin Oriental Rugs . . . . . . . . . . . . . . . . .160<br />
Marin Suites Hotel . . . . . . . . . . . . . . . . . . .125<br />
Maroevich, O’Shea & Coghlan . . . . . . . . . 12<br />
Mill Valley Chamber of Commerce . . . . .126<br />
Mill Valley Flowers . . . . . . . . . . . . . . . . . . .126<br />
Mill Valley Public Library . . . . . . . . . . . . . . . . 4<br />
Mill Valley Services . . . . . . . . . . . . . . . . . .154<br />
Mountain Home Inn . . . . . . . . . . . . . . . . . .148<br />
Mountain Play Association . . . . . . . . . . . . .34<br />
MW General Contracting . . . . . . . . . . . . . .30<br />
The New York Times . . . . . . . . . . . . . . . . . .46<br />
OOBA Hibiscus Sparkling<br />
Beverage . . . . . . . . . . . . . . . . . . . . . . . . .166<br />
Ovation TV . . . . . . . . . . . . . . . . . . . . . . . . . .40<br />
Pacifi c Gas & Electric Company . . . . . . . . 14<br />
Pacifi c Sun . . . . . . . . . . . . . . . . . . . . . . . . .140<br />
A Party Center . . . . . . . . . . . . . . . . . . . . . .130<br />
Pearl’s Phat Burgers . . . . . . . . . . . . . . . . .162<br />
ADVERTISER INDEX<br />
Peet’s Coffee & Tea . . . . . . . . . . . . . . . . .139<br />
Piatti Ristorante & Bar . . . . . . . . . . . . . . . .142<br />
Piazza D’Angelo Ristorante . . . . . . . . . . .152<br />
Pizza Antica . . . . . . . . . . . . . . . . . . . . . . . .137<br />
Plath & Company . . . . . . . . . . . . . . . . . . . . .43<br />
popchips. . . . . . . . . . . . . . . . . . . . . . . . . . . .58<br />
Post Street Surgery Center . . . . . . . . . . . .79<br />
Qantas Airways . . . . . . . . . . . . . . . . . . . . . .24<br />
Rafael <strong>Film</strong> Center . . . . . . . . . . . . . . . . . . . .33<br />
Richardson Architects . . . . . . . . . . . . . . . .36<br />
Rims & Goggles . . . . . . . . . . . . . . . . . . . . .20<br />
The Ritz-Carlton, San Francisco . . . . . . .134<br />
Ruby LivingDesign . . . . . . . . . . . . . . . . . . .34<br />
Sabor of Spain . . . . . . . . . . . . . . . . . . . . . .148<br />
SAGIndie . . . . . . . . . . . . . . . . . . . . . . . . . . .35<br />
San Domenico School . . . . . . . . . . . . . . . .63<br />
San Francisco Magazine . . . . . . . . . . . . . . 74<br />
San Rafael BID . . . . . . . . . . . . . . . . . . . . . .30<br />
Scandinavian Designs . . . . . . . . . . . . . . . .38<br />
ScheyerSF . . . . . . . . . . . . . . . . . . . . . . . . .121<br />
SF Weekly . . . . . . . . . . . . . . . . . . . . . . . . . 141<br />
Skywalker Sound . . . . . . . . . . . . . . . . . . . .152<br />
Stephan-Hill . . . . . . . . . . . . . . . . . . . . . . . . . . 4<br />
Stephanie Witt-Pacifi c Union . . . . . . . . . . .20<br />
Steve Bissinger/Sine Language . . . . . . .132<br />
Strawberry Village . . . . . . . . . . . . . . . . . . . .52<br />
Strawberry Village Dental<br />
Care-Joseph L. Bauer . . . . . . . . . . . . . . .162<br />
Sutton Suzuki<br />
Architects . . . . . . . . . . . . inside back cover<br />
Sweet Things . . . . . . . . . . . . . . . . . . . . . . . .28<br />
Sweet Things At Home . . . . . . . . . . . . . . . .28<br />
“Take A Dip” Fondue Fountains . . . . . . . .120<br />
Technicolor . . . . . . . . . . . . . . . . . . . . . . . . .135<br />
Thrifty Car Rental . . . . . . . . . . . . . . . . . . . 141<br />
Thumbprint Cellars . . . . . . . . . . . . . . . . . .150<br />
Tiburon Grill . . . . . . . . . . . . . . . . . . . . . . . . .68<br />
Townley Wines . . . . . . . . . . . . . . . . . . . . . . 141<br />
Wells Fargo . . . . . . . . . . . . . . . . . . . . . . . . .22<br />
Whole Foods Market . . . . . . . . . . . . . . . . . .64<br />
Wine 2.0 . . . . . . . . . . . . . . . . . . . . . . . . . . .163<br />
Yet Wah Restaurant . . . . . . . . . . . . . . . . .132<br />
Zaentz Media Center, A Wareham<br />
Development . . . . . . . . . . . . . . . . . . . . . . . . 8<br />
167
5@5: America Is Not the World . . . . . . . .82<br />
5@5: The Edges Are No<br />
Longer Parallel . . . . . . . . . . . . . . . . . . . . . .82<br />
5@5: The More You Ignore Me,<br />
the Closer I Get . . . . . . . . . . . . . . . . . . . .82<br />
5@5: Oscillate Wildly . . . . . . . . . . . . . . . . .83<br />
5@5: Sister I’m a Poet . . . . . . . . . . . . . . . .83<br />
Aching Hearts . . . . . . . . . . . . . . . . . . . . . . .83<br />
Alex’s Story . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
April’s Story . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Apron Strings . . . . . . . . . . . . . . . . . . . . . . . .84<br />
Arresting Ana . . . . . . . . . . . . . . . . . . . . . . . .82<br />
Art? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Awakening from Sorrow:<br />
Buenos Aires 1997 . . . . . . . . . . . . . . . . . .84<br />
Barking Water . . . . . . . . . . . . . . . . . . . . . . .84<br />
The Bass Player: A Song for Dad . . . . . . .85<br />
Betty Banned Sweets . . . . . . . . . . . . . . . . .82<br />
[BLANK.] . . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Bomber . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Boutonniere . . . . . . . . . . . . . . . . . . . . . . . . .82<br />
The Boys Are Back . . . . . . . . . . . . . . . . . . .86<br />
Breath Made Visible . . . . . . . . . . . . . . . . . .86<br />
Broken . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Broken Time . . . . . . . . . . . . . . . . . . . . . . . . .82<br />
Care . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Charlie Thistle . . . . . . . . . . . . . . . . . . . . . . .83<br />
Close to Home . . . . . . . . . . . . . . . . . . . . . . .82<br />
Croupier . . . . . . . . . . . . . . . . . . . . . . . . . . . .47<br />
Dark and Stormy Night . . . . . . . . . . . . . . . .86<br />
Don’t Waste Water . . . . . . . . . . . . . . . . . . .85<br />
Dragonfl ies, the Baby Cries . . . . . . . . . . .104<br />
Dumb Luck . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Eat the Sun . . . . . . . . . . . . . . . . . . . . . . . . .87<br />
The Eclipse . . . . . . . . . . . . . . . . . . . . . . . . .87<br />
An Education . . . . . . . . . . . . . . . . . . . . . . . .87<br />
Elevator . . . . . . . . . . . . . . . . . . . . . . . . . . . . .88<br />
(enough) . . . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
The Faeries of Farthingale . . . . . . . . . . . .107<br />
The Finger Trap . . . . . . . . . . . . . . . . . . . . . .83<br />
Fish Tank . . . . . . . . . . . . . . . . . . . . . . . . . . .88<br />
Four of a Kind . . . . . . . . . . . . . . . . . . . . . . . .88<br />
The Girl on the Train . . . . . . . . . . . . . . . . . .89<br />
Glottal Opera . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Good Advice . . . . . . . . . . . . . . . . . . . . . . . .82<br />
Gul (fl ower) . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Guy and Madeline on a Park Bench . . . . .89<br />
Happy Tears . . . . . . . . . . . . . . . . . . . . . . . . .89<br />
Harrison Bergeron . . . . . . . . . . . . . . . . . . . .85<br />
Hellsinki . . . . . . . . . . . . . . . . . . . . . . . . . . . .90<br />
Here and There . . . . . . . . . . . . . . . . . . . . . .90<br />
Hi De Ho Show . . . . . . . . . . . . . . . . . . . . . .90<br />
Hidden Bounty of Marin: Farm Families<br />
in Transition. . . . . . . . . . . . . . . . .91<br />
168<br />
Hipsters . . . . . . . . . . . . . . . . . . . . . . . . . . . .91<br />
Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82<br />
HomeGrown . . . . . . . . . . . . . . . . . . . . . . . .91<br />
Horn Dog . . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
The Horse Boy . . . . . . . . . . . . . . . . . . . . . . .91<br />
I’m Not My Tights . . . . . . . . . . . . . . . . . . . . .85<br />
Icons Among Us: jazz in the<br />
present tense . . . . . . . . . . . . . . . . . . . . . .92<br />
Imbued . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92<br />
Immersion . . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Ingelore . . . . . . . . . . . . . . . . . . . . . . . . . . . .102<br />
Inside Story . . . . . . . . . . . . . . . . . . . . . . . . .84<br />
Jermal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .92<br />
Jim Thorpe, The World’s<br />
Greatest Athlete . . . . . . . . . . . . . . . . . . . .93<br />
Keep the Home Fires Burning . . . . . . . . . .82<br />
The Kinda Sutra . . . . . . . . . . . . . . . . . . . . . .82<br />
Kunjo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82<br />
Ladies, Please . . . . . . . . . . . . . . . . . . . . . . .85<br />
The Last Dragon Kingdom . . . . . . . . . . . . .82<br />
The Legend of Toilet-seat Charlie . . . . . . .82<br />
The Letter for the King . . . . . . . . . . . . . . . .93<br />
Lies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
The Life and Times of Buster Chaplin . . . .85<br />
Linoleum . . . . . . . . . . . . . . . . . . . . . . . . . . . .93<br />
Looking for Eric . . . . . . . . . . . . . . . . . . . . . .94<br />
Love Child . . . . . . . . . . . . . . . . . . . . . . . . .101<br />
Lucha . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .82<br />
The Maid . . . . . . . . . . . . . . . . . . . . . . . . . . . .94<br />
Marin School of the Arts Public<br />
Service Announcement . . . . . . . . . . . . . .85<br />
The Marina Experiment . . . . . . . . . . . . . . .106<br />
Meredith Monk — Inner Voice . . . . . . . . . . .94<br />
The Messenger . . . . . . . . . . . . . . . . . . . . . .95<br />
MINE . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .95<br />
Miracle in a Box: A Piano Reborn . . . . . . .95<br />
The Missing Person . . . . . . . . . . . . . . . . . . .96<br />
Morning Echo . . . . . . . . . . . . . . . . . . . . . . . .82<br />
The Most Dangerous Man in America:<br />
Daniel Ellsberg and the Pentagon<br />
Papers . . . . . . . . . . . . . . . . . . . . . . . . . . . .96<br />
Motherhood . . . . . . . . . . . . . . . . . . . . . . . . .96<br />
Mustang — Journey of Transformation . . .108<br />
The Natural World . . . . . . . . . . . . . . . . . . . .85<br />
Oh My God . . . . . . . . . . . . . . . . . . . . . . . . .97<br />
One Crazy Ride . . . . . . . . . . . . . . . . . . . . . .97<br />
Original . . . . . . . . . . . . . . . . . . . . . . . . . . . . .97<br />
Passengers . . . . . . . . . . . . . . . . . . . . . . . . .98<br />
Pierrot le fou . . . . . . . . . . . . . . . . . . . . . . . . .98<br />
Precious: Based on the Novel “Push”<br />
by Sapphire . . . . . . . . . . . . . . . . . . . . . . . .98<br />
The Private Lives of Pippa Lee . . . . . . . . . .99<br />
Project Happiness . . . . . . . . . . . . . . . . . . . .99<br />
Race to Nowhere . . . . . . . . . . . . . . . . . . . . .99<br />
Ramona’s Story . . . . . . . . . . . . . . . . . . . . . .85<br />
FILM TITLE INDEX<br />
Reach for Me . . . . . . . . . . . . . . . . . . . . . . .100<br />
Red Cliff . . . . . . . . . . . . . . . . . . . . . . . . . . .100<br />
The Red Machine . . . . . . . . . . . . . . . . . . .100<br />
Ricky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .101<br />
Ricky Rapper . . . . . . . . . . . . . . . . . . . . . . .101<br />
Room and a Half . . . . . . . . . . . . . . . . . . . .101<br />
Saint Misbehavin’: The Wavy<br />
Gravy Movie. . . . . . . . . . . . . . . . . . . . . . .102<br />
Shadow & Light: The Life and Art<br />
of Elaine Badgley Arnoux . . . . . . . . . . . . .95<br />
Shameless . . . . . . . . . . . . . . . . . . . . . . . . .102<br />
Shooting Craps . . . . . . . . . . . . . . . . . . . . . .85<br />
Shylock . . . . . . . . . . . . . . . . . . . . . . . . . . . .102<br />
Skin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103<br />
Skylight . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Sorry, Thanks . . . . . . . . . . . . . . . . . . . . . . .103<br />
Soundtrack for a Revolution . . . . . . . . . . .103<br />
Space Monkeys . . . . . . . . . . . . . . . . . . . . . .83<br />
Sparrow . . . . . . . . . . . . . . . . . . . . . . . . . . .104<br />
Stalin Thought of You . . . . . . . . . . . . . . . .104<br />
Stella and the Star of the Orient . . . . . . .104<br />
Storm . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105<br />
The Strength of Water . . . . . . . . . . . . . . .105<br />
Styx . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Superstar . . . . . . . . . . . . . . . . . . . . . . . . . .105<br />
Surrogate . . . . . . . . . . . . . . . . . . . . . . . . . .106<br />
Sweet Rush . . . . . . . . . . . . . . . . . . . . . . . . 112<br />
A Sweeter Music . . . . . . . . . . . . . . . . . . . .106<br />
The Swimsuit Issue . . . . . . . . . . . . . . . . . .106<br />
The Sylpphid . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Tapped . . . . . . . . . . . . . . . . . . . . . . . . . . . .107<br />
The Ten Lives of Titanic the Cat . . . . . . . .107<br />
Tenderloin . . . . . . . . . . . . . . . . . . . . . . . . . .107<br />
This Is the Husband I Want! . . . . . . . . . . .108<br />
A Thousand Suns . . . . . . . . . . . . . . . . . . .108<br />
Trading Bows and Arrows for Laptops . .108<br />
Transatlantique . . . . . . . . . . . . . . . . . . . . . .85<br />
Trece Años . . . . . . . . . . . . . . . . . . . . . . . . . .82<br />
TRIMPIN: the sound of invention . . . . . . .108<br />
Troupers . . . . . . . . . . . . . . . . . . . . . . . . . . .109<br />
Underwear . . . . . . . . . . . . . . . . . . . . . . . . . .83<br />
Untouchable . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
Up in the Air . . . . . . . . . . . . . . . . . . . . . . . .109<br />
Victoria . . . . . . . . . . . . . . . . . . . . . . . . . . . .109<br />
Western Spaghetti . . . . . . . . . . . . . . . . . . .83<br />
What’d ya want, a happy ending? . . . . . . .85<br />
White Wedding . . . . . . . . . . . . . . . . . . . . . 110<br />
Winnebago Man . . . . . . . . . . . . . . . . . . . . 110<br />
A Year Ago in Winter . . . . . . . . . . . . . . . . . 110<br />
The Yellow Smiley Face . . . . . . . . . . . . . . .83<br />
You Turn . . . . . . . . . . . . . . . . . . . . . . . . . . . .85<br />
The Young Victoria . . . . . . . . . . . . . . . . . . 111<br />
Youth in Revolt . . . . . . . . . . . . . . . . . . . . . . 111<br />
Zombie Girl: The Movie . . . . . . . . . . . . . . 111<br />
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