Sunday: Clock Tower Theatre in the Arts Centre
Tuesday: The University screening will continue at the Sociology Theatrette (3rd floor, Sociology Department)
ORIENTATION WEEK 24 FEBRUARY-4 MARCH
ANGEL HEART U.S.A., 1987.
Dir: Alan Parker
ANGEL Ireland, 1982.
Dir: Nell Jordan
PINK FLOYD THE WALL Great Britain, 1982.
Dir: Alan Parker.
APOCALYPSE NOW U.S.A., 1979.
Dir: Francis Coppola
BURDEN OF DREAMS U.S.A., 1982.
Dir: Les Blank
NOSFERATU Germany, 1979.
Dir: Werner Herzog
DOCTOR NO U.K., 1982.
Dir: Terence Young
YELLOW SUBMARINE U.K., 1968.
Dir: George Dunning
RAISING ARIZONA U.S.A., 1987.
Dir: Joel Coen. '
LES ENFANTS TERRIBLE France, 1949.
Dlr: Jean-Pierre Melville.
MOON OVER THE ALLEY U.K., 1975.
Dir: Joseph Desplns
MEANTIME U.K., 1983.
Dlr: Mike Leigh
ANNIE HALL U.S.A., 1977.
Dir: Woody Allen
THE MEANING OF LIFE U.K., 1986.
Dir: Monty Python
PARIS, TEXAS Germany/U.S.A., 1984.
Dir: Wim Wenders
HOUR OF THE STAR Brazil, 1985.
Dir: Suzana Amaral
KAGEMUSHA Japan, 1980.
Dir: Akira Kurosawa
2001: A SPACE ODYSSEY U.K., 1968.
Dir: Stanley Kubrick
5 March Clock Tower, 7 March Sociology
ANITA - DANCES OF VICE ANITA - TANZE DES LASTERS, W. Germany, 1987.
Dir: .: Rosa von Praunhelm. With lotti Huber. New York, Chicago Rim Festivals, 1987. N.Z. Premiere, 1989. Bisexual, sustained by extraordinary quantities of cocaine, Anita Berber personified the excesses of 1920s Berlin. She danced naked at the White Mouse cabaret, drank to excess, married several times and died of tuberculosis at the age of 29. In Rosa von Praunheim's film she's been reincarnated in 1987 as the outrageous, dirty-mouthed 70-year-old Lotti Huber. The film inter-cuts the contemporary scenes - set, in honoured German tradition, in a mental hospital - with exuberant flashbacks to the delirium of the twenties. . . "A kind of lunatic, low-budget fandango with a honky-tonk Schoenberg score and ravishing visuals that suggest a flea-market amalgam of CALIGARI, THE THREE-PENNY OPERA and REEFER MADNESS . . . Huber is irresistibly funny as the city's pugnacious doyen of sin" - J. Hoberman, Village Voice. "I know of no other film which so effectively captures the subversive sleaze and revolutionary raunch of Berlin in the 205. What a CABARET von Praunheim could have made" - Richard Roud, Sight & Sound. "Beautiful" - New Statesman.
12 March Clock Tower, 14 March Sociology
SUMMER LE RAYON VERT. France, 1986.
Dir: ; Eric Rohmer. With Marie Riviere. Venice (Golden Lion: Best Film), Sydney, Wellington, Auckland Film Festivals, 1987. When she's let down at the last minute by the friend with whom she's planned a summer holiday, Delphine is unwilling to compromise on the various generous offers that come her way. Only the perfect holiday, preferably with the perfect man - will do. "Rohmer's new film is one of the glories of the year, a funny, profound work about a grave and not terribly profound young woman. Delphine, a secretary, pretty in a stubborn, self-absorbed way is the classic Rohmer heroine, an ordinary woman who begins by irritating us and ends by breaking our hearts. . ." Molly Haskell, Vogue. "As flawlessly constructed, shot and performed as ever. . . Deceptively simple, the film oozes honesty and spontaneity; the word, quite bluntly, is masterpiece." - Time Out.
19 March Clock Tower, 21 March Sociology
TOKYO STORY TOKYO MONGATARI, Japan, 1953.
Dir: Yasujlro Ozu. With Chishu Ryu. Japanese Classic. New Print. "This moving account of the sad but necessary differences between generations is one of the few Ozu films to have been shown abroad. . . TOKYO STORY has an inner strength and drive that draws one inexorably into the Japanese world and its universal human problems." - Georges Sadoul. "TOKYO STORY is the distillation of Ozu's attitudes towards the human condition. It is a story full of human, but never romantic, love. . . By his perfect balance of form and content, the control of style and theme, Ozu shows all the foibles of his characters. . . - Richard W. Tucker. "You have seen the goodness and beauty of everyday things and everyday people; you have had experiences indescribable because of cinema and no words can describe them; you have seen a few small, memorable, unforgettable actions, beautiful because sincere" - Donald Ritchie.
26 March Clock Tower, 28 March Sociology
WILD STRAWBERRIES SMULTRONSTALLET, Sweden, 1957.
Dir/Scr.: Ingmar Bergman. With Victor Sjostrom, Ingrid Thulin, Gunnar Bjornstrand, Bibi Andersson. New print. In 1988 Ingmar Bergman celebrated his 70th birthday. He was 39-years old when this film, along with THE SEVENTH SEAL garnered him worldwide attention and brought a new intellectual respectability to the cinema. Victor Sjostrom, himself a great director, plays an elderly professor who reflects on his life, his successes and his failures. "Who can forget Sjostrom's face, or the vicious, bickering couple who rasp at each other in the back seat of a car, or the large-scale mask of the beautiful Ingrid Thulin . . .? Few movies give us such memorable, emotion-charged images." Pauline Kael. "The best Bergman film of the 50s, much closer to a true philosophical tragedy than his more ambitious SEVENTH SEAL~ - Georges Sadoul. "One can easily see why this has always been not only one of the most admired, but most loved of Bergman's films." - Robin Wood.
2 April Clock Tower, 4 April Sociology
THE LONG BOW TRILOGY U.S.A., 1984-6.
Dir: Carma Hinton & Richard Gordon. Wellington, Auckland Film festivals, 1988. These three films provide an extraordinary, first-hand portrait of contemporary China, a subject director Carma Hinton is well qualified to film. The daughter of William Hinton, whose detailed descriptions of the village of Long Bow in the books FANSHEN and SHENFAN are classics, she was born in Peking in 1949 and never left China until 1970. The directness and honesty with which the villagers speak to her is as remarkable as it Is refreshing. For an audience the sense of communication across immense cultural differences is exhilarating. The films view the village from three different points of view: as the subject of historical and political change, as shaped by the experience of women and as seen by the village doctor.
9 April Clock Tower, 11 April Sociology
THE MAN WITH THE MOVIE CAMERA CHELDVEK S KINO APPARATOM. U.S.S.R. 1929.
Dir: Dziga Vertov. Photography: Mikhail Kaufman. Russian Classic. "CHELOVEK S KINO APPARATOM's quirky coincidence of experimental and documentary impulses rejects a narrative structure in favour of a montage of diverse and often seemingly unrelated shots and a vast array of special effects. Continually relating the operation of the movie camera to the human eye - treating cinema as an extension of human vision. THE MAN WITH THE MOVIE CAMERA examines how cinema itself has become an intrinsic part of modern life and mediates our perception of It. Playful and precocious, Vertov's camera-eye dazzles us with slow motion, accelerated motion, split screens, superimposition. . . the cameraman alongside other workers, drawing parallels between. . . cinema and other occupations that depend on machines that rotate. . . the man with the movie camera has a job to do" - Robert Leonard, National Art Gallery.
FILM TRUTH KINO PRAVDA. U.S.S.R. 1925.
Dir: Dziga Vertov. Photography: Mikhail Kaufman. Russian Classic. KINO PRAVDA, a newsreel magazine was made between 1922 and 1925 and is essentially scenes of everyday life caught unawares. KINO PRAVDA is a compilation of excerpts from this series, from which the basis of Vertov's experimental KINO EYE manifesto emerged.
6 April Clock Tower, 18 April SOCIOLOGY
SUMMER AT GRANPA'S DONGDONG DE JIAQI, Taiwan, 1984.
Dir: Hou Tsaio-tsien. Locarno, Edinburgh Film festivals, 1985. New Zealand Premiere, 1988. Film Festival audiences in 1988 were introduced to the world of Hou Tsiaotsien with his masterly A TIME TO LIVE AND A TIME TO DIE. This earlier film is a lighter piece, but just as sure and as vivid in its evocation of childhood and youth. "This comedy-drama propels two small siblings, a boy and his sister into the none-too-grateful arms of their country-dwelling grandparents for a long summer holiday. As one mishap follows another the movie confirms the old adage: that it is only when you have nothing to do that you find yourself doing a dozen different things, most of them disastrous. The film is fresh, funny and wise and it never semaphores its effects" Nigel Andrews, Financial Times. "Clear-eyed, never sentimental, always intelligent and revealing. . . and as an added bonus, for once the kids are truly superb." - Time Out. "Enormously likeable" - Variety..
23 April Clock Tower, 25 April Sociology
AIDS - A VIRUS RESPECTS NO MORALS ElN VIRUS KENNT KEINE MORAL. West Germany, 1986.
Dir: .: Rosa von Praunhelm. With: Dieter Dicken, Maria Hasenacker, Christian Kester, Eva Kurz. N.Z. Premier 1989. "Black humour as an act of furious provocation. - It is a visually ragged, lurid, campy, neo-impressionist black comedy in which a range of contemporary reactions to the crisis are systematically criticised, and nothing is sacred. . . A VIRUS RESPECTS NO MORALS is a vast change from the AIDS dramas were used to because it's relentlessly anti-sentimental" - Helen Knode. "In Von Praunheim's wittiest film to date, virtually every crackpot doctor, off-the-wall theory, right-wing paranoid fantasy and moralistic remedy is lampooned. Strangely satisfying stuff." - Vito Russo.
30 April Clock Tower, 2 May Sociology
LA BETE HUMAINE France, 1938.
Dir: /Scr: Jean Renoir, from the novel by Emile Zola. With Jean Gabin, Simone Simon. French Classic. New Print. Jean Renoir's version of the Zola novel updated the action to the '30s and contains some of the most memorable train sequences on film. A take of murderous passions set in a world of railwaymen, the film is powerfully atmospheric and superbly acted. "Zola's story of a sadistic maniac may not be especially plausible, but Renoir aided by a magnificent cast gets right underneath the plot" - Graham Greene. "The acting is of exceptional quality. It is one of Gabin's great roles. . ." - Georges Sadoul.
7 May Clock Tower, 9 May Sociology
TWO FILMS BY AGNES V ARDA MUR MURS and DOCUMENTEUR, France/ U.S.A., 1980-81.
Dir: /Scr: Agnes Varda. With Juliet Berto, Sabine Mamou, Mathieu Derny. Cannes (Un Certain Regard) New York, Edinburgh, London Film Festivals. N.Z. Premiere, 1989. . These two films, a documentary and a short feature, by the director of VAGABONDE and ONE SINGS, THE OTHER DOESN'T are designed to be seen together. "In MUR MURS, Agnes Varda takes the audience on a fascinating, quirky tour of the murals of Los Angeles, which leads from the sophisticated trompe l'oeil paintings on Venice buildings to the angry social protest murals in the barrios of East L.A. Through interviews with the artists, her own personal ruminations and the playfulness of her camera, Varda shapes a wide-ranging study of Los Angeles that succeeds as sociology, art survey and satire. . . captured, wittily, forever." - Newsweek. "Witty, gentle, entrancing. . ." - Penelope Houston. DOCUMENTEUR is a dramatisation of the problems of a French woman living in Los Angeles with her young son. The resemblances between the characters in this fiction and the people who made MUR MURS are tantalising.
14 May Clock Tower, 16 May Sociology
LATE SPRING BANSHUN. Japan, 1949.
Dir: Yasujiro Ozu. Setsuko Hara, Chishu Ryu. Japanese Classic. New Print. "One lives with and not against time - a kind of resigned sadness, a calm and knowing serenity which persists - those tears caused by things as they are. Ozu as the spokesman for the Japanese tradition portrays this world view. . . His attitude toward films has always been that of a perfectionist, and in everything that he does in films the parts fit so perfectly that one is never conscious of the virtuosity with which it is done. In LATE SPRING the interest is in the relations between a father and daughter. . . their varying reactions to the coming marriage of the younger:" - Donald Ritchie. "Ozu's most characteristic is his way of watching the world. While that attitude is modest and unassertive, it is also the source of great tenderness for people. . . one comes away from Ozu heartened by his humane intelligence and by the yoga-like gravity we have learned. - Georges Sadoul.
21 May Clock Tower, 23 May Sociology
MAUV AIS SANG BAD BLOOD aka THE NIGHT IS YOUNG, France, 1986. Dir.: Leos Carax. With Juliette Binoche, Michel Piccoli, Denis Lavant. New Zealand Premiere, 1989. The hot young men of French cinema in the late '80s are Beineix (DIVA. BETTY BLUE), Besson (SUBWAY) and Leos Carax whose MAUVAIS SANG was a cult hit in France, but has hardly been seen anywhere else. The setting is Paris in the year 2000; the plot, such as it is, concerns the race for a cure to the virulent STBO, a virus which apparently does have morals for it is transmitted only during loveless sex. Carax's virtues may not be intellectual, but his film is an exuberant triumph of moodily romantic style and dazzling original imagery. "One of the most sensuous film stylists to emerge in the last few years. . . Messy, moody and searingly memorable. this is cinema resonantly taking wing. A must." - NME. "Blows most contemporary movies from any culture out of the water. . . MAUVAIS SANG has two of the most visually exhilarating sequences I've ever seen." Katherine Dieckmann, Village Voice. "An orgy of brilliant images." - Elle.
26-28 May Clock Tower, 30 May Sociology
BUNUEL FESTIVAL N.B.: Other Bunuel films to be screened in this festival will be advertised in REELING closer to the date.
26 May Clock Tower, 7.30pm
LA MORT EN CE JARDIN France/Mexico, 1956.
Dir: Luis Bunuel. Scr: Bunuel with Luis Alconza, Raymond Queneau. With: Georges Marchal, Simone Signoret, Charles Banel, Michele Girardon. Bunuel's complex and far-reaching exploration of what it means to be an individual when you must live in a group - under the tyranny of the state or under the tyranny of nature. A group of diamond miners and adventurers are preyed upon by a trader, a prostitute and a priest in a South American fascist state. They rebel. . . and a small number of fugitives are led into the jungle by the most ferocious among them. Their characters eroded and transformed by the struggle to survive, they come across a wrecked airliner, stuffed with canned food, corpses, jewels and furs. li is their temptation and test. . .
27 May Clock Tower, 7.30pm
Dir: Luis Bunuel. With: Silvia Pinal, Francisco Rabal, Fernando Rey. Palm D'Or, Cannes Film Festival 1961. Viridiana is about to take her religious vows. The Mother Superior sends her home to make her last contact with the outside world. She never returns. "Beautiful in its devastating accuracy, powerful in its rejection of even a hint of a shrug. Pity is totally absent in film devoted to the thesis of the overwhelming need for pity. One of the cinema's few major philosophical works, VIRIDIANA is almost certainly Bunuel's masterpiece." - Monthly Film Bulletin, June 1962.
28 May Clock Tower 7.30pm, 30 May Sociology 7.30pm
THE EXTERMINATING ANGEL EL ANGEL EXTERMINADOR, Mexico, 1962.
Dir: luis Bunuel, based on a scenario by Bunuel and Luis Alcoriza. Cannes (Fiprescl Prize, Screenwriters' Prize) Film festival, 1962. New print. Were delighted to have secured the return of one of the greatest of Bunuel's greatest films in which twenty high society dinner guests are forced to recognise that, for no reason whatsoever, they are unable to leave the drawing room . . . "Like all the great surrealist works of art, THE EXTERMINATING ANGEL can be pillaged for meanings, or simply enjoyed for what it is, for its lacerating humour and marvellous fantasy. . . It is, in short, a masterpiece, complete, perfect and inevitable." - Tom Milne. "Here at last is the great liberation. All the chains fall aside and Bunuel rediscovers the freedom of expression of L:AGE D'OR~ - Ado Kyrou. "This marvellous film is something of a summary of Bunuel's life and work" - Georges Sadoul. "One of those rare films I've sat through more than once" - Luis Bunuel.
4 June Clock Tower, 6 June Sociology
CHIMES AT MIDNIGHT CAMPANADAS A MEDIANOCHE aka FALSTAFF, Spain/Swltzerland, 1966.
Dir: .: Orson Welles. With Welles, Keith Baxter, John Gielgud, Margaret Rutherford, Jeanne Moreau. Orson Welles takes the story of Falstaff's friendship with and eventual rejection by Prince Hal from Shakespeare's HENRY IV plays. An engaging character study and a richly laden "lament for Merry England" Despite technical deficiencies including exasperating sound problems early in the film, CHIMES AT MIDNIGHT is probably the most emotionally involving of all Welles' films and it's definitely one of the most successful film adaptations of Shakespeare. "A deeply moving film. . . CHIMES AT MIDNIGHT is nearly, if not quite, a masterpiece." - Roger Manvell, Shakespare & the Film. "It belongs up there with that other lament for a brave new world in eclipse. THE MAGNIFICENT AMBERSONS" - Tom Milne. "One of Welles' best and least-seen movies. . . Welles' direction of the Battle of Shrewsbury is unlike any battle ever done on screen before. It ranks with the finest of Griffith. Ford. Eisenstein, Kurosawa." - Pauline Kael.
11 June Clock Tower. 13 June Sociology
HAMLET GAMLET. USSR. 1964.
Dir: Grigori Kozintsev. Based on Boris Pasternak's translation of the Shakespeare play. With: Innokenti Smotunovsky. Standard format print. "Pasternak's versions of Shakespeare eschew literary archaism, seeking direct interpretation of the thought through strong, practical, modern Russian speech. Kozintsev's famous adaptation, in the same way, looks always to the interior qualities of the characters and to visual interpretation of the verbal imagery. . . His Hamlet owes nothing to any stage tradition of a moody and poetic hero doomed by indecision: as played by Innokenti Somktunovsky he is nervous, virile, positive, his tragedy being to find himself a man in an alien society, which he will fight and destroy, and yet which must ultimately destroy him. . ." - David Robinson. "Kozintsev has become one of the few. interpreters of Shakespeare on the screen to work with a real insight." - Roger Manvell, Shakespeare and the Film. "Perhaps the best film based on Shakespeare." - Georges Sadoul. .
18 June Clock Tower, 20 June Sociology
CANNIBAL TOURS and HOME FROM THE HILL CANNIBAL TOURS, Australia, 1987.
Dir: Dennis O'Rourke. Hawaii, San Francisco Film festivals, 1987. HOME FROM THE HILL, UK., 1985.
Dir/Ph: Molly Dineen. Wellington, Auckland Film festivals. Cultural clash is the subject of this stimulating documentary double. Dennis O'Rourke, best known for HALF LIFE, is widely recognised as one of the most perceptive observers of conflict between western and traditional cultures. He has also demonstrated a strong commitment to the indigenous peoples of the Pacific. In CANNIBAL lOURS he examines the relationship between tourists and the toured in the Sepik Region of New Guinea. "O'Rourke displays himself as a witty, eloquent and compassionate voyeur, not entirely immune from the observations he makes of his fellow travellers" - Financial Times. HOME FROM THE HILL is a remarkable, funny and telling portrait of Colonel Hilary Hook evicted from a life of privilege in Kenya and forced to grapple with life in suburban Wiltshire.
25 June Clock Tower, 27 June Sociology
VERNON, FLORIDA U.S.A., 1981.
Dir/Prod.: Errol Morris. New York, Telluridge, London Film Festivals. N.Z. Premiere, 1989. Errol Morris is clearly one of the most original documentary film-makers around. His pet cemetery film, GATES OF HEAVEN and the recent THIN BLUE LINE have earned him an enthusiastic following in New Zealand, although not everybody enjoys his deadpan observational style. We are delighted to present the film he made between the other two, a film about the small town of Vernon in the state of Florida. "A true original. . . There is a taste of Samuel Beckett in the film's tone of droll, forlorn hopelessness . . . it's philosophical slapstick, as odd and mysterious as its subjects, and quite unforgettable." - Newsweek. VERNON, FLORIDA will be supported by GAP-TOOTHED WOMEN, the highly personal film which documentarian Les Blank always threatened to make and finally did. . .
GAP-TOOTHED WOMEN U.S.A., 1987.
Dir/Scr: Las Blank, Maureen Gosling, Chris Simon, Susan Kell. featuring: Lauren Hutton, Claudia Schmidt, Katherine Wallach and 37 other women possessing les dents du bonheur (the teeth of happiness). "GAP-TOOTHED WOMEN is something else entirely. The film is another commonsensical, inspiriting pean to the mystery and variety of ordinary experience by one of our most original filmmakers. . . exuberant interviews . . . this isn't just a film about gaps, it's a film about women." - Vincent Canby.
2 July Clock Tower, 4 July Sociology
PEPE LE MOKO France, 1936.
Dir: Julien Duvivier. With Jean Gabln, Mireille Balin. French Classic. New Print. This classic French gangster film, with its stylistic debts to the original SCARFACE was itself widely emulated and was eventually remade not once, but twice in Hollywood. Gabin's performance as a Parisian thief hiding out in the Casbah is amongst his beautifully characterised best. "Superb entertainment. A classic romantic melodrama of the '3Os and one of the most compelling of all the fatalistic French screen romances. . ." Pauline Kael. "One of the most exciting and moving films I can remember seeing. . . we are a whole continent away from the usual studio banalities.." - Graham Greene. "Thus a new myth, a form of "modern tragedy" was born." - Georges Sadoul
7 - 9 July Clock Tower, 11 July Sociology
NZ FESTIVAL A festival of recently made N.Z. films and videos.
7 July - Student Films
1. Autobiographical DOCUMENTARY (1989) Janene Knox (FILM 301) 1/2 INCH VIDEO, 4 minutes
"Articulates my experience 01 fear in potentially threatening situations"
2. BENT (1989) Paul Swadel, Jane Wright (FILM 301) 3/4-INCH VIDEO (LOW BAND), 10 minutes. Deals with the complex Fragmentation 01 an actors persona.
3 TWO ROCK VIDEOS John Chrisstoffels (FILM 401) 1 INCH VIDEO, 7 minutes TERMINAL: Uncoffin / JEAN-PAUL SARTRE EXPERIENCE: It's your heart
4. WITCHES PIKNIK (1988) \ Juliet Hornblow (FILM 201) ..16mm FILM, 7 minutes. Allen creatures of the night gather socially on earth.
5- THE DARINO ESCAPE (1988) Richard Stanton (FILM 401) 3/4 INCH VIDEO (Low Band), 19 minutes. Loosely based on a story by lain Banks. It centres on the unwelcome return home of a son.
6. The Correspondent (1989) Laurence Effnear (FILM 301) 1/2 INCH VIDEO, 2 minutes A perspective on perspectives.
7 - PILOTS WILL STRIKE (1989) Paul Swadel (FILM 301) 1/2 INCH VIDEO, 10-Minutes Soap Opera Snuff Movie.
8'. A DAY AT THE RACES (1989) Carolyn McKinlay (FILM 201) 1/2 INCH VIDEO, 7 minutes Observational documentary of horse racing culture.
9 - PROOF (1989) Stephanie Donald 'Lawrence Effnaar , Joyce Palmer , May Trubuhovlch. (FILM 201) . 1/2 INCH VIDEO, 3 minutes. A snippet of the experience of working alone with darkness and lime.
10- SMALL JOURNEYS (1983) Maree Quinn (FILM 30') 16mm FILM 15-minutes. Exploring that awkward conflict and familiarity in a relationship past and present
8 July - Student Films
1 MEAT Cabinets (1987) Jonathan Venz (FILM 401) 3/4 INCH VIDEO (Low Band), 6 minutes Experimental scratch video .
2 THE DUCHESS OF MALFI (1989) Harrlet Hamer (FILM 401) 3/4 INCH VIDEO, 5 minutes AN EXCERPT FROM A JACOBEAN DRAMA
3. A PERSONAL LIE (1989) Paul Swadel (FILM 301) 1/2 INCH VIDEO, 10 minutes. Directorial manipulation of a narcissistic subject. an ever changing landscape of repetition.
4. TRANSIENT STATES OF THE MIND (1987) Matthew Lawrence (FILM 201) 3/4 INCH VIDEO (Low Band), 11 minutes
5- WARM JETS (1988) David Johansen (FILM 201) 16mm FILM, 2 minutes
6- SEASCOPE (1988) Janene Knox (FILM 201) 1/2 INCH VIDEO, 5 minutes
7 - CHOICES FL YINO (1988) Jane Wright (FILM 201) 16mm FILM, 13 minutes. Presenting a feminist perspective on decision-making. It involves the conflict a single young woman faces when she becomes pregnant. - 5 MINUTE INTERMISSION
8 -SHARED OVA (1987) Maree Mills (FILM 302) 3/4 INCH VIDEO, 10 minutes The personal experience of being a "twin- .
9 - PRIVATE LIVES (1988) Chris Cooke ( FILM 401) 3/4 INCH VIDEO, 31 mlnutes The relationship between two friends trying to ignore the overwhelming boredom of being unemployed.
10 - WHAT DO WE WANT ORIENTATION EDUCATION (1989) David Reid (FILM 201) S-VHS VIDEO, 10 minute excerpt. A documentary documenting Orientation at Canterbury University 1989.
11 FATHERS (1989) John Chrisstoffels (FILM 401) 3/4 INCH, VIDEO 6-minutes Loosely based on a Maurice Shadbolt story. the -Kiwi Bloke- as a capitalist plot.
12- BLITZKRIEG (1984) . Bella Grant (FILM 201) 3/4 INCH VIDEO, 7-minutes
13. COLOUR PLAY (1998) Emma Haughton (FILM 201) 16mm FILM, 5-minutes. Animated abstraction of a dancing figure. DANCER: Sandra Grey MUSIC: David Yetton.
16 July Clock Tower, 18 July Sociology
THE CHILDREN OF PARADISE LES ENFANTS DU PARADIS. France, 1945.
Dir: Marcel Carne. Scr: Jacques Prevert. With: Arletty, Jean-Louis Barrault, Pierre Brasseur, Maria Casares, Louis Salou. "Marcel Carne's grandly romantic work had been honoured as the greatest sound film made in France. How it was made - during the darkest days of the Nazi occupation - is an eloquent story of talent, courage and Gallic perseverance. . . CHILDREN OF PARADISE is a film about seeing and being seen in a world where the common distinctions between street life and theatre, audience and actor, reality and illusion crumble." - Edward Baron Turk. "A love story set in the mid-nineteenth century LES ENFANTS DU PARADIS emphasises human relations set against gesticulating hurrying crowds. . . in Jean-Louis Barrault, Pierre Brasseur and especially Arletty Carne commands a group of actors whose technique conveys fully the poetic humanism against a background of theatres, streets and taverns of Paris of a hundred years ago." - Monthly Film Bulletin. ". . . classical perfection of its style. . . reveals itself as a searching meditation of love, freedom and art . . ." - Raymond Durgnat.
23 July Clock Tower, 25 July Sociology
THE EMPEROR'S NAKED ARMY MARCHES ON YUKI YUKITE SHINGUN. Japan, 1987.
Dir: Kazuo Hara. Berlin (Caligari Award), Hong Kong, Edinburgh, Rotterdam (Special Jury Prize), Paris (Cinema de Reel: Grand Prix), San Francisco, Sydney, Melbourne, Wellington, Auckland Film festivals, 1988. Acclaim and awards at Festivals around the world testify to the striking originality of this hair-raising documentary about Kenzo Okuzaki, the self-appointed scourge of Japanese war criminals. Okuzaki's obsessive pursuit of the guilty violates any number of vital social taboos as he - and the filmmakers - delve into a history that has been deeply repressed in modern Japan. "If Aguirre is the wrath of God, Okuzaki is something like the whiplash of fanaticism. . .'" - J. Hoberman, Village Voice. "A brave and radical documentary. . . That this picture is very strong is evident. But it is also extremely moving and the end is deeply upsetting. The picture is also beautifully made, a truly controlled example of honest documentary at its best.'" - Donald Ritchie.
28 - 30 July Clock Tower, 1 August Sociology
GODARD FESTIVAL N.B.: Other Godard films to be screened in this festival will be advertised in REELING closer to the date.
28 July Clock Tower 7.30pm
BREATHLESS A BOUT DE SOUFFLE, France, 1959.
Dir: Jean-Luc Godard. Scr: Godard with Francois Truffaut. With: John-Paul Belmondo, Jean Seberg. French Classic. "Godard's first feature - a witty, romantic, innovative chase picture with the 26-year-old Belmondo as a Parisian hood, and Jean Seberg as the American girl who casually lives with him and just as casually turns him into the police when he becomes an inconvenience. Godard saw something in the cheap American movies of his youth that French movies lacked; he poeticised it and made it so modern (via fast jump cutting) that he, in-turn, became the key influence on American movies of the 60s. . . the giddy, gauche characters who don't give a damn are not only familiar in an exciting, revealing way: they are terribly attractive." - Pauline Kael.
29 July Clock Tower 7.30pm
MASCULINE FEMININE MASCULIN FEMMININ, France, 1966.
Dir: /Sc.: Jean-Luc Godard. With Jean-Pierre Leaud, Chantal Goya. Sixties Classic. New print. MASCULINE FEMININE was Godard's eleventh film in seven years and the first of three he completed in 1966. Breaking every rule-mixing genres and styles, interrupting his narrative (taken from two stories by Guy de Maupassant) for witty digressions on sex and politics - Godard's restlessly inventive mind works with affectionate irony in this story of a love affair between a young Parisian radical and a ye-ye singer. "No film-maker of this age has pressed his camera any closer to the present. . . MASCULINE FEMININE is the film of the season. Don't miss it. I can't help feeling that Godard's apparent modernism is instant classicism" - Andrew Sarris. "Godard's graceful, intuitive examination of the courtship rites of "the chilchildren of Marx and Coca-Cola. . . there's life in MASCULINE FEMININE, which shows the most dazzlingly inventive and audacious artist in movies today at a new peak." - Pauline Kael.
30 July Clock Tower 5.30pm
TOUT VA BIEN France/Italy,1972.
Dirs: Jean-Luc Godard, Jean Pierre Gorin. With: Yves Montand, Jane Fonda. New York Film Festival 1972. TOUT VA BIEN is the story of a radio journalist and a former nouvelle vague film maker who are accidentally trapped in the middle of a riotous factory strike. Their experience leads them to question their ideals. "In our opinion, this film is a serious step towards materialist fiction film-making for a large audience." - Godard/Gorin.
30 July Clock Tower 7.30pm, 1 August Sociology 7.30pm
WEEKEND France/Italy, 1967.
Dir/Scr.: Jean-Luc Godard. Ph.: Raoul Coutard. New print. We've finally secured the most requested, least seen - and probably the most timeless - of Godard's 60s features. A sensation on its initial release, WEEKEND retains the power to shock with its vision of a society completely out of control. "A fantastic film in which all of life becomes a weekend, and the weekend is a cataclysmic, seismic traffic jam. . . It is as though the violent quality of life had driven Godard into and through insanity, and he had caught it and turned it into one of the most important and difficult films he has ever made. . . It is an appalling comedy. There is nothing like it at all." - Renata Adler, N.Y. Times. "A vision of hell that ranks with the greatest. . . It is in the further reaches - in the appalling, ambivalent revolutionary vision - that WEEKEND is a great, original work." - Pauline Kael. "A revolutionary film." - Jan Dawson.
FIRST TWO WEEKS IN AUGUST
THE CHRISTCHURCH INTERNATIONAL FILM FESTIVAL
Essential Films Programme with UFM - 16 August
Colour Cry, Len Lye (NZ, 1952)
Adventures in Maoriland, (Hei Tiki), Geoff Stevens (NZ, 1985)
The Craving Cries, Barry Barclay and Michael King (NZ, 1974)
Holdup, Gaylene Preston (NZ, 1981)
DOC, Shereen Maloney (NZ, 1985)
Essential Films Programme with UFM - 17 August
The Day We Landed on The Most Perfect Planet in the Universe, Toony Williams (NZ, 1971)
A Death in the Family, Peter Wells and Stewart Main (NZ, 1984)
Just Me and Mario, Greg Stitt (NZ, 1988)
20 August Clock Tower, 22 August Sociology
THE CRIME OF MONSIEUR LANGE LE CRIME DE M. LANGE. France, 1935.
Dir: Jean Renoir. Scr: Jacques Prevert. With: Rene Lefevre, Jules Berry. The meeting together of two great talents of 30s France, filmmaker Jean Renoir and poet/scriptwriter Jacques Prevert, evoking in perfect form the joyous atmosphere of the Popular Front's popular socialism. ". . . THE CRIME OF M. LANGE was made for the pleasure of all, from the director to the stagehands and particularly for the actors" - Andre Bazin. "This rich, joyful, crowded work goes up to join Renoir's half dozen best films . . . its a film about popular culture. . ." - Sylvia Lawson. "It is suffused with light, the possibility of happiness and a sense that life is simultaneously serious, absurd, impossible and inescapably interesting." - Penelope Gilliatt.
27 August Clock Tower, 29 August Sociology
LEN LYE FILMS A compilation of his life's work.
1-3 September Clock Tower, 5 September Sociology
FELLIN I FESTIVAL N.B.: Other Fellini films to be screened in this festival will be advertised in REELING closer to the date.
1 September Clock Tower 7.30pm
I VITELLON / THE YOUNG AND THE RESTLESS/THE DRONES. Italy/France, 1953.
Dir: Frederico Fellini. Scr: Fellinl with Ennio Flaiano. Music: Nino Rota. With: Franco Interlenghi, Alberto Sordl, Franco Fabrizi, Eleonora Ruffo. Italian Classic. New Print. "Frustrated small-town boys with big ideas, the sons of indulgent middle-class families who cadge off their parents, loaf and dream of women, riches, and glory, their energies wasted in idiotic pursuits. Fellini observes the farce of their lives without condescension; his tone is satirical, yet warm and accepting in this his first fully confident piece of direction." - Pauline Kael. "They (the vitelloni) shine during the holiday season and waiting for this takes up the rest of the year. They are the unemployed of the middle-class, mother's pets. But they are also friends to whom I wish well." - Frederico Fellini.
2 September Clock Tower 7.30pm
NIGHTS OF CABIRIA LE NOTTI DI CABIRIA, Italy, 1957.
Dir.: Federico Fellini. With Giulietta Masina. "Possibly Federico Fellini's finest film, and a work in which Giulietta Masina earns the praise she received for LA STRADA. The structure is a series of episodes in the life of Cabiria, a shabby, ageing, dreamy little Roman streetwalker whose hard, knowing air is no protection against her fundamental gullibility. . . Though the film seems free and almost unplanned, each apparent irrelevance falls into place." - Pauline Kael. "Masina is a joy. . . the basis for Broadway's SWEET CHARITY is one of Fellini's best" a must-see film." - Leonard Mallin.
3 September Clock Tower 7.30pm, 5 September Sociology 7.30pm
8 1/2 EIGHT.AND-A-HALF/OTTO E MEZZO, Italy, 1963.
Dir: Frederico Fellini. Scr: Fellini, Tullio Pinelli, Ennlo Flaiano. Music: Nino Rota. WIth: Marcelia Mastroianni, Anouk Aimee, Claudia Cardinale, Sandra Milo. Italian Classic. New Print. "Famous sequences: the people at the spa; the evocation of life in a religious college; the hero's dream of a harem in which his wives serve his every wish; the fat prostitute dancing on the beach for some young boys; the fantastic ballet in the finale around a gigantic space-ship ramp. . . this unique work focuses on a filmmaker who is trying to pull together the pieces of his life and make sense of them. . . Fellini portrays the many facets of a man's character at the age of 45 and creates, in some ways a 2Oth century version of THE INFERNO. . . described as something between a muddled visit to a psychiatrist and an examination of a disordered can. science with Limbo as the setting. . ." Georges Sadoul. "Fellini's complex network of memory and reality unfolds with a skill which is pleasing in it. self . . . this sardonic fantasy of self-exposure cannot fail to give all kinds of pleasure" - Monthly Film Bulletin.
10 September Clock Tower, 12 September Sociology
THE GIRLS Flickorna, Sweden, 1968.
Dir: Mal Zetterling. With: Blbl Anderson, Harriet Andersson, Gunnel Lindblom, Gunnar BJornstrand. Three actresses rehearse for Aristrophanes', L YSISTRA T A. As they do this, they begin to compare the play to their own private lives. "Wit and intimidation are mixed most successfully when Liz (Lysistrata) strips in a night-club in front of her husband, hurting her brassiere in his startled face with a final, anguished gesture that encourages a whole bevy of women to follow suit and strip. The sexual insult is still as dangerous a weapon as is the female armoury." - Peter Cowie, Sweden Two.
17 September Clock Tower, 19 September Sociology
TURUMBA Phillipines 1982.
Dir: Kldlat Tahimik. A family of Filipino village artisans get caught up in a capitalist market machine when a German tourist transforms their home into a factory.
24 September Clock Tower, 26 September Sociology
WOMAN OF THE DUNES Japan, 1964.
dlr: Hiroshi Teshlgahara. With: ElJI Okada and Kyoko Klshida. A young entomologist, collecting specimens on a isolated beech, is inveigled by the local villagers into spending the night in a shack, owned by a young widow, at the bottom of a large sandpit. Finding that he has been trapped when he tries to leave the next morning, the man at first makes frantic, unsuccessful efforts to escape, but gradually becomes resigned to his curious new existence.
1 October Clock Tower, 3 October Sociology
LA CARRIERE DE SUZANNE France, 1963.
Dir/Scr/Ed: Eric Rohmer. With: Catherine See, Philippe Beuzen, Christian Charriere. From the director of FULL MOON IN PARIS and PAULINE AT THE BEACH, a rare opportunity to see one of his early Moral Tales. An incisive witty and tender tale of student life and loves in the Latin Quarter.
ANTOINE AND COLETTE ANTOINE ET COLETTE. France, 1962.
Dir/Scr: Francois Truffaut. Ph: Raoul Coutand With: Jean-Pierre Leaud, Marie-France Pisler, Patrick Auffay. "Truffaut returning to the easily flowing style of the 400 BLOWS again takes up the Antoine Doinel character and observes his comic attempts at first love. . . what strikes one most of all, is the casual density of Truffaut's observations . . . a density which enables him to create living people rather than characters, who arouse interest not because they make a point but simply because they exist." - T.M. Monthly Film Bulletin.
8 October Clock Tower, 10 October Sociology
DESTINY DER MUEDE TOD. Germany, 1921.
Dir: Fritz Lang. Art Dir: Walter Rohlrg. With: Lil Dagover, Walter Janssen, Bernhard Goetzke, Karl Platen Georg John. "Most immediately striking about DER MUEDE TOD is it's exceptional range: apart from four parallel but otherwise dissimilar stories, it takes a calculated delight in frequent switches of style from naturalism to melodramatic stylisation or broad comedy - adding gleeful trick effects, social satire and comic business throughout the result is surprisingly cohesive, because of the beautiful consistency of Lang's ability to relate actors to settings. . ~ - Tony Rayns. ". . . the German IS obsessed by the Phantom of destruction and, in his intense fear of death, exhausts himself in seeking means of escaping DESTINY. Lang's silent films frequently return to the theme of Death - the young woman tries to wrench her lover from the hands of Death. . . all the girl's efforts to save her lover ending in his destruction . . . Lang's intense feeling for the physical character of objects and his skilful use of lighting effects to bring out architectural line were his contributions to the evolution of Expressionism. . . emphasising, often over-emphasising, the relief and outline of an object or the details of a set was to become one of the most easily recognisable characteristics of the German film. . . light was used to produce strident effects - depths without depth. . " Lotte Eisner.
14 October Clock Tower
The Sleep of Reason (Germany, 1984)
Dir: Ula Stockl
14 October Clock Tower
Wings and Bonds (Germany, 1984)
Dir Helma Sanders-Brahms
15 October Clock Tower
Right in the Heart (Germany, 1983)
Dir: Doris Dorrie
15 October Clock Tower
The Beginning of all Terror is Love (Germany, 1983)
Dir: Helke Sanders
16 October Clock Tower
One Glance and Love Breaks Out (Germany, 1986)
Dir: Jutta Bruckner
16 October Clock Tower
Dorian Gray as Reflected by the Popular Press (Germany, 1984)
Dir: Ulrike Ottinger