The good, the bad, and the mediocre, as reviewed by SW critics—or those less critical types at SIFF (as indicated in bold). *means it's recommended.


SIFF 2000: The Films: R to Z

A-H • I-P • R-Z

The good, the bad, and the mediocre, as reviewed by SW critics—or those less critical types at SIFF (as indicated in bold). *means it's recommended. Good luck! * Raging Bull

USA, 1980. Director: Martin Scorsese

Tue, June 6, 7:15pm, Cinerama

Enough with De Niro. And don't start quoting dialogue to your friends while you're standing in line outside the Cinerama to see this picture—which you absolutely must do. This time, as you're enjoying the new print and restored soundtrack, try to get past the psycho banter between De Niro and Pesci. Sure, Scorsese's using the vehicle of a boxing biopic to examine the macho testosterone poisoning that impels certain violent men to greatness but also ruins their lives. (We know that story, and it's La Motta's tragedy that he doesn't, even as he's preparing to tell it on stage.) Concentrate instead on the absolutely brilliant editing, the stunning collaboration between Scorsese and his longtime editor Thelma Schoonmaker-Powell (who took an Oscar for her work). Even as you cringe in horror in your luxuriously padded seat while De Niro takes another slo-mo roundhouse to the face, the ring sequences are among the most amazing things ever put on film.—B.R.M. Ratas, Ratones, Rateros

Ecuador, 1999. Director: Sebastian Cordero

Fri, May 19, 7:30pm, Pacific Place

Sun, May 21, 3:30pm, Broadway Perf. Hall

This Ecuadorian tale of how a small-time, incompetent thief (named Angel, but he's not one, get it?) gradually embroils his family in a world of hurt is paradoxically violent, disturbing, and dull. Why the gullible young cousin Salvador (but he doesn't save anyone, get it?) falls in with Angel's schemes remains obscure; Angel's not that cool, and it's made painfully clear from the outset that he's capital-T trouble. Things predictably go to hell in a handbasket, and watching it happen is grueling; you feel the worst for the elderly abuela, who's mute, semi-comatose, and confined to a chair as she helplessly observes (like you, get it?).—B.J.c. Rebels With a Cause

USA, 2000. Director: Helen Garvy

Thu, June 1, 7:15pm, Broadway Perf. Hall

Sat, June 3, 3:30pm, Egyptian

Of course, everybody's still breathlessly interested in the Port Huron Statement—38 years after it was written—right? Wrong. This unabashedly nostalgic, feel-good institutional history of the SDS (Students for a Democratic Society) follows the standard format of newsreel footage and contemporary interviews. Says one sheepish old lefty, "We all dressed up for demonstrations in those days"—meaning coat and tie. It's a rare moment of humor in an otherwise interminably boring, self-serving doc. For PCC shoppers only.—B.R.M. Red Dirt

USA, 1999. Director: Tag Purvis. Cast: Karen Black, Walton Goggins, and Aleksa Palladino

Sat, June 3, 9:15pm, Broadway Perf. Hall

Wed, June 7, 5pm, Egyptian

In a sleepy Southern town, cousins Griffin and Emily hover on the brink of adulthood. Stifled and repressed by their surroundings, they're awakened to hitherto unacknowledged desires by the arrival of a mysterious drifter. Director Purvis reintroduces viewers to the restless, youthful search for someone to be and somewhere to belong.—SIFF Rembrandt

France/Germany/Netherlands, 1999

Director: Charles Matton

Fri, May 19, 5pm, Pacific Place

Sun, May 21, 6:30pm, Egyptian

This story of the famous Dutch master painter follows the artist's turbulent life, beginning with his arrival in Amsterdam at the age of 28. Through marriages, deaths, a demanding series of commissions, and the oppressive morality of the times, Rembrandt's accomplished yet tortured life unfolds on film.—SIFF Return of the Idiot

Czech Republic, 1999. Director: Sasa Gedeon

Thu, June 1, 9:30pm, Harvard Exit

Tue, June 6, 5pm, Broadway Perf. Hall

Based on Dostoyevsky's The Idiot, this modern retelling follows Frantisek (Pavel Liska) as he transforms himself from just another post-electroshock simpleton whose nose tends to bleed at inconvenient moments to a chap whose very presence soothes a pair of boyfriend-swapping sisters. Heeding his doctor's advice that "it no longer makes sense to avoid life," Frantisek boards a train and attempts to stay with relatives on the other side of the country. Once there, he gets tangled up in Anna and Olga's love lives, learns how to ice skate, and gets the bejesus kicked out of him. The film, shot in what must be the bleakest town on the planet at the bleakest time of year, radiates nothing but cold, damp, and misery. When the sisters begin to spiral into blame and self-pity, Frantisek starts to look like the smartypants—and not just because he's the only person who wears a hat outside.—E.B.R. Rien ࠆaire

France, 1999. Director: Marion Vernoux

Thu, June 1, 9:30pm, Pacific Place

Thu, June 8, 5pm, Broadway Perf. Hall

Marie and Pierre work for the same company but live in very different worlds—that is, until they both get laid off at the same time. The leveling effect of their unemployment brings the pair together, and the two move quickly from the supermarket and conversations over coffee to a growing attraction and a full-blown affair.—SIFF Rollercoaster

Canada, 1999. Director: Scott Smith

Thu, June 1, 5pm, Broadway Perf. Hall

Tue, June 6, 9:30pm, Broadway Perf. Hall

Five disillusioned teens break into an empty amusement park outside Vancouver. They include a homophobic loudmouth, a drunken partier, and a lanky pretty boy and his pregnant girlfriend, plus his tight-lipped little bro. As the trespasses unfold, so do the characters. The couple came to the park to commit suicide, because, the girl reveals, "We're not going to bring our baby into this world." After a sexual encounter with a pedophiliac security guard, the homophobe admits he's gay. Likewise, the rest of the cast open their secret kernels faster than a popcorn machine. To the cinematographer, the empty amusement park is like cotton candy, and the shots of passengerless rides are disquieting and dangerously beautiful. But too many dramatic scenarios push Rollercoaster's gritty realism into the realm of the far-fetched, landing the movie somewhere in between Kids and 90210.—D.M. Rumor of Angels/ Closing Night Gala

USA, 2000. Director: Peter O'Fallon

Sun, June 11, 6:30pm, Cinerama

Young James (Trevor Morgan) spends the summer at a beautiful beach town with his uncle (Ron Livingston), his ultra-busy dad (Roy Liotta), and his new stepmom (Catherine McCormack), whom the boy detests. The boy remains haunted by the car accident that killed his mother years earlier, and when he runs into the legendarily "crazy" Matty Bennett (Vanessa Redgrave), he learns that he's not alone—together, they confront the demons that haunt them. World premiere.—SIFF Rupert's Land

Canada, 1999. Director: Jonathan Tammuz

Wed, June 7, 7:15pm, Broadway Perf. Hall

Fri, June 9, noon, Pacific Place

In this dark comedy, two estranged brothers reunite on a road trip through British Columbia as they make their way to their father's funeral. Pursued by a lovelorn dope dealer, a pregnant fianc饬 and a mother with an unhealthy interest in the will, Dale and Rupert somehow manage to bury the past and chart their own future.—SIFF * Saturday Night and Sunday Morning

Great Britain, 1960. Director: Karel Reisz

Sun, May 21, 3:30pm, Harvard Exit

A groundbreaking film that transformed the British cinema, Karel Reisz's directorial debut introduced Albert Finney as Arthur, a working-class hero tied to the factory lathe all week who finds his own weekend freedom with women and drink. Eventually, the big Saturday night of his life draws to a close, and he pauses to take stock, struggling to face the metaphorical Sunday morning without losing his rebellious spark.—SIFF Saving Grace

Great Britain, 2000. Director: Nigel Cole

Fri, June 9, 7:15pm, Pacific Place

Sun, June 11, 6:30pm, Egyptian

Its a sign of how indelibly drugs have become a part of the baby-boomer culture that this Sundance award-winner can use a greenhouse full of 20 kilos of fine bud to drive the plot of whats basically an updated Ealing Studios comedy of the 50s. Brenda Blethyn stars as a recent widow in scenic Cornwall, whos attended by her faithful gardener Craig Ferguson. Her estates in hock, and theres only one way to raise the loot: convert her green thumb into cannabis, and quick. Problem is, thats not much of a plot, and Grace mainly supplies color—in the form of assorted village eccentrics—instead of a better developed script or characterization. Its aimed squarely at the Waking Ned Devine crowd, and comes pleasingly close to that mark, even as its story heads towards somewhat strained conclusion. As in any good caper film, however, we root for the cheerful malefactors, no matter how slight their misadventures.—B.R.M. Scratches in the Table

Netherlands, 1998. Director: Ineke Houtman

Sun, June 4, 6:30pm, Broadway Perf. Hall

Thu, June 8, noon, Pacific Place

A sweet, quiet film about a girl searching for the soul of a dead relative. Madalief (Madelief Vereist) is a spunky 10-year-old who can't understand why her recently deceased grandmother was such a tremendous bitch. Neither her mother nor grandfather have anything to say on the topic; so while staying at her grandfather's house, she looks for clues as to her grandmother's unhappiness. What she finds is a vibrant, fearless woman no one in her family knew or understood. Vereist escapes the trap that befalls so many preteen actors: She's not precious or self-conscious, and her performance is delightfully real. Scratches isn't a terribly moving or original story, but a child's stubborn, limited perspective is convincingly portrayed.—O.G. * Secret Festival

Sun, May 21, 12:30pm, Egyptian

Sun, May 28, 12:30pm, Egyptian

Sun, June 4, 12:30pm, Egyptian

Sun, June 11, 12:30pm, Egyptian

Mum's the word, which is the entire point. You never know what you're going to see. Past years' surprises have been both good and bad.—B.R.M. Seven Songs from the Tundra

Finland, 2000. Directors: Anastasia Lapsui and Markku Lehmuskallio

Fri, May 19, 5pm, Egyptian

Wed, May 24, 7:15pm, Egyptian

A fascinating scene opens this stark, black-and-white film about the Nenets, the indigenous tribes of the Siberian tundra who live by the ancient ways of herding, fishing, and hunting. A group of Nenets, dressed head to toe in animal skins, drags a reindeer to a sacrificial tree. Instantly, they cut open the reindeer, dip their coffee mugs into its stomach, and drink the blood while its still warm. Its a brutal yet tender scene that could make a great short film on its own. The rest of Seven Songs is less successful, composed of slice-of-life fictional dramas focusing on different aspects of the Nenet culture and history, including the giving away of a bride, the Communists infiltration into the tundra, and the mixing of Russians and Nenets. But however interesting these topics may be initially, the films over-simplistic script and tedious pace makes it a test to stay awake.-S.I. * Seventeen Years

China/Italy, 1999. Director: Zhang Yuan

Sun, May 21, 6:30pm, Harvard Exit

Mon, May 22, 5pm, Harvard Exit

In our age of death-penalty bloodlust, the penal reform drama seems quaintly outdated—conjuring up visions of Cagney behind bars in some Warner Brother film of the '30s. However, this contemporary Chinese picture gives the theme a fresh, understated spin and a moving if predictable conclusion by focusing on the simplest story of crime, repentance, and forgiveness. A prologue shows how 16-year-old Tao Lan makes a horrible, rash mistake; then we find her as a 33-year-old convict (Lin Liu) given a holiday leave to visit her parents. She's totally incapable of dealing with the new, bustling China, but her do-gooder prison guard Chen Jie (Bingbing Li)—also on holiday—ends up her unlikely shepherd and confidante. It's a kind of buddy picture as the two women journey back to their village, with occasional moments of levity, as when Jie demands of Tao Lan, "Have we wasted all those years of re-education?"—B.R.M. Shikoku

Japan, 1999. Director: Shunichi Nagasaki

Sat, May 20, 12:30pm, Egyptian

Mon, May 22, 9:30pm, Pacific Place

A Tokyo yuppie returns to her village only to discover that her best friend from childhood has died. When spooky stuff starts happening—a local graveyard is vandalized, her dead friend starts making midnight visitations—the locals hush up, a clear sign that something's rotten in the town of Shikoku. With the aid of another friend, our heroine searches for clues about the real nature of the suspicious drowning death. This proves more and more difficult as members of the village decide she's stirring up trouble. Supernatural mysteries require some inventiveness, and Shikoku doesn't really add to the genre: The characters are wooden, the plot and screechy soundtrack too predictable, and the subtitles barely legible. I, for one, would take an episode of The X-Files over this any day.—O.G. * Shiri

South Korea, 1999. Director: Kang Je-gyu

Tue, May 30, 9:30pm, Harvard Exit

Mon, June 5, noon, Cinerama

The fish tanks of a shop run by the girlfriend of a South Korean intelligence agent immediately signal there's later going to be a glass-shattering, fish-flying shootout in the place, in which sense the violent, slick, and often silly Shiri doesn't disappoint. A thriller pitting secret agents against fanatical, ruthless North Korean spies, it's equally beholden to John Woo and Simpson-Bruckheimer action flicks. Two agents pursue superassassin Hee, a lethal beauty in the La Femme Nikita mold, but the pals begin to suspect each other as the source of a leak in their organization. Bullets fly, blood spurts, and high-tech gadgetry abounds in this reasonably exciting, entertaining popcorn movie, which features a few nice twists and a political subtext—of schizoid Korea and Koreans—that elevates it just above the routine.—B.R.M. Short Films: Age of Discovery

Mon, May 29, 3:30pm, Broadway Perf. Hall

In youth, realizations can occur at a moment's notice. In each of four tales, a young person makes a startling discovery. About kids but intended for adults.—SIFF Short Films: Animation Celebration

Mon, May 22, 7:15pm, Egyptian

A showcase of animated films, ranging greatly in style and technique, that show off the creative abilities of filmmakers working in animation today.—SIFF Short Films: Cinema in Motion— New Experimental Shorts

Wed, June 7, 9:30pm, Broadway Perf. Hall

Experimental film is undergoing a renaissance and finding a larger audience at the turn of the millennium. New talent and established masters (including Stan Brakhage) are questing ever more intensely in search of beauty, personal expression, and new ways of using cinema.—SIFF Short Films: Girls & Boys

Mon, June 5, 9:30pm, Egyptian

Mixed together; the best in boy films, girl films, and those that fall between.—SIFF Short Films: International

Sat, May 20, 3:30pm, Harvard Exit

An exciting collection of the very best shorts, from festival favorites to little-seen masterpieces, made outside of North America.—SIFF Short Films: Enough to Drive One Mad

Fri, June 2, midnight, Egyptian

A sequence of shorts that challenge the notion of basic goodness in mankind, with enough action, violence, and flair to satisfy all midnight cravings.—SIFF Short Films: Northwest

Mon, June 5, 7:15pm, Broadway Perf. Hall

A selection of new shorts by talented Washington state directors.—SIFF Short Films: On the Threshold of Life

Thu, May 25, 7:15pm, Broadway Perf. Hall

In each of these stunning stories, the shadow of death serves as a catalyst for what follows.—SIFF * Shower

China, 1999. Director: Zhang Yang

Fri, June 9, 7:15pm, Egyptian

Sat, June 10, 3:30pm, Egyptian,

Old and new China collide in this elegiac and somewhat sentimental drama set in a run-down Beijing bathhouse. This neighborhood institution provides a social space for predominantly older men to lounge, gossip, enjoy massages, drink tea, and hold cricket fights. Proprietor Lius prosperous businessman son returns abruptly, finds the place in jeopardy, and then reconnects with his family and community ties. Theres also a sweet retarded younger son (an overfamiliar cliché), plus some comic subplots. Director Zhang Yang isnt so unrealistic or nostalgic to believe that a fast-changing Chinese society still has time for the old ways, but he presents the conflict in a generally understated and often beautiful manner. The bathhouse itself and its life-giving waters are as important as any character, and Zhang uses the emptiness and stillness of the building to powerful effect. A little karaoke opera thrown in also doesnt hurt.—B.R.M. Silence!

USA, 2000. Director: Gregg Lachow

Sat, May 27, 7pm, Paramount

Inspired by early silent film, Japanese benshi film, and live theater, this new form of cinematic spectacle presents an original silent film simultaneously with live dialogue, music, and sound accompaniment performed by the film's actors and musicians on stage. A poetic interpretation of Delmore Schwartz's watershed short story, In Dreams Begin Responsibilities, this elaborate production explores film's changing role as a visual art form.—SIFF Skipped Parts

USA, 2000. Director: Tamra Davis. Cast: Jennifer Jason Leigh, Peggy Lipton, and Drew Barrymore

Fri, June 9, 9:30pm, Egyptian

Sun, June 11, 12:30pm, Pacific Place

Jennifer Jason Leigh stars in a coming of age drama set in the 1960s. Young Sam indulges himself through reading and daydreaming, while his impulsive, rebellious mother (Leigh) prefers a good time to being a conventional parent. Their wealthy family scion exiles both mother and son to a remote Montana town as he prepares for an election. In his new home, Sam becomes friends with a pretty girl, and the two quickly begin to explore the mysterious world of sex.—SIFF Sneak Preview

Sat, June 10, 9:15pm, Egyptian

Go ahead, roll the dice. It could be The Patriot—or the next Pauly Shore movie.—B.R.M. Solas

Spain, 1999. Director: Benito Zambrano

Fri, May 19, 9:45pm, Pacific Place

Mon, May 22, 7:15pm, Harvard Exit

This multiple award-winner at festivals from Berlin to Havana, tells the story of a mother and daughter who share an apartment but live separate lives, both consumed by their individual disappointments. The arrival of a gentle widower brings about an affecting change in both women, altering their lonely existence in a story of the ties that bind families together.—SIFF Solomon and Gaenor

Wales, 1999. Director: Paul Morrison

Mon, May 29, 6:30pm, Egyptian

Fri, June 2, 5pm, Egyptian

A Jewish fabric salesman in 1911 Wales hides his ancestry in order to become acquainted with a devout Christian Welsh girl. They fall in love, but the forces of bigotry turn against them when his ethnicity is revealed. This tragic romance earned a nomination for the Best Foreign Language Oscar.—SIFF Sordid Lives

USA, 2000. Director: Del Shores

Sun, May 28, 6:30pm, Harvard Exit

Wed, May 31, 9:30pm, Egyptian

Transvestites and screaming housewives are just so hilarious—right? Especially when they speak in a cornpone drawl—right? Wrong. Del Shores horribly whiny film about an extended Texan family reuniting for a funeral may have some marginal camp value, but will it make you laugh? Only if you like watching big-haired women squabble non-stop about whether or not to bury Momma in her mink stole, and whether or not nephew Tys nude appearance in an all-male play means that hes a HOMOSEXUAL. The films list of celebrities include Delta Burke, Beau Bridges, and Olivia Newton-John—but the real star of the show is a living room full of QVC items and a heaping plate of fried chicken. Amazingly, director Shores won numerous awards for his theatrical version of Sordid Lives in Los Angeles; he should have left it on stage.—S.I. * Sound and Fury

USA, 1999. Director: Josh Aronson

Fri, May 19. 7:15pm, Pacific Place

Wed, May 24, 5pm, Egyptian

An utterly fascinating and very moving documentary about a large, extended Long Island family's effort to reconcile deafness with the new technology of cochlear implants. If that sounds uninteresting, the blunt, outspoken members of the Artinian clan will soon grab you by the lapels and possibly elicit a few tears. Deaf son Peter despairs that implant surgery for his adorable young daughter will remove her from the deaf community—a defensive, separatist, insular society seemingly threatened with extinction. Viewers should take note, because there's something undeniably frightening about technology redefining what's supposedly normal and natural. Extremely well-made and told, this doc is like a great episode of Frontline, dealing with issues of self-marginalization and our American mania for physical perfection. "My deaf culture is being wiped out," Peter laments, and that loss would affect us all.—B.R.M. Spellbound

Japan, 1999. Director: Masato Harada

Tue, June 6, noon, Pacific Place

Sun, June 11, 9:15pm, Harvard Exit

Ingrid Bergman and Gregory Peck don't figure in this very contemporary drama about a Japanese banking scandal. It feels ripped-from-the-headlines, but they're not headlines everyone reads, which may account for Spellbound's limited appeal. Flashy camera work and abundant, up-to-the-minute technology and media references provide some initial interest, as midlevel banker Kitano discovers that his powerful firm has been lending to racketeers. This causes a national crisis that—as we're repeatedly told—could lead to a "financial meltdown." Exciting on Wall Street, maybe, but the gangsters appear too late and too meekly, while only Kitano (Koji Yakusho from Shall We Dance?) and a sassy woman reporter stand out from the cast. Where's Godzilla where you need him?—B.R.M. Spicy Love Soup

China, 1999. Director: Zhang Yang

Mon, May 29, 6:30pm, Harvard Exit

Sat, June 10, 12:30pm, Harvard Exit

The very things that Zhang Yang's indie film is so proud of make this movie significantly less interesting for an American audience. This anthology picture tells five stories about romantic life in present-day Beijing, proudly trumpeting in its press materials that it's contemporary—not political—and firmly focused on a group of middle-class people. As a result, it's depressingly like an Asian version of Love, American Style, with the characters so gleeful about their Western modernity that one story, "Toys," focuses on how a couple saves its marriage through the purchase and enjoyment of a collection of games and gizmos. It's only in the final two vignettes, one involving a couple going through divorce and another about a photographer and his model who seem fated to screw up their ideal love, that the material rises significantly above the bland and sentimental fare of situation comedy.—J.L. Sri

Indonesia, 1999. Director: Marselli Sumarno

Fri, June 2. 9:30pm, Broadway Perf. Hall

Wed, June 7, 5pm, Broadway Perf. Hall

When Death approaches one night to steal her fading husband away, Sri begins a cycle of excuses for the wealthy and worldly man who elevated her from a common village girl to an aristocrat. She explains to Death on each visit, "He can't die without asking forgiveness from his ex-wife," or "He can't die without saying goodbye to his guru," and so forth. Although this ancient tale with a modern feminist twist might read as philosophical and charming on paper, Marselli Sumarno's film version plays like a flat production on a public-access cable station, complete with an at-times inappropriate soundtrack and a plot that takes far too long to unfold. Other than cultural artifacts—from ornate bicycle carriages to lavish Indonesian estates to the elegantly choreographed dance between Death and a desperate wife—Sri doesn't offer a good excuse for taking one's time.—D.M. Straight from the Heart

India, 1999. Directors: Sanja Leela Bhansali and Milind Ukey

Fri, June 9, 9:30pm, Pacific Place

Sun, June 11, 9:15pm, Cinerama

During the colorful Diwali festival, classical singer Pandit Darbar receives eager music student Samir into his palatial Gujarat home. During his stay, Samir falls in love with his teacher's beautiful daughter Nandini, despite the fact that Samir's family has already arranged for his marriage to another woman. The latest feature from Bhansali swept India's Filmfare awards, mesmerizing audiences with its lavish sets, rich costumes, and haunting music.—SIFF Strange Planet

Australia, 1999. Director: Emma-Kate Croghan

Fri, May 19, 9:30pm, Pacific Place

Wed, May 24, 5pm, Pacific Place

In this witty sophomore effort from Love and Other Catastrophes director Emma-Kate Croghan, three men and three women go about their everyday lives in Sydney, looking for love in all the wrong places and taking comfort at least in their friendships; from loser-magnet Judy to unhappily married Joel and commitment-phobic Sally, all six struggle to find that one true thing, unaware that the person they've been searching for is just around the corner.—SIFF Sunshine/ Passport to the World Gala

Hungary/Germany/Canada/Austria, 1999.

Director: IstvᮠSzab�ast: Ralph Fiennes, Rosemary Harris, Miriam Margolyes, and William Hurt

Thu, May 25, 7pm, Paramount

This award-winning three-hour epic, directed by Hungarian master IstvᮠSzab�pans three generations of a Hungarian Jewish family as the tumultous events of the 20th century unfold. Headed by the impeccable Ralph Fiennes, who takes on a different role for each period, the international cast creates an array of characters.—SIFF * Suzhou River

China/Germany, 1999. Director: Lou Ye

Sat, June 3, 9:15pm, Cinerama

Fri, June 9, 5pm, Egyptian

A prize-winner at the recent Rotterdam Film Festival. In his second feature, Chinese director Lou Ye boldly reprises Vertigo with a stylish, circuitous tale of obsessive love and a bewigged doppelganger, set along contemporary Shanghai's bustling riverside. Motorcycle messenger Mardar (Jia Hongsheng) becomes involved with a smuggler's daughter (Xun Zhou), leading to trouble. The narrator is unseen, possibly unreliable, and a videographer, instantly establishing the voyeuristic mood and allowing for some playful shifts in perspective. There's a snag or two in the go-for-broke windup, but at its best the movie invokes the keening romanticism of vintage Wong Kar-wai.—Dennis Lim * Sweet Agony

Iran, 1999. Director: Ali Reza Davudnezhad

Tue, June 6, 9:30pm, Pacific Place

Fri, June 9, 2:30pm, Pacific Place

Adolescence, for American moviegoers, usually means vicious high school social hierarchies, sexual fumblings, and tons of potty humor. To see young Iranians grapple with independence and sexual identity is a novelty. (What teen do you know who ends an argument with his father by declaring, "I am your

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