U.S.A. (Seattle), 2001. Directors: Ryan Purcell, Kyle Carver

Sun., May 26,


SIFF 2002 Films: L-Q


U.S.A. (Seattle), 2001. Directors: Ryan Purcell, Kyle Carver

Sun., May 26, 1:45 p.m., Broadway Perf. Hall

Tues., May 28, 9:30 p.m., Broadway Perf. Hall These are some of the most controversial bones ever dug up. KHALED

Canada, 2001. Director: Asghar Massombagi

Sat., May 25, 6:30 p.m., Broadway Perf. Hall

Mon., May 27, 1:45 p.m., Harvard Exit Almost a truly good movie, Khaled veers frustratingly into neorealism-meets-TV-afterschool-special sentimentality after its horrifying, promising start. Living in a squalid Toronto public housing project with his addict mother, 10-year-old Khaled is incessantly bullied at school on account of his ethnic name and looks. (His Arabic father is long gone.) This scrappy latchkey kid does his mothers shopping and tenderly scrubs her back while she smokes in the tub. Intent on avoiding both a well-meaning social worker and kindly old female neighbor (whos blind, of course), Khaled then tries desperately to conceal the truth (and stink) of his mothers abrupt death. He wont cry. Instead he clings to his routine, ducking a stereotypically evil apartment manager and shunning his one friend for fear of being caught and sent to foster care (where he was previously abused, of course). Shot on DV, Khaled looks like shit, but you wont soon forget its overwhelming odor of fear. B.R.M. KILLER TATTOO

Thailand, 2001. Director: Yuthlert Sippapak

Fri., June 16, 12:00 a.m., Egyptian Hit men can't get the job done? Hire someone else to off them. KIRA'S REASON: A LOVE STORY

Denmark, 2001. Director: Ole Christian Madsen

Fri., May 24, 4:30 p.m., Egyptian

Sun., May 26, 6:30 p.m., Harvard Exit Don't hate it because it's Dogma (or Dogme, if you prefer). Yet another stripped-down, small-scale naturalistic Danish drama conforming to the 1995 vow of cinematic purity, Reason bears comparison to Cassavetes' A Woman Under the Influence in its portrait of a mentally unstable young housewife trying to preserve her marriage. It doesn't help that husband Mads has been carrying on an affair during her two years of institutionalization. Once out, Kira sniffs infidelity in the air but can't find the culprit. She also can't cope too well on the outside, her manic personality spooking the couple's two little kids and threatening to cloud Mads' career. Kira also has issues with her divorced father, and her sister lurks in the background—so it's no surprise when the whole damn family converges for a final emotional free-for-all at a posh hotel. Though Reason breaks no new ground, it's one of the easier recent Dogma efforts, like Italian for Beginners or Mifune. B.R.M. LAN YU

China/Hong Kong, 2001. Director: Stanley Kwan

Sun., June 9, 9:30 p.m., Egyptian

Tues., June 11, 4:30 p.m., Egyptian A boy student and a businessman have a fling in Beijing. LAST CALL

U.S.A., 2002. Director: Henry Bromell

Cast: Jeremy Irons, Neve Campbell, Sissy Spacek

Fri., May 24, 7:00 p.m., Pacific Place Irons plays F. Scott Fitzgerald in his late, ungreat Hollywood days. World premiere. LAST DANCE

U.S.A., 2001. Director: Mirra Bank

Sun., June 2, 1:45 p.m., Broadway Perf. Hall

Tues., June 4, 7:00 p.m., Broadway Perf. Hall If you only know Maurice Sendak as the writer/illustrator of children's books, you might not expect the side of him you see in this documentary about the creation of A Selection, a work for the Connecticut-based Pilobolus Dance Theater. For some people the collaborative process brings out their best qualities—for Sendak and the five co- directors of Pilobolus, the journey is twistier, even a bit nasty at times. On all sides we see artists who are firmly committed to their vision, unwilling to compromise and yet curious to see if they might make something new with this challenging combination. The dance itself, a meditation on the Holocaust originally set in a train station, includes a wonderfully sinuous part for dancer Otis Cook, but it's the process of getting there, the backstage view of personalities in conflict, that provides Last Dance's real drama. Sandra Kurtz THE LAST KISS

Italy, 2001. Director: Gabriele Muccino

Fri., June 7, 7:00 p.m., Pacific Place

Sat., June 8, 1:45 p.m., Pacific Place Love and familial obligations across three generations. THE LAST WEDDING

Canada, 2001. Director: Bruce Sweeney

Sat., May 25, 6:30 p.m., Harvard Exit

Mon., May 27, 4:00 p.m., Pacific Place The title is apropos since getting married is the last thing you'll want after witnessing the three miserable couples on display in this tedious, plodding Canadian film that makes you long for thirtysomething reruns. Who's the worst? The dull married professor who trades a hand-job from a comely student for a good recommendation? The bitter architect who's a complete jerk to his wife because he resents her success? Or the newly married Noah and Zipporah who discover—oh, the shock!--that tying the knot without really knowing each other isn't such a great idea. Sounds obvious? It is. Audrey Van Buskirk LAWLESS HEART

Great Britain, 2001. Directors: Tom Hunsinger, Neil Hunter

Sun., June 2, 6:30 p.m., Harvard Exit

Wed., June 5, 4:30 p.m., Egyptian It's a given that at least one SIFF film is going to play with the old "one-story-told-from-many-points-of-view" device, and Hearts is it. In this sober look at muddled yearnings, we first meet three related members of one English clan: a vaguely dissatisfied family man; the grief-stricken gay partner of his dead brother-in-law; and the family's returning ne'er-do-well. Then we watch them work their way through petty squabbles and suffer to find meaning in their lives. Each third of the movie is seen through the eyes of one character. While the gimmick is nothing new, Heart isn't going for flash. Not much more than an accomplished BBC offering, its focus on quiet, unsettled heartbreak shows admirable subtlety. The three stories' varied twists also display the kind of compassionate idiosyncrasies lacking in similar American counterparts—as when the bereaved gay partner's frustrated sexual tussle with a female friend passes without overblown comment. S.W. LIBERTY STANDS STILL

U.S.A., 2002. Director: Kari Skogland

Cast: Linda Fiorentino, Wesley Snipes, Oliver Platt

Wed., June 5, 9:30 p.m., Egyptian

Sat., June 8, 4:00 p.m., Pacific Place Liberty is, ironically, the name of Fiorentinos bad-girl character. (She doesnt wear underwear; shes an ice queen rich bitch and coke fiend; her company sells guns indiscriminately.) Liberty ends up chained to a L.A. hot dog stand full of explosives as sniper Snipes holds her hostage. (His daughter was killed in a schoolyard shooting; hes out for vengeance, and he really needs a better haircut.) His demand: a public debate on the Second Amendment. Hes turned to violence; can his high-stakes stunt turn her away from her part in said violence? As the irony of it all is beaten into you by a horrifically blunt script, and as it becomes horrifically obvious that the whole film will stagnate here in this one long scene (supposedly tense but just intensely boring), you will long for some cocaine and a gun of your own. The upshot: an important issue eviscerated by a monumentally unimportant movie. B.J.C. LJUBLJANA

Slovenia, 2001. Director: Igor Sterk

Fri., June 14, 9:30 p.m., Pacific Place

Sat., June 15, 4:00 p.m., Pacific Place Aimless twentysomethings looking for love and meaning in a material world is the stuff of many, many American indies. Ljubljana takes that well-worn topic and transports it to a newly independent Slovenia. Though the particulars of political and social displacement are unique to the long-beleaguered former Yugoslav province, Ljubljana's five young drifters are stridently universal types. Mare, an awkward med student, is the hub of the movie's elliptical story wheel; his discovery of the freedom and release provided by Ecstasy-fueled all-night parties leads him away from his more conventional friends to an appealing yet drug-addled raver, even as he nurses his enduring crush for a wholesome fellow med student. The vagueness and detachment of Ljubljana's narrative, while perfectly mirroring its characters' states of mind, makes it hard to stay with each individual story line. Still, it's an intriguing snapshot of what remains—and what begins—after the iron curtain is drawn back for good. U.S. premiere. Leah Greenblatt LOVE IN THE TIME OF MONEY

U.S.A., 2002. Director: Peter Mattei

Cast: Steve Buscemi, Rosario Dawson, Michael Imperioli

Mon., May 27, 9:30 p.m., Pacific Place

Tues., May 28, 4:30 p.m., Pacific Place A saucy comedy-drama links lovers from all over town. *LOVELY AND AMAZING

U.S.A., 2001. Director: Nicole Holofcener

Cast: Catherine Keener, Brenda Blethyn, Dermot Mulroney

Sat., May 25, 6:30 p.m., Egyptian

Sun., May 26, 1:45 p.m., Egyptian

Walking and Talking director Holofcener uses Beverly Hills as a backdrop for her compassionate, diabolically funny portrait of a family battling the contemporary malaise—crippling self-disesteem—that makes Jenny Craig rich. The oldest daughter of a wealthy divorcee (Blethyn), Michelle is vaguely "artistic" but peaked in high school and now seethes with frustration. Middle daughter Elizabeth is a wafer-thin actress who has no defenses against Hollywood's callousness. Meanwhile the youngest, a chubby black 8-year-old—adopted from a crack-addicted mother—has some pretty scary defenses against questions of race, class, and fat. Why care? Because script and cast are equally impeccable, and because no one is immune from the insecurities of these dear, deluded souls. Prediction: No woman will ever forget the scene in which Elizabeth stands, naked and flawless, begging her actor-b.f. to catalog her imperfections—nor will any man, although possibly for different reasons. S.B. THE LOVER

Russia, 2001. Director: Valeri Petrovich Todorovsky

Sat., June 15, 9:30 p.m., Pacific Place

Sun., June 16, 6:30 p.m., Pacific Place Strangers united by common tragedy. World premiere. MAD LOVE

Spain, 2001. Director: Vicente Aranda

Tues., May 28, 7:00 p.m., Egyptian

Thurs., May 30, 4:30 p.m., Egyptian A costume-heavy period piece about Juana the Mad, one of history's strangest characters. MALUNDE

S. Africa/Germany, 2001. Director: Stefanie Sycholt

Thurs., May 30, 7:00 p.m., Pacific Place

Sat., June 1, 4:00 p.m., Harvard Exit Considering all the road-flick formulas exhausted in the history of cinema, odds are good we've never seen anything like this: An 11-year-old black solvent-huffing male prostitute flees Johannesburg with a decorated white foot soldier from the old apartheid regime. Sadly, this unlikely pairing is more engaging in theory than in practice. Shortly after strong, silent Kobus (Ian Roberts) inadvertently rescues street urchin Wonderboy (Kagiso Mtetwa) from a malevolent dealer, the two are bonding en route to Cape Town. Old family hang-ups must be resolved—Wonderboy's searching for his mother; Kobus wants to reestablish contact with his estranged daughter—but it's clear that, despite the initial obligatory bickering, these two will treat each other better than anyone from their respective troubled pasts. A nice concept, to be sure, and the visuals of the South African countryside rival Y Tu Mam᠔ambi鮼/I>'s depiction of Mexico, but it's all been done before. Andrew Bonazelli MAP OF SEX AND LOVE

Hong Kong/U.S.A., 2001. Director: Evans Chan

Thurs., May 30, 7:00 p.m., Egyptian

Sun., June 2, 4:00 p.m., Harvard Exit A Chinese-American documentary filmmaker becomes enamored with his neighbors. THE MAPMAKER

Ireland, 2002. Director: Johnny Gogan

Wed., June 5, 7:00 p.m., Broadway Perf. Hall

Fri., June 7, 9:30 p.m., Harvard Exit A young mapmaker learns that animosity, like geography, is immutable. World premiere. MARIAGES

Canada, 2001. Director: Catherine Martin

Mon., June 10, 7:00 p.m., Harvard Exit

Sun., June 16, 4:00 p.m., Pacific Place Passionate romance confronts stuffy Victorian morality in this 19th-century tale of love against all odds. In stark rural Quebec, Yvonne is the younger daughter of a widower; her sister, H鬨ne, rules their grim household with an iron hand. Yvonne falls in love with the wealthy neighboring Charles, who, as it happens, is engaged to her young niece. Yet supernatural forces conspire to unite our lovers. (Meanwhile subplots like the miraculous preservation of the girls dead mothers body are intrusive and hard to follow.) Mariages setting is lovely and evocative, but its material is embarrassingly obvious: wind represents any number of supernatural forces; Yvonnes sensuality is communicated by her near-constant nudity (and unfortunate tendency to rub her body against various forest flora); while miraclesor magic, if you prefertake the place of plot continuity and stretch the bounds of believability in this overwrought melodrama. U.S. premiere. E.C.B. MAY

U.S.A., 2001. Writer-director: Lucky McKee

Sat., June 8, midnight, Egyptian A creepy, female would-be Dr. Frankenstein looks for love in the big city. MAYA

India/U.S.A., 2001. Director: Digvijay Singh

Sun., May 26, 9:30 p.m., Harvard Exit

Mon., May 27, 11:30 a.m., Harvard Exit A thin morality tale shrouds this beautifully photographed story about a girl who loses her innocence in a barbaric tribal ritual in rural India. Ostensibly a coming-of-age tale about 12-year-old Maya, the film is really about the collision between modernity and tradition, although its conclusions are less than clear. Even its eponymous heroine is clouded in mystery: While the lustful, domineering men who drag Maya to her brutal fate are drawn with Magic Marker, Maya herself is sketched with the lightest pencil. A piteous pawn in the adults' plans, she drifts from scene to scene, staring submissively as villagers buzz around her. Heavy with symbolism—ominous lizards, rapacious snakes, and helpless birds' eggs all make an appearance—the languid Maya takes a long time to reach its climax. Unfortunately, for all the effort expended on her behalf, Maya remains a pitiful, docile, and frustratingly silent enigma. Erica C. Barnett *MCCABE & MRS. MILLER

U.S.A., 1971. Director: Robert Altman

Cast: Warren Beatty, Julie Christie, Shelly Duvall

Sun., June 2, 1:45 p.m., Egyptian What did he say? Could you repeat that, please? Beatty never mumbled so much as in this collaboration with Altman, perhaps helping the director wrench the spotlight from his famously camera-hogging star. It helps, too, that Christie shines so bright as the madam who sets up a frontier brothel with Beatty's dreamy, itinerant gambler. ("I got poetry in me.") Miller's rather gloomy, underlit naturalism doesn't work on home video (nor does Altman's characteristically overlapping dialogue); you need the big screen to appreciate all the little clues and seemingly minor diversions contained within the frame—or within frames-within-frames, in some cases. Does McCabe care that he's doomed? Altman is as uninterested in that question as he is with respecting the Western genre. Set in the Northwest, Miller is his anti-Western, a picture deliberately undermining the myths of frontier bravery and romance. In the end, Altman argues, everyone's in it for the money—a different and even more enduringly elegiac myth. B.R.M. ME WITHOUT YOU

Great Britain, 2001. Director: Sandra Goldbacher Cast: Anna Friel, Michelle Williams, Kyle MacLachlan

Mon., June 3, 7:00 p.m., Pacific Place

Tues., June 4, 9:30 p.m., Harvard Exit The hoary old topic of female friendship gets a shot in the arm (literally) in this absorbing, affecting, and at times outrageous look at two best friends (Friel and Dawsons Creeks Williams, managing the accent just fine) growing up in 70s and 80s London. Priceless period detailsfrom Biba bikinis to chilly gutterpunk crash padssauce it up but, really, it always comes down to the relationship between the two girls. Bookish, earnest Holly and wild Marinas near Siamese-twin attachment is tested over the years by sex, drugs, and myriad betrayals, but director/writer Goldbacher makes their love/hate/cant-live-without-you bond feel achingly genuine. Trudie Styler (Marinas glammy but drug-addled mother), MacLachlan (a philandering American prof), and newcomer Oliver Milburn (Marinas dreamy older brother) round out a smartly chosen cast. You is definitely worth seeing if youve ever been, loved, or known a teenage girl. L.G. MEN WITH BROOMS

Canada, 2000. Director: Paul Gross

Cast: Paul Gross, Leslie Nielsen, Molly Parker

Fri., June 7, 7:00 p.m., Harvard Exit

Tues., June 11, 4:30 p.m., Harvard Exit Canadians among us (and you know who you are), heres your movie: a huge hit north of the border thats sure to appeal to you invisible, outwardly American infiltrators. Essentially a Full Monty-like tale of rustbelt losers in need of redemption, Brooms has its four curling teammates reunite after a decade to pursue a big championship for their deceased coach. The latters two daughters (Parker among them) are both hot for the lead curler (director Gross), whose father (Nielsen) takes over training the lads. Naturally theres a squad of flashy curling superstars to vanquish; naturally theres lots of Moosehead to drink; naturally the final match takes up virtually an hour (in which we learn what it means to place it on the button). Too long and too Canadian for the rest of us, this genial, whimsical comedy shambles to a predictable endexcept for the hilarious, auspicious, unexplained herd of CG beavers that periodically waddles through. U.S. premiere. B.R.M. MERCI POUR LE CHOCOLAT

France, 2000. Director: Claude Chabrol

Cast: Isabelle Huppert, Jacques Dutronc

Mon., June 3, 7:00 p.m., Egyptian

Tues., June 4, 4:30 p.m., Egyptian From the legendary director: death by chocolate—literally. MILLENNIUM MAMBO

Taiwan/France, 2001. Director: Hou Hsiao-hsien

Mon., June 3, 9:30 p.m., Harvard Exit

Wed., June 5, 7:00 p.m., Pacific Place The actors were mostly working without a script in Mambo, perhaps the most enigmatic of competition films at Cannes this year. Hou intended to make a verit頰ortrait of Taipei's youth but has also conceded that the result is best viewed as a modern-day version of his 19th-century-brothel chamber piece, Flowers of Shanghai. Which is to say, Mambo is another story of female entrapment, this one scored to a constant techno thump, with a glazed third-person narration both predicting and pre-empting the action. The thick neon smear and the generous use of voice-over seemed at first like a friendly concession to the many art-house patrons who tolerate Wong Kar-wai but not Hou. The gesture is soon retracted, though, as Mambo settles into a lulling, virtually plotless state of agonized suspension. The briefest hints of joy are reserved for fleeting detours to, of all places, a snowy mountain town in Hokkaido—the site of a film festival no less. D.L. MINOES

Netherlands, 2001. Director: Vincent Bal

Sat., June 1, 11:30 a.m., Pacific Place A young woman with superpowers becomes an ace reporter's inside source. U.S. premiere. MINOR MISHAPS

Denmark, 2002. Director: Annette K. Olesen

Thurs., June 13, 7:00 p.m., Egyptian

Sun., June 16, 4:00 p.m., Egyptian The one thing about death is it really brings a family together. U.S. premiere. MISSING PERSONS

U.S.A., 2001. Director: Matthew O'Donnell

Fri., May 24, 9:30 p.m., Broadway Perf. Hall

Sat., June 8, 9:30 p.m., Broadway Perf. Hall A crazy, situational, 3D-animated comedy. MONKEY LOVE

U.S.A., 2001. Director: Mark Stratton

Wed., June 12, 7:00 p.m., Cinerama

Sun., June 16, 6:30 p.m., Broadway Perf. Hall An A for effort to the cast and crew, but Love is amateur hour all the way. While it doesnt commit the mortal indie-film sin of sheer plotlessness, Loves story is more suited for sitcoms than the big screen: Venice Beach slacker Amy is stuck in a rut with her two best friends: cool Dil and dorky Aaron. Feeling theyre holding her back, she decides to sleep with both of them, hoping the ensuing awkwardness will somehow free her for bigger and better things. The plans about as good as it sounds: Aaron falls for Amy; Amy falls for Dil; then confusion, switchbacks, and slapstick abound. It could be a serious topic, but director Strattons treatment is Marshmallow Fluffer light; a few entanglementswith a creepy old father-figure, a pseudo-guru, and a trampy waitresscomplicate things, but not for long. Hammy acting and flat DV photography also make Love a less-than-convincing movie experience. World premiere. L.G. MONRAK TRANSISTOR

Thailand, 2002. Director: Penek Ratanaruang

Fri., June 14, 7:00 p.m., Egyptian

Sun., June 16, 6:30 p.m., Egyptian A big step down from his black-comedic 6ixtynin9 at SIFF last year, Ratanaruangs latest begins as rural melodrama enlivened by periodic bursts of pop tunes. In a beautiful, remote river village, Pan woos Sadaw, then gets drafted into the army, leaving his young, pregnant wife behind. Aiming to be a pop singer, our vain but likable hero goes AWOL after winning a singing contest, earning a place in the Bangkok bubblegum music factory run by pompadoured impresario/Svengali figure Suwat. At a certain point, however, the funny, random songs and direct-address commentary give way to Dickensian pathos, as Pan dearly comes to regret leaving his village and wife (I want to go home! he inevitably despairs). Thus the movie devolves into a cautionary tale of abandoning rural bliss for the evil city, with droll narration supplied by a prison guard who muses, Life is so unpredictable. The same cannot be said of Transistor. U.S. premiere. B.R.M. MOSTLY MARTHA

Germany/Austria, 2001. Director: Sandra Nettelbeck

Sat., June 8, 6:30 p.m., Pacific Place

Mon., June 10, 4:30 p.m., Pacific Place How an upscale chef goes from absolute boredom to having a lot to chew on, emotionally. U.S. premiere. *MURDEROUS MAIDS

France, 2001. Director: Jean-Pierre Denis

Sun., June 9, 11:30 a.m., Pacific Place

Tues., June 11, 9:30 p.m., Cinerama Sober, nuanced, and concise, Maids takes a brisk walk through one of the creepiest crimes of the 20th century—a 1933 murder that fascinated French intellectuals from Andr頂reton through Simone de Beauvoir and Jean Genet to Claude Chabrol. One winter evening in the provincial town of Le Mans, two irreproachable household domestics, Christine Papin and her younger sister L顬 inexplicably butchered their employer of seven years, along with her daughter. Returning to filmmaking after 12 years as a customs inspector, director Denis reconstructs what he can of the sisters' background, locating them in an oppressive context of household drudgery and authoritarian abuse, while suggesting that their liberation fantasy was a dream of impossible symbiosis. Denis presents the sisters as the bacchants of their own savage god. Maids dramatizes, but it doesn't explain. The inference in this genuinely unnerving movie is that nothing can. J.H. MY BROTHER SILK ROAD

Kyrgizstan/Kazakhstan, 2001. Director: Marat Sarulu

Fri., June 14, 9:30 p.m., Harvard Exit

Sun., June 16, 6:30 p.m., Harvard Exit Train travel is a metaphor for destiny. U.S. premiere. MY VOYAGE TO ITALY

Italy, 2001. Director: Martin Scorsese

Mon., May 27, 11:30 a.m., Egyptian

Wed., May 29, 7:00 p.m., Broadway Perf. Hall Martin Scorsese shares his appreciation for Rossellini, Fellini, and other Italian directors. MY WIFE IS AN ACTRESS

France, 2001. Director: Yvan Attal

Cast: Charlotte Gainsbourg, Yvan Attal, Terence Stamp

Thurs., June 6, 7:00 p.m., Pacific Place

Sat., June 8, 1:45 p.m., Egyptian A beautiful actress, fed up with her husband's jealousies, finds herself drawn to a costar. THE NAVIGATORS

Spain/Germany/U.K., 2001. Director: Kenneth Loach

Fri., May 31, 7:00 p.m., Harvard Exit

Wed., June 5, 9:30 p.m., Harvard Exit Corporate mergers prove dehumanizing. NO NEWS FROM GOD

Spain/France/Italy/Mexico, 2001. Director: Agustin Diaz-Yanes

Cast: Victoria Abril, Pen鬯pe Cruz, Fanny Ardant

Mon., June 3, 4:30 p.m., Egyptian

Wed., June 5, 7:00 p.m., Egyptian A waitress in hell and a nightclub singer in heaven battle over a young boxer's soul. *NO REGRETS

Germany, 2001. Director: Benjamin Quabeck

Fri., June 14, 7:00 p.m., Broadway Perf. Hall

Sun., June 16, 4:00 p.m., Harvard Exit If Nichts Bereuen had a subtitle, it would be some really long German word that meant getting frustrated, getting drunk, getting baked, getting naked, and getting pulled over. Thank young Quabeck for reminding us that teen rite-of-passage movies aren't the sole province of Hollywood. His coarse, defiant story concerns the self-loathing, breathlessly self-involved 19-year-old Daniel, who's "convinced that life—and more importantly love—is passing [me] by." Quabeck might be only slightly older than his predictable source material (in Deutschland, sincerity is the new irony), but the boy's got skills. His soundtrack is sure to resurface in Passat commercials, and super-hot young Germans also help hold your attention. Shortly after the jaunty, jump-cut opening credits ("Ist das der WB?" you might wonder), you'll feel the rising, gnawing desire to have sex with as many Germans as you can find. And then set them all straight with a good, stern ass-kicking. And then go buy a Passat. Paul Hughes NYNKE

Netherlands, 2001. Director: Pieter Verhoeff

Sat., June 1, 9:30 p.m., Harvard Exit

Sat., June 8, 11:30 a.m., Egyptian A female writer struggles against society as well as her own husband. ON THE ROAD TO EMMAUS

Finland, 2001. Director: Markku Polonen

Sat., May 25, 1:45 p.m., Pacific Place

Mon., May 27, 6:30 p.m., Pacific Place A cynic revisits his past, learns something. U.S. premiere. ONE DAY IN AUGUST

Greece, 2002. Director: Constantine Giannaris

Sat., May 25, 9:30 p.m., Harvard Exit

Sun., May 26, 11:30 a.m., Harvard Exit Greek culture today is tense, even contradictory. U.S. premiere. 101ST KILOMETRE

Russia, 2001. Director: Leonid Maryagin

Sat., June 1, 9:30 p.m., Broadway Perf. Hall

Mon., June 3, 4:30 p.m., Broadway Perf. Hall The scion of an intellectual Jewish family becomes embroiled with the post-Stalin KGB. U.S. premiere. THE ORPHAN

Hong Kong, 1960. Director: Sun-fung Lee

Sat., June 8, 4:00 p.m., Egyptian

Thurs., June 13, 4:30 p.m., Egyptian See Bruce Lee playing a hoodlum at 19 years old, before he went to Hollywood. *ORPHAN OF ANYANG

China, 2001. Director: Wang Chao

Tues., June 11, 7:00 p.m., Pacific Place

Wed., June 12, 4:30 p.m., Pacific Place Cute babies do not for cute movies make—at least not in China's declining northern rust belt, where a bundle of joy just means another mouth to feed. For hooker Feng, caring for a bastard child would cut into her earning hours. For downsized worker Yu, the monthly stipend he makes baby-sitting the infant keeps him out of poverty. He pages her once a month for his wages; then the two meet for a long, awkward mea

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