IFI September 2010

IFI September 2010

CERTIFIED COPY SEPTEMBER 2010

1 THE IRISHFILM INSTITUTE EXHIBITPRESERVEEDUCATE The Irish Film Institute is Ireland’s national cultural institution for film. It aims to exhibit the finest in independent, Irish and international cinema, preserve Ireland’s moving image heritage at the Irish Film Archive, and encourage engagement with film through its various educational programmes. We now have a resident DJ for Saturday nights at the IFI Café Bar. Relax after a film and enjoy some chilled sounds with Simon Judge and guest DJs from 10pm ‘til 12.30am. We also have some other events in the pipeline so remember to check www.ifi.ie or our Facebook page for updates. The screening for this month’s French Film Club will be Certified Copy (Copie conforme) on Monday September 13th at 19.00 (see page 7 for film notes). IFI and Alliance Française members can avail of a special discounted ticket price of €7 for this screening. Anyone can join the Club and registration is free; simply leave your email address with a member of our Box Office staff. We know that everyone is probably tired of people asking for help in these recessionary times, but every time you eat, drink, shop or spend at the IFI, your money is reinvested into our activities helping us to deliver everything from screenings to our nationwide schools programme to the preservation of film at the Irish Film Archive. So the next time you enjoy a book, beer or burger at the IFI, just think how you’re helping us out! To celebrate the release of Metropolis and the discovery of 25 minutes of previously lost footage, we have a selection of accompanying events and seasons. In partnership with the National Concert Hall, there will be a screening of the film with orchestral accompaniment on September 4th; a season devoted to Fritz Lang’s earlier films (from Sept 4th); and a season of science-fiction films influenced by this classic from September 1st. See pages 8, 12 & 15 for details. SUPPORTMETROPOLIS 1 MUSICFRENCH

2 DIRECTOR’S NOTEDIRECTOR’S NOTE 2 SEPTEMBERAT THE IFI Metropolis (see page 8) As part of IFI National and in an exciting new collaboration with The Model in Sligo, IFI@The Model will bring a year-round programme of a selection of the IFI’s new international releases to audiences in the North West. This is a thrilling development in the IFI’s ongoing commitment to bring access to our programmes to audiences throughout Ireland and we are delighted to be working with The Model, one of Ireland’s most ambitious and innovative arts centres. We’re also delighted to be participating in Culture Night on September 24th, offering a free screening of Jim Sheridan’s Into the West from the IFI Irish Film Archive at 18.50 that evening. Please call our Box Office to reserve your place. This month is just the start of what promises to be a busy autumn with Horrorthon, Darklight and the IFI’s French Film Festival all coming soon, so watch this space and we look forward to seeing you here during September. Sarah Glennie Director Welcome to the IFI’s September programme and the month of Metropolis. Fritz Lang’s Metropolis, one of the most celebrated films in cinema history, has not been viewed in its entirety since it opened in Berlin 83 years ago. Following an unsuccessful original release, Paramount Pictures made drastic edits to the film in order to make it more digestible for an American audience. The cut footage was thought to have been lost until 2008, when an original version – brought to Argentina by a film distributor who happened to be visiting Berlin at the time of its premiere – was found in the archives of the Museo del Cine and the film was finally restored to the ‘director’s cut’ with an additional 25 minutes of footage. The premiere of this new version of Metropolis was the highlight of the Berlin Film Festival in February and we are delighted to be bringing this extraordinary film to Dublin, to both the IFI (from September 10th) and the National Concert Hall for a special gala screening with live orchestral accompaniment on September 4th. The influence of Metropolis and Fritz Lang’s other films continues to be seen across contemporary culture, and to mark the rediscovery of this seminal work we will be showing a selection of Fritz Lang’s other early films and a special season of science-fiction classics that have all openly declared their debt to Metropolis, a list ranging from 1930s British sci-fi classic Things to Come to Alphaville, Dr. Stangelove and The Matrix. Later in the month we present Before the Revolution curated by Enrique Juncosa who, as well as being Director of IMMA (Irish Museum of Modern Art), is also a dedicated cineaste and one of our most frequent visitors! As he explains in his introduction, this very personal selection of films recalls the radicalism of the 1960s that culminated in the protests of ‘68 and ‘69, and a series of discussions throughout the weekend will revisit this time in both the Irish and international context, and consider what it means to us now.

33 SEPTEMBER 2010 DATESCREENINGTIME 1ST WED THE MAID ARCHIVE AT LUNCHTIME: PROGRAMME 1 THE GIRL WHO PLAYED WITH FIRE THE ILLUSIONIST THE LEOPARD THINGS TO COME 13.00, 17.00, 21.00 13.10 13.20, 16.00, 20.40 15.00, 19.10 15.30, 19.30 18.40 2ND THURS THE MAID ARCHIVE AT LUNCHTIME: PROGRAMME 2 THE GIRL WHO PLAYED WITH FIRE THE ILLUSIONIST THE LEOPARD THINGS TO COME 13.00, 17.00, 21.00 13.10 13.20, 16.00, 20.40 15.00, 19.10 15.30, 19.30 18.40 3RD FRI THE GIRL WHO PLAYED WITH FIRE CERTIFIED COPY ARCHIVE AT LUNCHTIME: PROGRAMME 1 CHERRY TREE LANE THE ILLUSIONIST THE MAID 13.00, 15.45, 20.40 13.00, 17.00, 18.25, 21.00 13.10 13.40, 19.30 15.15, 19.20 15.30, 17.30, 21.10 4TH SAT DR. MABUSE THE GAMBLER ARCHIVE AT LUNCHTIME: PROGRAMME 2 ALPHAVILLE CERTIFIED COPY THE GIRL WHO PLAYED WITH FIRE THE MAID THE ILLUSIONIST CHERRY TREE LANE 13.00 13.10 13.45 14.50, 18.25, 21.10 15.45, 17.00, 20.40 17.45, 21.15 19.30 19.40 5TH SUN ARCHIVE AT LUNCHTIME: PROGRAMME 1 SPIONE (SPIES) DR. STRANGELOVE CERTIFIED COPY THE GIRL WHO PLAYED WITH FIRE CHERRY TREE LANE THE MAID THE ILLUSIONIST 13.10 13.15 14.00 14.50, 18.25, 21.10 15.45, 17.00, 20.40 16.00, 19.40 17.40, 21.15 19.30 6TH MON THE GIRL WHO PLAYED WITH FIRE CERTIFIED COPY ARCHIVE AT LUNCHTIME: PROGRAMME 2 CHERRY TREE LANE THE ILLUSIONIST THE MAID 13.00, 15.45, 20.40 13.00, 17.00, 18.25, 21.00 13.10 13.40, 19.30 15.15, 19.20 15.30, 17.30, 21.10 7TH TUES THE GIRL WHO PLAYED WITH FIRE CERTIFIED COPY ARCHIVE AT LUNCHTIME: PROGRAMME 1 CHERRY TREE LANE THE ILLUSIONIST THE MAID 13.00, 15.45, 20.40 13.00, 17.00, 18.25, 21.00 13.10 13.40, 19.30 15.15, 19.20 15.30, 17.30, 21.10 8TH WED THE GIRL WHO PLAYED WITH FIRE CERTIFIED COPY ARCHIVE AT LUNCHTIME: PROGRAMME 2 CHERRY TREE LANE THE ILLUSIONIST THE MAID 13.00, 15.45, 20.40 13.00, 17.00, 18.25, 21.00 13.10 13.40, 19.30 15.15, 19.20 15.30, 17.30, 21.10 9TH THURS THE GIRL WHO PLAYED WITH FIRE CERTIFIED COPY ARCHIVE AT LUNCHTIME: PROGRAMME 1 CHERRY TREE LANE THE ILLUSIONIST THE MAID 13.00, 15.45, 20.40 13.00, 17.00, 18.25, 21.00 13.10 13.40, 19.30 15.15, 19.20 15.30, 17.30, 21.10 10TH FRI CERTIFIED COPY ARCHIVE AT LUNCHTIME: PROGRAMME 2 TAMARA DREWE THE GIRL WHO PLAYED WITH FIRE CYRUS METROPOLIS 13.00, 16.00, 19.00 13.10 13.30, 15.50, 21.00 13.40, 18.00 15.00, 17.00, 21.15 18.15, 20.25 11TH SAT DARK CITY WOMAN IN THE MOON (FRAU IM MOND) ARCHIVE AT LUNCHTIME: PROGRAMME 1 TAMARA DREWE CYRUS CERTIFIED COPY THE GIRL WHO PLAYED WITH FIRE METROPOLIS 13.00 13.00 13.10 13.45, 16.00, 21.00 15.00, 17.00, 21.15 16.00, 19.00 18.00 18.15, 20.25 DATESCREENINGTIME 12THSUN IRELAND ON SUNDAY: SEASIDE STORIES ARCHIVE AT LUNCHTIME: PROGRAMME 2 THE GIRL WHO PLAYED WITH FIRE TAMARA DREWE CYRUS CERTIFIED COPY METROPOLIS 13.00 13.10 13.30, 18.00 13.45, 16.00, 21.00 15.00, 17.00, 21.15 16.00, 19.00 18.15, 20.25 13THMON CYRUS ARCHIVE AT LUNCHTIME: PROGRAMME 1 THE GIRL WHO PLAYED WITH FIRE TAMARA DREWE CERTIFIED COPY METROPOLIS 13.00, 15.00, 17.00, 21.15 13.10 13.30, 18.00 13.45, 16.00, 21.00 16.00, 19.00 18.15, 20.25 14THTUES CYRUS ARCHIVE AT LUNCHTIME: PROGRAMME 2 THE GIRL WHO PLAYED WITH FIRE TAMARA DREWE CERTIFIED COPY METROPOLIS 13.00, 15.00, 17.00, 21.15 13.10 13.30, 18.00 13.45, 16.00, 21.00 16.00, 19.00 18.15, 20.25 15THWED CYRUS ARCHIVE AT LUNCHTIME: PROGRAMME 1 THE GIRL WHO PLAYED WITH FIRE TAMARA DREWE CERTIFIED COPY METROPOLIS 13.00, 15.00, 17.00, 21.15 13.10 13.30, 18.00 13.45, 16.00, 21.00 16.00, 19.00 18.15, 20.25 16THTHURS CYRUS ARCHIVE AT LUNCHTIME: PROGRAMME 2 THE GIRL WHO PLAYED WITH FIRE TAMARA DREWE CERTIFIED COPY METROPOLIS 13.00, 15.00, 17.00, 21.15 13.10 13.30, 18.00 13.45, 16.00, 21.00 16.00, 19.00 18.15, 20.25 17THFRI WINTER’S BONE ARCHIVE AT LUNCHTIME: PROGRAMME 1 TAMARA DREWE CERTIFIED COPY CYRUS ALAMAR* METROPOLIS 13.00, 17.00, 21.10 13.10 13.30, 15.50, 21.00 14.00, 17.40 15.10, 19.10, 21.15 16.00, 19.40 18.15 18THSAT TAMARA DREWE ARCHIVE AT LUNCHTIME: PROGRAMME 2 THE MATRIX THE TESTAMENT OF DR. MABUSE CYRUS ALAMAR* WINTER’S BONE CERTIFIED COPY METROPOLIS 13.00, 15.50, 21.00 13.10 13.20 14.00 15.10, 19.10, 21.15 16.00, 19.40 17.00, 21.10 17.40 18.15 19THSUN BRAZIL M ARCHIVE AT LUNCHTIME: PROGRAMME 1 THE THOUSAND EYES OF DR. MABUSE CYRUS TAMARA DREWE ALAMAR* WINTER’S BONE CERTIFIED COPY METROPOLIS 13.00 13.00 13.10 14.00 15.10, 19.10, 21.15 15.50, 21.00 16.00, 19.40 17.00, 21.10 17.40 18.15 20THMON WINTER’S BONE ARCHIVE AT LUNCHTIME: PROGRAMME 2 TAMARA DREWE CERTIFIED COPY CYRUS ALAMAR* METROPOLIS 13.00, 17.00, 21.10 13.10 13.30, 15.50, 21.00 14.00, 17.40 15.10, 19.10, 21.15 16.00, 19.40 18.15 21STTUES WINTER’S BONE ARCHIVE AT LUNCHTIME: PROGRAMME 1 TAMARA DREWE CERTIFIED COPY CYRUS ALAMAR* METROPOLIS 13.00, 17.00, 21.10 13.10 13.30, 15.50, 21.00 14.00, 17.40 15.10, 19.10, 21.15 16.00, 19.40 18.15 3

4 PROGRAMME NEW RELEASES THE LEOPARD THE ILLUSIONIST THE MAID THE GIRL WHO PLAYED WITH FIRE CHERRY TREE LANE CERTIFIED COPY METROPOLIS CYRUS TAMARA DREWE ALAMAR WINTER’S BONE FROM HERE TO ETERNITY ENTER THE VOID BURIED SEASONS FRITZ LANG AFTER METROPOLIS BEFORE THE REVOLUTION IFI EVENTS IRELAND ON SUNDAY WILD STRAWBERRIES ARCHIVE AT LUNCHTIME IFI FAMILY 5 5 6 6 7 7 8 8 9 9 10 10 11 11 12 15 19 21 21 22 22 DATESCREENINGTIME 22NDWED WILD STRAWBERRIES: CONVERSATIONS WITH MY GARDENER WINTER’S BONE ARCHIVE AT LUNCHTIME: PROGRAMME 2 TAMARA DREWE CERTIFIED COPY CYRUS ALAMAR* METROPOLIS 11.00 13.00, 17.00, 21.10 13.10 13.30, 15.50, 21.00 14.00, 17.40 15.10, 19.10, 21.15 16.00, 19.40 18.15 23RD THURS WINTER’S BONE ARCHIVE AT LUNCHTIME: PROGRAMME 1 TAMARA DREWE CERTIFIED COPY CYRUS ALAMAR* METROPOLIS 13.00, 17.00, 21.10 13.10 13.30, 15.50, 21.00 14.00, 17.40 15.10, 19.10, 21.15 16.00, 19.40 18.15 24THFRI WILD STRAWBERRIES: CONVERSATIONS WITH MY GARDENER ARCHIVE AT LUNCHTIME: PROGRAMME 2 CYRUS ENTER THE VOID TAMARA DREWE WINTER’S BONE FROM HERE TO ETERNITY INTO THE WEST ALAMAR* 11.00 13.10 13.50 14.00, 15.40, 20.30 14.30, 18.20 16.40, 21.10 16.45, 20.45 18.50 19.10 25THSAT ARCHIVE AT LUNCHTIME: PROGRAMME 1 WINTER’S BONE ENTER THE VOID THE MOTHER AND THE WHORE BLOW UP ALAMAR* PARTNER + Q&A CYRUS TAMARA DREWE FROM HERE TO ETERNITY 13.10 14.00, 21.10 14.00, 20.30 14.30 16.10 17.00 18.20 18.45 18.50 20.45 26THSUN IFI FAMILY: THE FOX AND THE CHILD REGULAR LOVERS ARCHIVE AT LUNCHTIME: PROGRAMME 2 BEFORE THE REVOLUTION DISCUSSION WINTER’S BONE ENTER THE VOID ROCKY ROAD TO DUBLIN CYRUS ALAMAR* DEATH BY HANGING TAMARA DREWE FROM HERE TO ETERNITY 11.00 13.00 13.10 13.15 14.00, 21.10 14.35, 20.30 16.10 16.30, 19.00 17.15 18.15 18.40 20.45 27THMON ARCHIVE AT LUNCHTIME: PROGRAMME 1 ENTER THE VOID FROM HERE TO ETERNITY TAMARA DREWE WINTER’S BONE ALAMAR* CYRUS WEEK-END 13.10 14.00, 20.30 14.00, 20.45 14.20, 18.50 16.40, 21.10 16.45 16.45, 18.45 18.30 28THTUES ARCHIVE AT LUNCHTIME: PROGRAMME 2 ENTER THE VOID FROM HERE TO ETERNITY TAMARA DREWE WINTER’S BONE ALAMAR* CYRUS IF . . . 13.10 14.00, 20.30 14.00, 20.45 14.20, 18.50 16.40, 21.10 16.45 16.45, 18.45 18.20 29THWED ARCHIVE AT LUNCHTIME: PROGRAMME 1 ALAMAR* CYRUS BURIED WINTER’S BONE ENTER THE VOID FROM HERE TO ETERNITY TAMARA DREWE 13.10 13.20 13.50, 19.10 14.00, 16.00, 21.10 15.00, 21.10 15.40, 20.30 17.00 18.20 30THTHURS BURIED ARCHIVE AT LUNCHTIME: PROGRAMME 2 CYRUS WINTER’S BONE ENTER THE VOID ALAMAR* FROM HERE TO ETERNITY TAMARA DREWE 13.00, 15.00, 17.00, 21.10 13.10 14.10, 18.40 15.00, 21.10 16.00, 20.30 17.10 18.5019.00* Includes Irish Short 4

5 SEPTEMBER 2010NEW RELEASES SEPT 1ST - 2ND“One of the films I live by,” said Martin Scorsese about The Leopard. It is fitting, therefore, that he should be the prime instigator behind this definitive restoration of Visconti’s masterpiece. Winner of the Golden Palm at the 1963 Cannes Film Festival, the film premiered disastrously in America after Twentieth Century Fox had insisted on cuts and reprocessed the film in a colour system that catastrophically diminished its grandeur. Now one can appreciate the full majesty of Visconti’s vision (from Giuseppe di Lampedusa’s novel) of an aristocratic family in 1860s’ Sicily yielding to social change. Burt Lancaster is a towering presence as the patriarch; Nino Rota never composed a more ravishing score; and the epic ball sequence, bringing together the themes of adaptation and adjustment in a swirl of changing partners, is amongst the cinema’s most resplendent set-pieces. This digital restoration is an outstanding monument to a director whom Dirk Bogarde called “the Emperor of my profession”. (IL GATTOPARDO) RE-RELEASE FILM INFO: 187 minutes, Italy-France, 1963, Subtitled (Italian dialogue), Colour, D-Cinema Notes by Neil Sinyard THE LEOPARD (L’ILLUSIONNISTE) FILM INFO: 83 minutes, U.K.-France, 2010, Subtitled (English and French dialogue), Colour, Dolby digital stereo, 35mm Notes by Trevor Johnston SEPT 1ST - 9THFrench animator Sylvain Chomet won many fans with his delightfully jaunty The Triplets of Belleville, but this captivating new film is something else again – no mere ‘cartoon’ but an exquisitely rendered, utterly affecting work of art. Then again, he had great material, being gifted an unfilmed Jacques Tati screenplay by the latter’s daughter, producer Sophie Tatischeff. Sadly, she didn’t live to see the end product, but it’s easy to imagine she and her dad both being wowed by this sad and lovely 1950s’- set tale about a down-on-his-luck stage magician who adopts a waif-like young girl only to lose her heart as the process of growing up takes over. It’s a poignant, essentially universal tale of fathers and daughters, brought to life in wondrously detailed vintage Scottish settings. This has the emotive delicacy of a Miyazaki, the visual lushness of classic Disney, and the comic melancholy of Tati all rolled into one. This future classic will take your breath away. THE ILLUSIONIST

6 (FLICkAN SOM LEkTE MED ELDEN) FILM INFO: 129 minutes, Sweden-Denmark- Germany, 2009, Subtitled (Swedish dialogue), Colour, D-Cinema Notes by Nigel Floyd SEPT 1ST - 16THPicking up the story one year after The Girl with the Dragon Tattoo, this tightly-focused adaptation of the second part of Stieg Larsson’s crime trilogy plunges us straight into a multi-layered detective story. Radical journalist Mikael Blomkvist (Michael Nyqvist) is back at Millennium magazine; bisexual über-nerd Lisbeth Salander (Noomi Rapace) is living incognito back in Sweden. Without meeting, they conduct parallel investigations into a double murder linked to the trafficking of East European sex workers, for which Lisbeth has been framed by lawyer/rapist Nils Bjurman. The chief suspect is a gangster known only as ‘Zala’, there are more shocking revelations about Lisbeth’s bleak past, and the later scenes slip into horror movie territory. There’s a blond giant who feels no pain, burial alive and gory scenes of axe-wielding revenge. With David Fincher’s Hollywood re-make of Dragon Tattoo already in the works, now is the time to (re-)enter the dark, disturbing world of Larsson’s imagination. SEPT 1ST - 9THGrand Jury Prize-winner at Sundance, Chilean writer-director Sebastián Silva’s debut feature is a brilliantly observed drama lifting the lid on the shifting balance of power between employers and domestic help in an upscale Santiago household. Never forgetting the sheer toil of 40-something maid Raquel’s daily lot, without which the parents and kids she works for would cease to function, Silva’s film brings wit and compassion to bear on this portrait of a woman starting to realise she’s become her job and not herself. Silva takes care never to demonise the homeowners, whose very milquetoast niceness enables the often vindictive maid to take advantage of them, yet the core of his film is Catalina Saavedra’s alternately touching and sinister central performance. Her volatile transformation from moment to moment is unnerving and sometimes darkly amusing, but it also establishes the notion that for this woman with a seemingly circumscribed existence, change begins from within. Hugely entertaining, yet subtly haunting. (LA NANA) FILM INFO: 96 minutes, Chile-Mexico, 2009, Subtitled, Colour, D-Cinema Notes by Trevor Johnston THE MAID THE GIRL WHO PLAYED WITH FIRE

7 SEPTEMBER 2010NEW RELEASES SEPT 3RD - 9THAs he proved with his debut London to Brighton, writer-director Paul Andrew Williams is a man well-versed in the art of shredding our nerve ends, something he proves once more by tackling the ultimate middle-class suburban nightmare. It’s an ordinary night at home for 40-something couple Rachel Blake and Tom Butcher, unwinding with a glass of wine and a ready meal, when a knock at the door changes everything. Enter a gang of drug dealers eager to get their hands on the couple’s teenage son, who’s grassed up one of their compadres and will now pay the price. In the meantime, violence, intimidation, and a yawning social gulf are exposed. Williams has definitely been studying his Haneke and his Lynch, but the spot-on cultural references are the major strength here, revealing stark misunderstandings and gnawing envy to insidiously unsettling effect. Kudos too to Williams for refusing to stereotype the ruffian intruders, whose true colours emerge as temperatures rise. FILM INFO: 77 minutes, U.K., 2010, Colour, D-Cinema Notes by Trevor Johnston (COPIE CONFORME) FILM INFO: 106 minutes, France-Italy-Iran, 2010, Subtitled, Colour, D-Cinema Notes by Trevor Johnston SEPT 3RD - 23RDThe presence of a radiant Juliette Binoche and much lovely Tuscan sunshine makes this teasing drama critically-lauded Iranian director Abbas Kiarostami’s most accessible outing to date. She’s an antiques shop owner spending the afternoon with visiting art expert William Shimell (an operatic baritone in his film debut), whose latest book has contentiously suggested a good copy’s every bit as worthwhile as an original old master. Soon however, the possibility emerges that these two are actually squabbling husband and wife, or possibly just playing at being a couple as an exercise in flirting. He’s pompous and defensive, she’s volatile and passionate: are these emotions real? Or are the performers just delivering clever facsimiles of actual feelings? Admittedly, Kiarostami’s translated dialogue doesn’t quite feel at home in its various languages, but the play of ideas and desires in this portrait of the warring sexes proves utterly beguiling, while its deft integration of naturalistic observation and considered artifice is masterly indeed. CERTIFIED COPY CHERRY TREE LANE IFI FRENCH FILM CLUBFrench Film Club screening of Certified Copy on September 13th at 19.00. See page 1 for details.

8 FILM INFO: 91 minutes, U.S.A., 2010, Colour, D-Cinema Notes by Nick Schager SEPT 10TH - 30THJay and Mark Duplass inch closer to successfully infusing comedy-of- awkwardness with pained pathos in Cyrus, the story of a video editor named John (John C. Reilly) who, seven years after a divorce, finds his new relationship with Molly (Marisa Tomei) complicated by the devious machinations of her clingy 21-year- old son Cyrus (Jonah Hill). Given Reilly’s participation as well as the overriding air of stunted social development, Cyrus frequently feels like a lower-budgeted, sadder companion piece to Step Brothers, with the filmmakers considering their characters kindly and, in doing so, rooting their material’s wit in the pitiable need and loneliness of their protagonists. As importantly, when fully engaged with the process of being funny, the film is frequently a riot, thanks in part to a rapport between the dishevelled Reilly and methodical Hill that’s teeming with over-the-top resentment, their shared intensity – barely concealed beneath placid demeanours meant to please Molly – proving to be the wacko energy that drives these hilarious proceedings. SEPT 10TH - 23RDThis restored version of Metropolis includes the film find of the century so far: 25 minutes of footage not seen since the film’s premiere and presumed lost until recently discovered in Buenos Aires. The material fills out and clarifies some of the sub-plots and minor characterisation and completes Lang’s mighty, prophetic vision of the modern world. Many core science-fiction concerns are anticipated here: the futuristic City with its brutal social hierarchy of rich and poor; the mechanisation of work and the dehumanisation of the individual; the mad scientist; and the evil robot deliberately fomenting rebellion that will be ruthlessly crushed. If the ideas are sometimes trite, the imagery is ceaselessly amazing. Taking nearly a year to film and utilising over 30,000 extras, Metropolis was the grandest, most spellbinding spectacle of 1920s silent European cinema. This restoration, accompanied by Gottfried Huppertz’s fine original score, cannot fail to attract a new legion of awed admirers. RE-RELEASE FILM INFO: 150 minutes, Germany, 1927, Black and White, Restored version with a new recording of Gottfried Huppertz’s score, D-Cinema Notes by Neil Sinyard METROPOLIS See page 12 for a season of Lang’s other work and page 15 for other science-fiction films he influenced. CYRUS

9 SEPTEMBER 2010NEW RELEASES SEPT 10TH - 30THDeliciously entertaining yet never empty- headed, this latest offering from Stephen Frears adeptly blends frothy comedy, emotional drama and barbed observations about the way we live now. Adapted from Posy Simmonds’ sharp-witted newspaper comic strip, it zeroes in on a posh enclave of Dorset, where the homecoming of minxy newspaper columnist Gemma Arterton sets hearts a-flutter among the local menfolk, from lovelorn farmhand Luke Evans to pompous bestselling writer Roger Allam and indie pop sensation Dominic Cooper. While the film amusingly nails these characters’ foibles and pretensions, there’s evidently more going on here than some sardonic ‘Aga-saga’. Keep your eyes on the travails of the author’s long-suffering spouse Tamsin Greig (outstanding), and the meddling of star-struck schoolgirl Jessica Barden in Arterton’s unfolding amours, all of which underline how the sundry manifestations of ‘celebrity’ culture can make others feel unhappy with the ordinary lives they have. Flawlessly performed and directed, this is a genuine pleasure. FILM INFO: 111 minutes, U.K., 2010, Colour, Anamorphic, Dolby Digital Stereo, 35mm Notes by Trevor Johnston FILM INFO: 73 minutes, Mexico, 2009, Subtitled, Colour, D-Cinema Notes by Trevor Johnston SEPT 17TH - 30THFather bonding with son, man in harmony with nature, the simple things of life unfolding under brilliant skies – sounds like a dream, but it’s the substance of Mexican filmmaker Pedro González- Rubio’s rapturous hybrid of drama and documentary. It’s based on an actual family conflict, an Italian woman’s decision to move back to Rome with her son, leaving behind her Mexican husband and his life on the unspoiled Caribbean coast. Time for one last fishing trip then, where dad will teach his boy how to catch snapper, feed an egret by hand, and learn the names of flora and fauna alike. The camera follows them – perhaps recording their sun-splashed adventure, perhaps staging it – though the emotional bonds on view, and indeed the crystal-clear waters of this idyllic marine environment are certainly as real as they come. Knowing all this is about to end in parting adds chastening poignancy, but, for now, simply bathing in such beauty is a cinematic tonic indeed. TAMARA DREWE ALAMAR IFI IRISH SHORTSThis screening will include Alan Holly’s IFB-funded animation, The Red Ball. 3 minutes, Colour, 2007.

10 RE-RELEASE FILM INFO: 118 minutes. U.S.A., 1953, Black and White, D-Cinema SEPT 24TH - 30THBased on James Jones’ controversial critique of the American Army, this film created a sensation on first release and won eight Academy Awards. It is particularly remembered now for its torrid (for its time) beach scene between Burt Lancaster and Deborah Kerr; its exciting reconstruction of the morning of Pearl Harbour; its visual and narrative mastery; and an Oscar-winning performance as an ill-fated GI by Frank Sinatra that revived his career (his casting is said to be the inspiration behind the notorious horse’s head scene in The Godfather). The core of the film, though, is a matter of conscience: a soldier’s principled refusal to box for his company, which puts him at odds with his fellows and leads to his persecution. “If a man don’t go his own way, he’s nothing,” he says, and Montgomery Clift’s wonderful performance is a definitive embodiment of director Fred Zinnemann’s key theme of the individual against the system. SEPT 17TH - 30THWinning prizes at Sundance isn’t always a guarantee of quality, but this gripping backwoods drama is one of the great American indies of recent years. Set in darkest Missouri, it features the sort of community which once brewed moonshine but these days cooks up methamphetamine. These folks don’t trust anyone, so when 17-year-old Ree (Jennifer Lawrence in a star-making performance) needs to find her missing father, she meets a wall of hostility. Due in court, he’s posted the family’s home and land against a bail bond, so if he doesn’t show they’ll lose everything. This young girl’s desperate fight to extract the truth from a hardened clan where silence is a long-held code of honour builds to nail-chewing intensity, etching an almost primal conflict between justice and iniquity. Lawrence’s powerfully stoic protagonist makes it all believable, but the key here is director Debra Granik’s understanding that true authenticity means never patronising or cheapening your subject matter. Quite an accomplishment. FILM INFO: 100 minutes, U.S.A., 2010, Colour, D-Cinema Notes by Trevor Johnston WINTER’S BONE FROM HERE TO ETERNITY

11 SEPTEMBER 2010NEW RELEASES FROM SEPT 24THHow would you like to go on a journey to another plane of existence? That’s the invitation Gaspar Noé offers – and indeed the challenge he set himself – in this self-proclaimed magnum opus where the death of the central character is but the starting point. To say more would be invidious, since this is definitely a film to be approached with an open mind. Nominally the story of an expatriate American in Tokyo who gets mixed up in the drugs scene to fateful effect, its virtually limitless ambition seeks to burn into celluloid the very stuff of life and death, Eros and Thanatos. The directorial bravura and shock tactics of Irreversible were but a taster for this fresco of hallucinatory excess, sexual and otherwise, whose tangential relationship to standard forms of narrative and characterisation will doubtless prove divisive, but won’t leave anyone short of an opinion. Don’t miss out on what’s certain to be the most talked-about movie of the year. FILM INFO: 135 minutes, France-Germany- Italy, 2009, Subtitled (English and Japanese dialogue), D-Cinema Notes by Trevor Johnston ENTER THE VOID FILM INFO: 95 minutes, Spain, 2010, English dialogue, Colour, Anamorphic, Dolby Digital Stereo, 35mm Notes by Nigel Floyd FROM SEPT 29THA man wakes up in the dark. Sweating and disorientated, he flips on his Zippo lighter and realises that he is buried in a rough- hewn wooden crate. A mobile phone rings. The signal is dodgy and the phone’s battery life is ebbing, but through a series of verbal exchanges American truck driver Paul Conroy pieces together how he came to be buried beneath the sands of Iraq, following an attack on his convoy. Trapping us inside the claustrophobic confines of Paul’s coffin, Spanish director Rodrigo Cortés and actor Ryan Reynolds draw us into this frustrated family man’s desperate fight for survival. Inventively and beautifully shot by Eduard Grau (A Single Man), deftly scripted by Chris Sparling and evocatively scored from Victor Reyes, this is a classic example of cinematic imagination squeezing every last drop of nail-biting tension from a tightly-focused thriller scenario. You’ll be holding your breath right through to the final image. BURIED

MINISTER OF FEAR: THE EARLY FILMS OF FRITZ LANG Fritz Lang was one of the pioneers of the silent era, and this short season of his early films – timed to coincide with the release of the definitive new version of Metropolis – provides a welcome opportunity to reassess his significance. Born in Vienna in 1890, Lang had trained as an architect but rapidly established himself as one of the leading directors of German cinema with a dazzling series of films notable for their visual grandeur and psychological gloom, and often peopled by megalomaniacs intent on global domination. Small wonder critics found in them subconscious or prophetic intimations of the coming of Fascism: indeed the Propaganda Minister Josef Goebbels was to suggest that he take charge of the Third Reich’s film industry. Instead Lang fled to America, importing his vision into the Hollywood mainstream and making some of the most powerful examples of film noir. Truly an apocalyptic child of the twentieth century, Lang’s presentation of fear and alienation has been profoundly influential: filmmakers such as Hitchcock, Godard and Kubrick owe much to his example. FRITZLANGSEASON Fritz Lang on the set of Metropolis Introduction and notes on individual films by Neil Sinyard. The new version of Lang’s Metropolis is also showing in this programme. See page 8 for notes. See page 15 for a second season celebrating Metropolis. 12

LANG SEASON One of Lang’s most enjoyable extravaganzas, Spione is a spy melodrama that anticipates early Hitchcock and the entertainments of Graham Greene and Ian Fleming. Here the criminal mastermind is a banker who also masquerades as a clown and who is motivated not by money but by pure malice. His espionage enterprise is opposed by a hero so bland that he is only given a number rather than a name. Incident takes precedence over character, and the film is consistently imaginative in its visual detail (e.g. a nicely cynical moment when a capitalist is spared a bullet’s impact by a wad of bank notes in his wallet) and its set-pieces, such as a moving suicide scene involving a disgraced Japanese diplomat and a spectacularly staged train crash. Rudolf Klein-Rogge’s charismatic rogue could almost be a surrogate of Lang himself, a supreme manipulator pulling all the strings, and lowering the curtain on an impudent, exhilarating film. (SPIES) FILM INFO: 145 minutes, Germany, 1928, Restored version with a new score by Donald Sosin, German intertitles; English subtitles, Black and White, DVD SEPT 5TH (13.15) Brilliantly played by Rudolf Klein-Rogge, Dr. Mabuse is one of cinema’s most memorable super-villains, a psychoanalyst and master of disguise who is secretly amassing a fortune through counterfeit money and through preying on the wealthy clientele of the gambling dens of Berlin (including the Stock Exchange). Released in two parts, the film wowed contemporary audiences with its audacious plotting and boundless visual invention: particularly memorable is the hypnotic filming of Mabuse’s mind games at a card table in Part One, and his mental degeneration in Part Two, as ghostly spectres from the past begin to haunt his waking hours. For Lang, the film was also a portrait of its time. Towards the end, when Mabuse affects an escape through a sewer, one thinks momentarily of The Third Man, another great film which, under the guise of a thriller, expressively evokes a decadent, demoralised post-war Europe in which a modern Lucifer can thrive. This film will be shown in two parts with a 15-minute interval. SEPT 4TH (13.00) (DR. MABUSE, DER SPIELER) FILM INFO: 270 minutes, Germany, 1922, Fully-restored version with original score, German intertitles and new English subtitles, Black and White, DVD A mad professor, two scientists, a female astronomer and a shifty representative of a capitalist consortium embark on a rocket-ship mission to the moon, partly in a spirit of scientific adventure and partly to search for gold. Based on a novel by Lang’s wife, Thea von Harbou, Frau im Mond has a narrative that is more trance-like than dynamic but the scenes of take-off and moon landing are excitingly done: the film is even credited with inventing the countdown. An attractive feature is its positive characterisation of the heroine (Gerda Maurus from Spione), who has the decency to thank the workers for their help, the determination to join the mission and film it for posterity, and the decisiveness to make her own emotional choice at the end. It might have dated, but its scientific details were authentic enough for the Nazis to withdraw the film in 1937 for fear it might disclose too much about their own rocket research. (FRAU IM MOND) FILM INFO: 163 minutes, Germany, 1929, New restoration with German intertitles and newly translated English subtitles, Black and White, DVD SEPT 11TH (13.00) SPIONE WOMAN IN THE MOON DR. MABUSETHE GAMBLER 13 CELEBRATING METROPOLIS

14 LANG SEASON As the traffic lights change, every car moves forward, save one: its driver has been shot. With this personal homage to a famous moment in The Testament of Dr. Mabuse, Lang launched his last film, about a series of murders at a luxury hotel that bear the mark of the supposedly deceased Dr. Mabuse. Has he come back from the grave? For what purpose? Peter van Eyck plays the wealthy purchaser of an atomic plant who becomes the target of a criminal mastermind’s sinister plot; Dawn Addams is the ambiguous heroine he saves from suicide; Wolfgang Preiss gives a subtly shaded performance as a doctor who might be more than he seems. Lacking the edgy demonism of the original Mabuse works, the film’s observations on a modern world of voyeurism, omnipresent surveillance (by both police and criminals) and deadly technology can still chill the blood. Lang’s visually eloquent, quintessential pessimism never lifted. (DIE 1000 AUGEN DES DR. MABUSE) FILM INFO: 103 minutes, Germany, 1960, Subtitled, Black and White, DVD SEPT 19TH (14.00) M is for Murderer; also for Masterpiece. Lang’s first and greatest sound film concerns the hunt for a child-killer in a German city, and his depiction of a community gripped by fear is a master- class in the suggestive use of shadow, smoke, sound and off-screen space to create an atmosphere of tension and terror. There is an element of grotesque comedy also, as the city’s underworld joins in the investigation: the killer is proving bad for business. When the wretched creature is cornered in a deserted warehouse and tried by a kangaroo court, Peter Lorre’s characterisation comes into its own: this is one of the unforgettable performances of the screen. “Those marble pupils”, wrote Graham Greene about Lorre at the time, “are like the eye-piece of a microscope through which you see the tangled mind laid flat: love and lust, nobility and perversity, hatred of itself and despair jump out at you.” FILM INFO: 110 minutes, Germany, 1931, Subtitled, Black and White, Blu-ray SEPT 19TH (13.00) M “All clues lead to the asylum,” says Inspector Lohmann (Otto Wernick), the policeman who pursued M and who is now investigating a series of crimes that seem to be linked to the insane, incarcerated Dr. Mabuse (Rudolf Klein-Rogge), whose hypnotic power mysteriously extends beyond the asylum walls. Lang was to claim that the film was an allegory of Fascism, about a madman seeking world domination: whether contemporary audiences grasped the message is a moot point, though the film was banned by the Nazis and precipitated the director’s abrupt departure to America. Whatever its political implications, the film works as a compelling thriller, with a superb wordless opening as a terrified police-spy in hiding tries to communicate his fears to the outside world, and a final nightmarish chase across a blasted backdrop where even the trees look demented. There is also a tender, tentative love story in there, but it tends to be submerged by the paranoia. SEPT 18TH (14.00) (DAS TESTAMENT DES DR. MABUSE) FILM INFO: 116 minutes, Germany, 1932, Subtitled, Black and White, DVD THE TESTAMENT OF DR. MABUSE THE THOUSAND EYES OF DR. MABUSE CELEBRATING METROPOLIS

15 Like all truly seminal works of cinematic art, it’s impossible to gauge the influence that Metropolis has had on popular culture, save to say that there was a time before Metropolis, and a time after. Fritz Lang’s landmark vision of the future has been assimilated into our shared visual language; its incandescent images paid homage to, or shamelessly ripped off, by generation after generation of filmmaker. In addition, the worlds of fashion, advertising and in particular music video owe Lang a considerable debt of gratitude. Metropolis pretty much defined the dystopian sci-fi genre, laying down the gauntlet for innumerable bleak cinematic visions of humanity’s fate to follow; arguably, it has yet to be bettered. Thankfully, no Hollywood shark has been foolish enough to attempt a direct remake as yet, although music producer Giorgio Moroder paid tribute in 1984 with an ill-advised colorized re-edit of Lang’s original – as curios go, it’s one to avoid. This brief season, then, celebrates those filmmakers brave and bold enough to channel, reference, rewrite and re-imagine Metropolis in their own unique fashion. Introduction and notes on individual films by Derek O’Connor. AFTERMETROPOLIS The newly-restored version of Metropolis is also showing in this programme (see page 8) as is a short season of Fritz Lang’s other early films (pages 12-14). Peter Sellers in Dr. Strangelove (see page 16)

16 AFTER METROPOLIS For Alphaville, read ‘Godardville’: the enfant terrible of the French New Wave, at the height of his ‘accessible’ 1960s period, infuses the sci-fi genre with film noir tropes to create an incandescent portrait of alienation and automation. That said, don’t take this deadpan yarn (subtitled A Stanley Kubrick: Master of Comedy? Of the many charges levelled at that most monolithic of movie masters, Stan the Man’s reputation as a rather funny fellow remains relatively unsung. Yet several of Kubrick’s key works offer some of the blackest, bleakest and most bitterly hilarious comedy committed to film, none more so than this seminal tale of cold war insanity. Kubrick let it be known that the inspiration for Peter Sellers’ eponymous mad scientist came directly from Metropolis’ Dr. Rotwang – not least the mechanical hand Strangelove has such trouble keeping under control. Herr Doctor is but one of three roles Sellers essays here in one of the few films capable of harnessing the talents of this comedic colossus; even then, he’s given a run for his money by a cast that includes George C. Scott, Sterling Hayden and, as Major ‘King’ Kong, the immortal Slim Pickens. As final curtain calls for the human race go, it’s a total riot. Strange Adventure of Lemmy Caution) too seriously, since good old Jean-Luc clearly doesn’t. Utilising existing Parisian locations and an improvised script, JLG sends Eddie Constantine’s weary gumshoe Caution – a role B-movie vet Constantine had already essayed in several pulpy spy flicks – on a mission to destroy Alpha 60, the sentient computer suppressing freedom of thought in the eponymous future city. By turns poetic, allegorical and demented, Alphaville can be read in any number of ways, not least as the auteur’s homage to his beloved Fritz Lang. Raoul Coutard’s cinematography was never more stunning, nor in-house leading lady Anna Karena lovelier. Make no mistake, this is top-tier Godard. Devour. SEPT 4TH (13.45) (OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB) FILM INFO: 95 minutes, U.K., 1964, Black and White, New Digital Restoration, D-Cinema SEPT 5TH (14.00) Author H. G. Wells had little time for Metropolis, dismissing it as a mix of “almost every possible foolishness, cliché, platitude, and muddlement about mechanical progress and progress in general.” This 1936 adaptation of Wells’ speculative novel can be viewed as a direct response to Lang’s movie; it’s a work of considerable ambition and seriousness, brimming with prescient ideas and bold visual concepts every bit as audacious as its Teutonic counterpart. Things to Come imagines a future where a devastating, decades- long Second World War (started in 1940) reduces the world to medieval squalor; by 2036, society has been rebuilt by a new order of “engineers and mechanics”, and mankind – now housed in an elaborate series of underground cities – prepares for the first manned spaceflight. Perhaps the great British sci-fi film, this epic is manned by formidable thespians like Raymond Massey, Ralph Richardson and Edward Hardwicke. There’s been nothing quite like it, before or since. FILM INFO: 100 minutes, U.K., 1936, Black and White, 35mm SEPT 1ST & 2ND (18.40) (ALPHAVILLE, UNE éTRANGE AVENTURE DE LEMMY CAUTION) FILM INFO: 99 minutes, France-Italy, 1965, Subtitled, Black and White, 35mm ALPHAVILLE DR. STRANGELOVE THINGS TO COME CELEBRATING METROPOLIS

17 AFTER METROPOLIS If ever a film was done an utter disservice by its sequels, it was The Matrix, whereupon the enigmatic sibling writer- director team of Andy and Larry Wachowski submerged one of the truly inspired pop cultural totems of the late twentieth century into a mire of half-baked celluloid codology. Time, then, to revisit the delicious original, an audacious mix of pop philosophy and kinetic kick-ass tropes that channels Lewis Carroll and William Gibson into a kind of Metropolis for the Internet age. Spaced-out hacker Keanu Reeves discovers (a) that everything he knows is wrong, and (b) that he is The One, a hero destined to free humanity from virtual enslavement by yet more of those pesky sentient computers. Viewed in retrospect, The Matrix feels like a dry run for Chris Nolan’s recent Inception, another massive commercial game-changer (from the same studio) that succeeds in subverting the action blockbuster while still delivering the goods with considerable aplomb. FILM INFO: 136 minutes, U.S.A.-Australia, 1999, Colour, Anamorphic, Dolby Digital Stereo, 35mm SEPT 18TH (13.20) Buoyed by the success of his debut feature The Crow, Australian filmmaker Alex Proyas embarked upon this ambitious sci-fi noir epic, a work that truly defied definition and/or categorisation – a fact that in no small part possibly contributed to its critical and box-office failure. Working from a script penned in tandem with David S. Goyer (The Dark Knight) and Lem Dobbs, Proyas crafted a waking nightmare, inspired in turn by Metropolis, Plato’s ‘Allegory of the Cave’ and the art of Edward Hopper. Troubled everyman Rufus Sewell awakens in a bathtub suffering from amnesia; before long he’s being pursued for a grisly murder he may or may not have committed by hard-boiled cop William Hurt and a shadowy gang of strangers (led by Rocky Horror Show creator Richard O’Brien). All, suffice to say, is not as it seems. Proyas later returned to commercial favour with such formulaic genre fare as I, Robot. SEPT 11TH (13.00) FILM INFO: 100 minutes, Australia-U.S.A., 1998, Colour, Anamorphic, Dolby Digital Stereo, 35mm The tale behind every Terry Gilliam movie is usually as fascinating as the finished product itself: this 1985 masterpiece was bowdlerised by the Hollywood studio that paid for it before a grassroots campaign saw Gilliam’s original cut restored to become a true cult classic. A quarter- century on, Brazil remains perhaps the purest distillation of the obsessions that drive this most singular of renegade filmmakers. It’s a bleakly hilarious riff on Orwell’s 1984 by way of Kafka, Lang and Gilliam’s Monty Python posse. This truly is a work that offers endless rewards upon repeat viewings; seen on the big screen, the densely layered art direction alone is a thing of absolute wonder. Which is not to suggest that there isn’t formidable substance elsewhere: Jonathan Pryce has never been better than as the anonymous little man raging against the machine in a decaying urban nightmare, while a truly bizarre Robert De Niro delights as a guerrilla heating engineer. FILM INFO: 140 minutes, U.K.-U.S.A., 1985, Colour, Digital Video SEPT 19TH (13.00) DARk CITY THE MATRIX BRAZIL CELEBRATING METROPOLIS

18 THE IRISH FILM INSTITUTE IFI LOYALTY CARD Spend at IFI Cinemas, IFI Film Shop or IFI Café Bar and collect 4c back in points to redeem against free cinema tickets for every €1 you spend With our regular double points events and extra points offers, you’ll have enough points to treat yourself in no time Plus IFI members will automatically get double points on all their purchases – and that even includes double points on all our bonus point offers! Sign up for an IFI Loyalty Card and you’ll be going to the cinema for free in no time... Fancy building points each time you make a purchase at the IFI? Want to convert those points into free tickets? Now you can with the IFI Loyalty Card! With points for everyone who spends at the IFI, and with double points for members, you’ll be able to reap the rewards of all your visits to the IFI! 4c back in points at the IFI for every €1 spent. — — —

19 Week-end (see page 20) The IFI is delighted to present a special season curated by Enrique Juncosa, poet and Director of IMMA. “The 1960s was a period of enormous social change and political turmoil. The civil rights movement powerfully demanded equal rights for women, gays and racial minorities. Political activism took place alongside major changes in sexual behaviour and experimentation with drugs, in what was also a golden age for rock music. The events of May ’68 in places like California, Mexico City, Prague and Paris (where massive demonstrations of workers and students almost brought France to collapse) were the culmination of these socio-political trends. In the 1970s, however, a new conservatism took over, although the events and ideologies which fermented in the ’60s have had an enormous influence on later generations. The 1960s were also an incredibly good time for cinema, when many radical and exciting films were made, and in recent years this period has also been the subject of some extraordinary new films. The selection of films included in this programme, which gets its title from an early film by Bernardo Bertolucci, presents both recent films about this period (Regular Lovers) alongside other iconic films made in the late ’60s. These films touch on political and social issues in innovative forms that remain as fascinating and interesting today as they were at the time. The 1960s is a time I miss in this age of a new conservatism.” Enrique Juncosa Introduction and film selection by Enrique Juncosa. Notes on individual films compiled by Peter Walsh. There will be a panel discussion on the season with guests including Eamonn McCann and Enrique Juncosa at 13.15 in Cinema 3 on September 26th. BEFORE THEREVOLUTION 19 THE MOTHER AND THE WHORESEPTEMBER 25TH (14.30) DIRECTOR: Jean Eustache (LA MAMAN ET LA PUTAIN) Jean Eustache’s 1973 epic about the lives and loves of a trio of Parisian outsiders is a movie that breaks down the barriers between audiences and on-screen characters like no other; by the end you quite literally feel as if you’ve lived alongside Eustache’s vulnerable trio of lovers. Jean-Pierre Léaud is the man in the middle, a feckless intellectual who does very little except pontificate in cafés and flit between two women – brilliantly played by Bernadette Lafont as the maternal older woman and Françoise Lebrun as a nurse who keeps loneliness at bay through drink and casual sex. 215 minutes, France, 1973, Subtitled, Black and White, 35mm BLOW UPSEPTEMBER 25TH (16.10) DIRECTOR: Michelangelo Antonioni Italian maestro Michelangelo Antonioni made the subject of alienation a fashionable theme in European art cinema of the 1960s. In Blow Up, David Hemmings plays a fashion photographer in ‘Swinging London’ of the mid-‘60s who discovers that he may have unwittingly photographed a murder in a park. His efforts to discover the truth by manipulating the images he captured – a tour de force sequence that sums up the entire film – only leads to further uncertainties. Insecurity and alienation have now reached such a pitch of intensity that the Antonioni protagonist has come to doubt even the validity of his own perceptions. 110 minutes, UK, 1967, Colour, 35mm

202020 105 minutes, Italy, 1968, Subtitled, Colour, Anamorphic, 35mm REGULAR LOVERSSEPTEMBER 26TH (13.00) DIRECTOR: Philippe Garrel (LES AMANTS RéGULIERS) Tousle-haired Louis Garrel returns to the Left Bank streets of Paris ’68 in this leisurely rumination on revolution and its aftermath directed by his father, Philippe Garrel. A veteran independent on the French scene, Garrel père brings firsthand knowledge of the events in question to bear on this atmospheric portrait of a generation, while Garrel junior gives a charismatic performance as a young poet tussling with authority as the heady days of May explode around him. His idealism evaporates when he falls for the alluring Lilie. Before long, aspirations to changing the world expire in a haze of sex and opium. 183 minutes, France, 2005, Subtitled, Black and White, 35mm ROCkY ROAD TO DUBLINSEPTEMBER 26TH (16.10) DIRECTOR: Peter Lennon Introduction by Gerard Byrne Screened with The Making of Rocky Road to Dublin Made by Guardian journalist Peter Lennon and French New Wave cinematographer Raoul Coutard, this is the most important independent documentary made in Ireland in the 1960s. As Lennon comments, the film is “an attempt to reconstruct, in images, the plight of a community which survived nearly 700 years of English occupation and then nearly sank under the weight of its own heroes and clergy.” Rocky Road was one of the last films shown at the 1968 Cannes Film Festival, which was shut down by Godard and Truffaut in solidarity with striking workers and students. 70 minutes, Ireland, 1968, Black and White, Digital Betacam Video PARTNERSEPTEMBER 25TH (18.20) DIRECTOR: Bernardo Bertolucci Includes Q&A with Sarah Glennie and Enrique Juncosa Inspired by Dostoevsky’s early novel The Double, director Bernardo Bertolucci’s Partner is also the film in which its maker struggles to come to terms with the influence of his cinematic father figure, Jean-Luc Godard. Shot in Scope and sporting bright pop-art colours, it tells of a mild-mannered intellectual theatre teacher who meets and must deal with his wild, anarchic, murderous double (both played by the remarkable Pierre Clémenti). Their confrontations and theatrical experiments make up the film’s narrative, but Partner is most notable for its gorgeous visuals and very late-’60s sense of anything-goes experimentation as both legitimate and fun.and fun.117 minutes, Japan, 1968, Subtitled, Black and White, 35mm WEEk-ENDSEPTEMBER 27TH (18.30) DIRECTOR: Jean-Luc Godard Jean-Luc Godard’s last ‘commercial’ film, Week-end marked a turning point. In telling the story of a bourgeois couple whose weekend break leads inexorably to chaos and cannibalism, Godard fashioned his most apocalyptic vision of social and cultural breakdown. The filmmaker’s disgust at the values of Gaullist French society has him mount the film as a savage Swiftian satire in which the central couple are desperate to secure their inheritance through murder. They hit the road and enter a nightmare landscape of highways strewn with burning cars and bloody corpses (there’s a stunning 7-minute take of a seemingly endless traffic jam) before emerging into a brave new world peopled by Maoist revolutionaries living like bandits in the woods. 105 minutes, France-Italy, 1969, Subtitled, Colour, 35mm IF . . .SEPTEMBER 28TH (18.20) DIRECTOR: Lindsay Anderson One of the key British films of the 1960s, Lindsay Anderson’s If . . . is a savage satire of English public school life that struck a very resonant chord in the year of student uprisings. Its image of the rebellious public schoolboy Mick Travis (Malcolm McDowell, terrific in his debut film role), armed to the teeth on the chapel roof, became a treasured icon for disaffected youth. If . . . rails against the debilitating class system and, winding its exhilarating way between black-and-white and colour sequences, it exposes hypocrisy in school, church and the military. It was a timely film, with shooting starting just two months before the events of May ’68 in Paris. 112 minutes, UK, 1968, Colour/Black and White, 35mm DEATH BY HANGINGSEPTEMBER 26TH (18.15) DIRECTOR: Nagisa Oshima (kOSHIkEI) Nagisa Oshima was one of the most radical of post-WW2 directors. This 1968 masterpiece is a specifically Japanese attack on capital punishment and much else besides. It tells of a downtrodden young Korean man (known simply by the Kafkaesque initial ‘R’) who somehow survives the hangman’s noose after being sentenced to death for rape and murder. In the ensuing chaos, as the guards begin to re-enact R’s crimes to convince him of his guilt, Oshima mounts a highly stylised and blackly comic psychodrama designed to challenge one’s beliefs and ideals, be they moral, political or religious.nd fun.

21 IFI EVENTS IFI EVENTS Ireland on Sunday is our monthly showcase for new Irish Film. We are delighted to present the long- awaited new feature from writer/director Fergus Tighe (Clash of the Ash, 1987, Three Brothers, 1998 and John of God, 2005). Seaside Stories tells the tale of DIRECTOR: Fergus Tighe FILM INFO: 93 minutes, Ireland, 2009, Digi-Beta, Colour SEPT 12TH (13.00) Locky (Fionn de Búrca), an 11-year-old boy whose life has begun to deteriorate since his mother took to the drink again with her old boyfriend. When his “sister” Sally arrives home from London, determined to tell Locky that she is really his mother, the scene is set for a series of events that will change the lives of all involved. This tautly-constructed and authentic drama of life in a small Irish village is the culmination of three years’ work by experienced writer/director Tighe and his Ennistymon neighbours, a talented band of amateur and professional actors. Director Fergus Tighe will participate in a post-screening Q&A. SEASIDE STORIES SEPT 22ND & 24TH (11.00) (DIALOGUE AVEC MON jARDINIER) DIRECTOR: Jean Becker FILM INFO: 109 minutes, France, 2008, English subtitles Wild Strawberries is our bimonthly film club for the over 55s. This month we’re broadening our Wild Strawberries horizons with a beautiful French film about a gardener and a painter. Renowned and brilliant French actor Daniel Auteil is a painter who, tired of Parisian life, is on the verge of divorce. Returning to live in his old childhood home where the garden has grown wild, he is unable to cope and takes on a gardener who happens to be an old friend. The skilled gardener can see all the other man’s problems and understand them, while he concentrates his energies on taming the natural world around him, growing better vegetables and bringing beauty into the place. This is not a story of rural and urban stereotypes, but one of complex characters who develop a strong friendship and a deep understanding of each other’s world. €4 including regular tea/coffee. IRELAND ON SUNDAY WILD STRAWBERRIES ARCHIVE AT LUNCHTIME IFI FAMILY CONVERSATIONS WITH MY GARDENER

22 © Disney Join us for FREE daily screenings of films from the IFI Irish Film Archive in this timely Back to School programme. Simply collect your free ticket at the IFI Box Office when visiting. AMHARC EIREANN PICTIÚIRÍ LE PÁISTÍ School children at The Caltex Children’s Art Competition (Gael Linn). FILM INFO: 3 minutes, 1957, Black and White, Irish PÁISTÍ AG OBAIR Louis Marcus’ Academy Award nominated film explores the idea that “play is the work of the child” and features children in three Montessori Schools in Dublin (Gael Linn). FILM INFO: 10 minutes, 1973, Colour, Irish and English SAFE CROSS CODE Sing-along rules of the road with Judge and Crow and Brendan Grace (National Safety Council). FILM INFO: 1970, Colour AMHARC EIREANN : CÚRSAÍ ÓSTÁN A nine-month residential course in Donegal teaches hotel work for women (Gael Linn). FILM INFO: 3 minutes, 1957, Black and White RURAL VOCATIONAL EDUCATION Vocational schooling in 1950s Ireland placed emphasis on agriculture for boys and domestic science for girls. Students learned woodwork, animal husbandry, drama, weaving and religion (National Film Institute). FILM INFO: 27 minutes, 1950, Black and White THE FOX AND THE CHILD SEPTEMBER 26TH (11.00) This month’s family screening is the story of a magical and life-changing encounter between a wild fox and a young girl whose impossible friendship is played out against a breathtaking mountainside wilderness. Living in a solitary house on the edge of the mountains, the girl’s playground is the wide open space around, the forest and the hills. She spends her time wandering and watching different animals when, one autumn morning at the bend on a path, she catches sight of a fox. Fascinated to the point that she forgets all fear, she dares to go up to him. For an instant, the barriers that separate the child and the animal disappear. Thanks to the fox, the little girl discovers a wild and secret environment. She learns about the wonder of nature and the power of their unusual friendship. It’s an adventure that will change her life, her vision of the world and ours. Tickets €5, Family of 4 €15 DIRECTOR: Luc Jacquet FILM INFO: 92 minutes, France, 2007, English language 22

23 MEMBERSHIPSCHEME Free tickets, discounts on tickets, free screenings and a host of other benefits... It can only be the IFI Membership!All of the Member benefits plus: Special invitation to the Annual Members’ Evening with an exclusive free screening, private programme review by the IFI Director and drinks reception Invitation for you and a guest to one Festival Opening Night per annum, which includes cinema tickets plus access to the drinks reception Free membership of the Tiernan MacBride Library at the IFI (worth €20) Annual tours of the Irish Film Archive at the IFI Listing on the IFI website as a Best Member Listing in one monthly programme per annum as a Best Member — — — — — — One free preview screening every month* Free cinema ticket (off peak use) Double loyalty points which can be redeemed against more free tickets Discount on tickets (approx. 15% cheaper evening tickets) Monthly programme posted to your home (free of charge) 10% discount in the IFI Film Shop 10% discount on food at the IFI Café Bar (over €10)** Discounts on tickets for up to 3 accompanying friends Concession prices on selected film courses and special events Priority notification of special events Dedicated Members’ Pages on the IFI website with latest news and updates Weekly ezine sent direct to your inbox with all the latest releases and news from the IFI Invite by email and operates on a first come, first served basis. Maximum two diners per membership can avail of discount. — — — — — — — — — — — — * ** MEMBERS (€25, €15 CONCESSIONS) BEST MEMBERS (€99) CORPORATE MEMBERS Contact the membership office on 01 679 5744 for more details on customised corporate packages which include: Discounted membership rates for your employees Discounted tickets for your employees Private screenings or special events for your clients or staff Presentations/meetings in a unique environment Unique opportunities for corporate entertainment and staff socials Recognition for your organisation as a supporter of the arts through IFI publications, website etc. The IFI Corporate Membership packages can fit perfectly within any company’s CSR policy, internal marketing plans or sports and social calendar! — — — — — —

24 Anonymous Richard Andreucetti Bernadette Andrews Donal Bolger Gillian Cahill Derek Collins Tadhg Conway Ken Deane Brian Downey Darragh Doyle Cara Dunne Tom Dunphy Paul Egan Ciara Farrell Christine Finlay Ken Fletcher Anthony Flynn John Flynn Pauline Fraser Catherine Fravalo Padraic Geoghegan Brogen Hayes Gerard Hayes Grace Heneghan Gerard Hoey Andrew Irish John Keating Niamh Keating Colm Kellaghan Mary King Tom Lenihan Michael Lomasney Maura Mac Rodain Liam Madden Pearse Maher Emmanuelle Marion Bronagh Ann McDermott Damien Meade Neil Michael John Moran Cormac Murphy Premysl Neuman Linda NiChualladh Declan Nolan Eoghan Nolan Ivan Nolan Vincent Norton Caoimhin O’Conghaile Judy O’Connell Aonghus O’Connor Marion O’Connor Francis O’Doherty Liam O’Dwyer Jacinta O’Grady Shane O’Grady Diarmuid O’Hanlon Susan O’Malley Michelle O’Riordan Joe Osborne Morena Osnato Richard O’Sullivan Karl O’Toole Jim Parkinson Andrena Paul Michael Pierse Dominick Purcell Dearbhail Shannon Sandra Smith Joseph Smyth Conor Spelman Stephen Spence David Tarrant Elis Taves Paul Tyrrell Eoghan Valentine Evelyn Van Beeck Anna Walsh The Baton Rouge Irish Club IFI BESTMEMBERS The IFI would like to thank the following patrons for their valued support as Best Members.

2525 Seaview “OUTRAGEOUS,TWISTEDFUN... YOU’LLBELAUGHINGTILLITHURTS” ROLLINGSTONE “EDGY,ORIGINALCOMEDYWITHADREAMCAST” DAZEDANDCONFUSED JOHNC.REILLYJONAHHILL MARISATOMEICATHERINEKEENERCyrus DreamWoman.NightmareSon. FOXSEARCHLIGHTPICTURESPRESENTSASCOTTFREEPRODUCTION“CYRUS“MUSIC BYMICHAELANDREWS CO-PRODUCERCHRISANNVERGESFILMEDITOR JAYDEUBYPRODUCTIONDESIGNERANNIESPITZ DIRECTOROFPHOTOGRAPHY JASSHELTONEXECUTIVE PRODUCERSRIDLEYSCOTTTONYSCOTT PRODUCEDBYMICHAELCOSTIGANWRITTENAND DIRECTEDBYJAYDUPLASS&MARKDUPLASSwww.cyrusmovie.co.uk AtSelectedCinemasFromSeptember10. FoxCyrusIFIMagazine Sept:Layout 1 03/08/2010 10:55 Page 1

PUBLIC & CLUB SCREENINGS Around half of our films are classified by the Irish Film Classification Office, are open to the general public and do not require membership. Unclassified films require membership. You have two options: annual membership (€25 or €15 concessions) or daily membership (€1 per person each time you visit the cinema). For further details on membership, please go to www.ifi.ie or call our Box Office. LOYALTY & MEMBERSHIP The IFI Loyalty Card is free and allows you to earn points that you can later exchange for free cinema tickets. Membership gives you a free preview screening every single month and discounts when you spend at the IFI. Go to www.ifi.ie or call our Box Office for details. Please remember: no card, no points! PARkING On presentation of your IFI cinema ticket, the Fleet Street Car Park will offer IFI patrons a special rate of €5.00 for 3 hours parking. Simply present the cinema ticket along with the parking ticket when you pay at the cash desk, prior to collecting your car. BOX OFFICE & PRICES ADMISSION FEES These apply to regular IFI screenings and do not necessarily apply to special events or festivals. Reduced admission fees for annual members and their guests are detailed in brackets. MONDAY – FRIDAY 12.30pm to 6pm €7.75 (€7) Conc. €6 (€5.40) 6pm to 10pm €9.20 (€8) Conc. €7.75 (€7) SATURDAY – SUNDAY* 12.30pm to 4pm €7.75 (€7) Conc. €6 (€5.40) 4pm to 10pm €9.20 (€8) Conc. €7.75 (€7) *and Bank Holidays Credit card bookings can be taken between 12.30pm and 7.30pm on (01) 679 3477 or 24-hours at www.ifibooking.ie. Online and telephone bookings are subject to a booking fee of 50c per ticket to a maximum of €1 per transaction. There are no booking fees on any ticket purchase made in person at the IFI Box Office. Films start at the times stated in this programme. Latecomers may be refused admission after the start of the feature. FREE WIFI AVAILABLE AT THE IFI WHEN YOU PURCHASE ANY ITEM IN THE IFI CAFÉ BAR (Please ask staff for details when visiting.) CONTACT Irish Film Institute 6 Eustace Street, Temple Bar, Dublin 2 Box Office: (01) 679 3477 Web: www.ifi.ie YOUR VISITTO THE IFI LATECOMERS POLICY 26

Booking (01) 87 87 222 or www.abbeytheatre.ie tickets €13 – €40 Booking (01) 87 87 222 or www.abbeytheatre.ie tickets €13 – €40