Films screening this fortnight are listed below with certificate, star rating, credits, brief review and venue details. Film index compiled by Paul Dale
Akeelah and the Bee If, \ .00 IIIIIII;' \IkIII\I'II. I \ SHIN» I‘\I'I.I' I'.IIIIII'I_
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Alien Adventure 304 .0... IIII'H \IIaxxt'II. I.Ip.III. .‘IIIII \nItt' nl InIIII Iln_\lt'. IinIIlI I .IIIIIt'Ix I—‘Illlll \II .IIIt'll I.Itt‘ InnkIII: InI .I plant-I In tnlnIIIxt' IlIlII I‘JIIII .lIIII IIIIlnIIIIII.III'l_\ I'IIII‘I .I IIIL'IIII‘ paIk xxlIt'It' me} I .lll\t‘ IIIIII Il .IIIIIIxIII;' lll.l_\III'lll /\I I\
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All About my Mothert IM 0000 II’I-IlIn \IIIInIInxal. \IMIII. l‘I‘NI I 'ctIlIa Ix'IIIIl. I’I'IIt'lan' I 'III/. -\IIInIII.I \.III .Ill.lll lIIlIIIIII \IIYII.IIIII \lIIInIIn\.II‘x lwxl lIlIII In IIIIII' Rt'IInIIIIt'II InI IIIx pnIII'.I}.Il nl xIInIIg; \‘dHllt'll. III'II' III' [‘.I_\ x IIIIIIIII~ In IIII'II t.III.It‘III In .It I. In lllIlIIlt'l .lllII In t'It'.IIt~ \IlIilljJ I‘HIIII\ nl xnIIIl.IIII_\ III IIIC lau- nl t'\III'Ill|IIC\ (Muslin III”: III! III“. (III/\L'I‘H
Angel-A l‘n C. II [It Iit'xxnII. |I.IIItt‘. IIIIHI I.l|llI‘I I)I‘I\I\nII/I'. RII' I\’.IxIIIIIxxt'II. ( iIlIII'II \It'lkI. \t-Igc I\’.IIlInIIkIIIc. \kIIII ( 'lIII. NflIIIIII \ InIIIaIIIIt' I.II\It' III \I'II .Ic t‘t'l‘ldllt I‘. “IIIkII [.Ikt'\ [\IJL‘I' nII IIII' \IIt't'I\ nl I’.IIIx \IIIIII' Ix .I [It-II} tIIIIIIII.Il IIH\\II nII IIIx luck. \IlInxt‘ IIIL' Ix
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DOCUMF NTAR‘I' BLACK SUN 70min .0.
Ik'.l\IIL‘\IIIIIIII‘Il‘~L‘.l\p.177“:IIlk'xI‘IIIIYAIYIi". IaIlIt'I IhaII .Il‘. lllIIll :IIIIal I’IctlItIal‘i; j..II:‘. Nuns/mm: I II’IIWW 3'? I” I \ I"! ..'.’H (flutg'lnx
The Apartment I’I’II IIIIII \\IIIICI. I \. l‘HIII- lati. I c‘llllllI'Il \ltlecI \I.ItI .IIIIt'. I II'II \I.It\IIIII.Ij.. Ra} \\.leInII lI‘IIIIII \I‘lt‘IIIlIIl xaIIIt' nII xt'x. xIIttt'xx .IIIII IIInI.IlIIj.. III \KIIItII I t‘IIIIIInII'x tlt‘Ik :I'IIL'IIII\'\ I‘IL' I‘II\I\\ bx xub lt'IIIII; IIIx .IIMIIIIII‘III In xt'IIInI t'\L'\IIII\L'\ InI IIIIIIInI.Il pmpnxcx. nIIl_\ In IIIIII III.II IIIx II\\ll gIIl Ix lI.I\ III; II nII \I IIII IIIx I‘nxx IInIII xk'IIIIAI III-IInIIIIaIItt'x .IIt‘ \kIIllIII'IIIII. :t'IIt‘IaIIII; I‘HIII I.IItt' .lIIII I‘.IIlInx \\ IIII .IIlIIIIIalIlt' xIIIIIlt'I} \I In'nmu: \ n I um: II’nn/II. [III/Linux}:
Beerfestt I< O. II.I} ('lIaIIIlIaxt'klIaI. I \. IIIIIIII I’.IIII \nII‘I. I IIk \InllIaIkat'. \I (' (l.llIlt’_\ lllIIIIII IIII' tnIIIt'Il} :InIIII lwlIIIIIl \ll/HI Inn 1;». Ix It‘llllll \\III1.IIII'\\ tnIIII‘tII III.II I‘Inwx II'\I‘II;_'t‘. lIkt' I‘lnull I‘I'IIII'. Ix I‘I‘\l \L'I\t‘II \‘IIII IIIIIIIIL‘Ix IIIIIII .IIIII .I.Ill \\IIIIIIIIII\I' .llt‘ \I'III III III'IIII.III_\ In \I‘It'JII IIII'H j.'I.IIIIIl.IIIIt'I'x .l\II\‘\ .II IIlL' I )leI‘I‘I'III'\I I‘k'k'l lt'xII\.I| .lIIII xIIIIIIhlt' IIpnII .I \t'IIIlIIII'\ nltl. IIIIIII‘IgInIIIItl xt'tIt‘I
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The Big Sleep II’IiI IIII‘\\.IIII II.l\\Ix\.l S. I‘HIH IIIlllll‘IllL') IinyaI‘I. I,.llllI‘ll Hatall. .lnlIII Rnlpcl}. \I.II'III.I
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The Birds I |.\'I I.'\III\'II IIIIt'lItnt‘k. I'S. I‘IIIM Rntl III} lnI. 'I‘II‘I‘I IICIIIIICII. SII/aIIIIc I’lt'xlIt'Ilt- ll‘HIIIII. liIIllIaIII III;It‘.IhI't' Itlca lInIII .I I)II \IaIII'Iu I.Ilt' In haw Ulll' \\ Ingt‘tl lI'It‘ntlx IIII‘IIctI IIIIn III.Ilc\nchII kIIchx. IIle Ix IIIIt'lI .II IIIx Illilxl llll\L'IIL‘\ InIIx. I)II .lllII InI IlIc .IIII.IIt'III
px} t‘hnlnglxlx .IIIInIIg; _\nII. IlIt'I't' Ix .I glaual hlnIItIt- legIIIIIIg lad} .lIIII \IlL‘ Ix IIIIxII'cuIt'II. I’.II'I nl licI‘IIaI'tl Ich'I'IIIaIIII \L'.l\Ull. IllnI/Inuu. III/II/nu‘g/I.
French artist, documentary filmmaker and author Hugues de Montalembert describes his life after he was attacked in his apartment in New York and blinded with paint stripper. This is less the story of an artist coming to terms with his blindness (and all the therapeutic value that would have for Montalembert). and more about how a person can come terms with life, with being the weight of Being. ‘A sense of life is life,‘ he tells us. ‘Eternity is now.’ As editor, director, producer, cinematographer and music producer of the film. Gary Tarn comes across as a self-styled auteur. Self-indulgence isn’t a crime, but sentimentality should be. The visuals that accompany the film give a shaky, washed out version of what blindness is like (an acid trip on a motorway in the dark, it seems). but the occasional shot transcends the obvious reliance on cheap effects. lndonesian memories become high contrast fauvist visions; the thought of committing suicide in New York becomes a Warholian screen print, with figures and colour being dragged across the screen. These glimpses of transcendence aside, Tarn can only attempt to describe what Montalembert truly sees. (Alexander Kennedy)
I GFF Gnsgon fr'o'?‘ Sun 34—739 26 See.
Bitesize Cinema: Summer 06 '~ .\,I I\I \ \ZI‘Q.‘.;“
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The Black Dahlia .\ COO IIIx-m. I): I’.:II:..: l Ix (rang-.1“. I'M" lnxi1II.::'.:‘;t'..
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I llIn\ 'x I‘.I"- g] fjczx (3:; I); I’.:l:z‘..; trt'attnt'nt
Black Sun 1‘ .C. II.;:'. I.‘.III l I\ :IN" 'I'IIIIII \g; In 15.x. alums I, ..\,I. /:.w' /I-. ..‘u (I
Boy Next Door I’I. \I.I:I.IxIII.-1 I k l‘NlI "I'llllll IlIt' I‘nI‘ xI.II whn '.InII t awn. I It'nIz'c I )' lln'mi .II..I linj. (It'nI-s.‘ I.III\\.II‘I‘IIIIll\‘..1l}lll}'\Il\t\’\\t‘\.I.:lIllIt'\, IIIllL' [‘lI’I‘It‘llh .IIIII I‘I~I‘I;I.IIIII. \HIII .III.Il_\ xIx I‘} I“\ I. ‘.\IIII'I IIIII \.I\.I}'\‘ I:.I.\\~-‘. IL"? IIII “In (Lute...
The Brave Little Toaster II 00. III-III Rut-xi \_ l‘NIII \nItcx nI InII I I‘\ll/, IIIII \Iat I.. |)t‘.IIIII.I I )lIwI ‘IIIIIIIII I IIII .lIIlIIIJII'II .l\I\t'IIIlII\' .Ix .I :‘InIIII nl I‘lIIt III clt'tIIItal .IIII‘lIaIItt'x pn nII III \t'.Ilt II n! lIlt‘ll lll.l\lt‘l \\III"\ IIII‘\\'\I In my I‘l‘,’ t III III InI In.:xIt'I. I .IIIIIII lIIt' l.IIIII\. I’\lII"\ IlIt' tact IIIIIII \II'IIIIL'I .lIIII IIlaIIkt'I IIII' t‘lt'tIIIt I‘I.lllIxt'I IIIt'II' .IIt' III.III\ II.III_:'I'Ix In III“ Iatctl .IlnIIf: my \\.I\ I’.III nl \\t'.IIIx' \\I‘IIII [Hm/mun IIIIIWJI/ g}: The Browning Version 1* 000 I\IIItt‘ | I;,';,'Ix.l \l Ix. lINI» \llIt-II I IIIIII'I, (iIt'Ia \tattlII. \I.IIIIII'\\ \II‘IIIIII' ‘I'IIIIII \ [‘III‘II put-x .III Illll‘l'l‘lll.” t I.l\\I\ x lInItIIt-I .I xIIIpIIxt' j._'IlI nII IIII‘ Ila} nI IIIx It'IIII'IIIt'III. IIIIlt‘axlIIII; .I InIIt'III nl t-IIInIInIIx I IIIIIcI. .Ix IIII' II'IIIt'xxt'II III.III. \I'llllllf.‘ In It'IIIIx \I IIlI IIIx I.IIIIII;_'x .lllII IIIx \\|It"\ IIIIIIII'III}. Ix C\\k'IIt'III IIIII IIII‘II'K Inn llllltIl I.IIIII|I.IIIII lII‘It' Ilt'l‘lt‘\\lI‘ll. IIIt't' lll.lllllt‘l\. IIII'III tnIIIIII} xIIIt'I In make IIIIx lllI‘lI' III.III IIle .I III\L‘I\II‘H li/III/‘IHQ/I II/m (Ill/[I]. lI/m/Imglr Camcorder Guerilla Cinema: Current Nuclear Debate 8 Faslane 3654I1II\.IIInIIx. \.IIInIIx. .‘IIIll IIIIIIII
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The Cave of the Yellow Dog (Die Hoehle Des Gelben Hundes) II. 0..
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II‘IIIxt' In kcct‘ II IIIIII.
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I IIIxIxI‘II I IIIlt‘ I\nItt‘Il bx \ mm In IiIaIl- xIIII;:;:|t'x In tI‘IIllllIlllltJlt' \I IIII .I I‘llItII I.IIII\'I \tlIn'x ‘IIt'wI IIII‘II' InI IIIIII‘. IIII‘II \I'IIII\ IIII' InuII IIIIn t II.Inx .lIII'I IIIIxIII.I§_:IIanIIf: IlI.II IIII' xk\ Ix lallIIIj.‘ IIII' IIIn III-tnIIII' IIII' I.Ill_L'Illll‘.' \II‘tIx III I‘Ill .I II’\\ t'tlllJII} I‘\II.II I\I'II nIlIllmll IllI'llII\ I .IxI I‘.I\\'II. IIIII .lIlII .I IIIIII' InIII_\ I‘III \IIIII IIx III‘JII III IIII' III'III plat t' (IIII HUI/III; HUI/II In! (l/I"\'_"I'H I [III Hit/III."
I/III/Imglr III/Islwlg'h
4% EB SCOTTISH SYMPHONY Cityhalls
ORCHESTRA
ComIng soon. A bnllIant synchI‘onIcIty of SIght and sound from
the BBC SSO. Shostakowch's nIusIc score Is set to the pIoneenng
classic of Sowet silent CInenIa. New Babylon. Expenmental and
WIldly satIrIcal, It caused qwte a scandal when It was first played.
It's now playlng as part of Glasgow/s Merchant Clt/ Festlval. and
It'll be one of the few tInIes you'll watch a film where the sound
effects are added I‘Ight there In front of youlo find out more
about thIs rare performance. Call the BBC SSO lrIfoI‘matIon [me on 08703 666 303 or to book tnclets dII‘CCIIy’, call the CII‘,’ Ilalls Box Office on 0|le 353 8000. Concert: Saturday 23rd Sept. 7pm.
Experience Shostakovich performed live to film.
' 7,“: " 'x,‘ THE LIST 49