YOU AM I

Lithuania, 2006, 90 minutes, Colour.
Andrius Bialobzeskis, Jurga Jutaite.
Directed by Kristijonas Vildziunas.

You have a middle-aged architect who drops out and builds his own house high in the trees of a forest. Thoreau-like, he is a hermit in nature. You have a group of twenty-somethings who climb a cliff, move into a holiday house and rowdily (and lengthily) celebrate a birthday – while the host is writing and telling a story about a group who climb a cliff, find a paradise and then are compelled to climb another cliff where they find another paradise. Now and again you have an indigenous man who is an apparition with wise sayings.

These are all juxtaposed rather than integrated. It depends which story holds attention most for interest and enjoyment of the film. The director leaves it to the audience to make the connections – if they wish.

1. The meaning of the title, a Mayan greeting - to indicate that we are all one? The figure of the Mayan Indian appearing throughout the film - his messages for Baron? His indication of oneness of the humanity, and respect for the environment?

2. The Lithuanian settings, the sea, the countryside, the forest? The musical score? The songs - especially for the party?

3. The opening, the writing of the diary, the boat and the people arriving and climbing the cliff?

4. Baron, the architect, giving up his work, his particular cycle, on the road, people watching, buying provisions? His meeting with his old girlfriend? Their night together, the sauna? Her symbolism as a witch of the past?

5. His finding his place in the forest, his building the house in the trees, his hard work? His living in nature?

6. The group, the climbing of the cliff, the summer house, at home with each other, the birthday party for Domynika? Inviting Baron?

7. The party, the singing and the dancing, the food, the swimming? The joy?

8. Domynika, her meeting with Baron, the sensitivity towards each other, the walk? The promise to meet on New Year's Eve? Would they?

9. Baron, his seeing the Mayan Indian again - and his feeling at one with the universe?

Z ODZYSKU (RETRIEVAL)

Poland, 2006, 98 minutes, Colour.
Antoni Pawlicki, Nataliya Vdovina, Jacek Braciak.
Directed by Slawomir Fabicki.

A contemporary Polish slice of life, grim but with some hope for redemption.

Woitik is 19, in casual jobs, in a relationship with Katya, a young woman with a son, from Ukraine. His prospects are clean-up in a pig farm. When he participates in illegal boxing matches, he is offered a security job by a local petty gangster with a surface charming manner but a brutal philosophy especially for the retrieval of money loaned.

It is not hard to guess what happens. The important thing is to watch how Woitik falls lower and lower and wonder whether and how he will experience a change of heart. His love for Katya and getting her residence and work papers? His love for her son whom he treats as his own? His strong-minded grandfather? His fat mate who also gets a job as a thug? When Woitik returns to the pigs, it is a reminder of the parable of the Prodigal Son. As he swims home across the river, the symbolism of washing, cleansing and healing is a final image.

Life in a modern Polish industrial town is not easy. But values still have their place.

1. A slice of Polish life? The beginning of the 21st century? Hardship in an industrial town? Amongst the poor, the migrants?

2. The city setting, the industrial areas, the mine, homes, the pig farms, the contrast with the clubs and the more affluent his homes? The cross-section of the city? The musical score?

3. The portrait of Wojtek? His age, inexperience? The opening with the mine and his companion falling? His needing a new job? The influence of his grandfather, of his mother? His absent father? His getting the job at the pig farm? His participation in the boxing matches? The boss and his interest? Offering him the security job? His friend upset about not getting the job? The relationship with Katya, her refugee status, her son? His love for her, her love for him? His doing the jobs? His being asked to retrieve money? The bashings? The man in the greenhouse and Wojtek's violence? His getting the job for his fat friend? His dependence of the gangster boss? His lies to Katya? The money, the improved house, the possibility of getting her documents? Inviting his grandfather and mother to the meal? The fondness of the grandfather for the boy? The continued demands, going to the boss's house, the birthday party? His having to confront the butcher? His companion and the drug-taking and dealing? His refusal? His potential for good, his being trapped? Katya and her leaving him, her horror at what had happened? His deciding to go back to the pig farm, his being bashed by the thugs with his fat friend watching? His swimming back across the river - to some kind of redemption and hope?

4. Katya, from the Ukraine, her son? Her love for Wojtek? Her cleaning at the strip joint? Her moving in with Wojtek, the new house? Her suspicions? His moodiness, the lies? Andre being bashed because of accusations that he was a gangster? Her going away, the grandfather looking after them? The quiet meeting, the effect on Wojtek, his going back to the farm? Her being there for him - and a future? Her going to the gangster boss and submitting herself sexually on behalf of Wojtek?

5. The boy, his age, experience, learning Polish? Love for Wojtek, bashed by the kids because of the accusation? His being looked after by the grandfather?

6. The grandfather, dominant figure, getting his grandson the job? The visit, the model plane? His criticisms? His confronting Wojtek in public? Wojtek's outburst against him? His caring for Katya? Wojtek's mother, in the background, her bitterness?

7. The gangster boss, small town, big fish? The boxing match, recruiting Wojtek, recruiting his friend? The jobs, the retrieval of the money? His own personal violence? The contrast with his wife and children? Going to the prostitutes? His interview with Katya? His relentlessness, allowing his thugs to bash Wojtek?

8. The friend, with Wojtek at the boxing? His wanting the job, his becoming a thorough thug, watching the final bashing?

9. The background of the life in the town, the mine and the disaster? The men at the boxing matches? The strip joint and the customers? The girls and their performance? Cleaning jobs, pig farms?

10. The importance of finding values and redemption in the contemporary hard world?

MARIE ANTOINETTE

US, 2006, 122 minutes, Colour.
Kirsten Dunst, Jason Schwartzman, Judy Davis, Rose Byrne, Rip Torn, Danny Huston, Marianne Faithfull, Shirley Henderson, Molly Shannon.
Directed by Sofia Coppola.

Marie Antoinette and her (alleged) remark when the French peasants protested that they had no bread, ‘Let them eat cake’ are part of world heritage. When this film premiered at the Cannes Film Festival, 2006, many of the French booed and star, Alain Delon, declared that a film about Marie Antoinette should be made only by a French director. In fact, Marie Antoinette was an Austrian princess who became the French queen.

The film has been written and directed by an American, Sofia Coppola, daughter of famed director Francis Ford Coppola (The Godfather trilogy, Apocalypse Now). Her two previous films were The Virgin Suicides and the award-winning Lost in Translation.

During interviews, Sofia Coppola made an interesting statement about her film. While she based her screenplay on the historical biography by Antonia Fraser, she did not want to make a historical film as such. Instead, she wanted to invite the audience to spend a couple of hours in the company of Marie Antoinette. Within those terms, she has been successful.

The contemporary score during the opening credits indicates that we are definitely not locked into the 18th century. More songs (Fools Rush In, I Want Candy) accompany key scenes and the score veers from rock to classic to opera excerpts. In this context the eclectic accents do not jar as they do in strictly historical epics. What the film does is offer an interpretation of Marie Antoinette.

It must be said that the film is sumptuous to look at - many have used the word gorgeous - no expense spared for costumes, wigs and décor, for locations (including interiors and exteriors of Versailles palaces and parks). Myriad details are exquisitely precise - the food selection stands out abundantly laid on ‘groaning’ tables.

There is not a peasant in sight until the final five minutes of the film. We are interned, so to speak, as Marie Antoinette herself was in Versailles, straitjacketed by luxury. (At this display of wanton extravagance, many in the audience may be internally shouting, ‘Come the Revolution’.)

She was in her early teens when she was bargained away by her imperious mother to cement Austrian- French relationships. As she travels by coach from Vienna, she is stopped at the French border and literally stripped of everything. Everything from clothes to coiffeur and to pet dog had to be French.

She was a spoilt young girl who knew nothing else of life. Frivolous and spendthrift, she was also the victim of nasty gossip about ‘the Austrian’ and mocked because it took Louis Auguste seven years to consummate their marriage. She was hemmed in by protocol at every moment, waking, dressing, eating, walking, speaking. At first it seems ridiculous to her and she says so, but she is expected to toe the line and she is not above some snobbery herself, especially in her disdain of Louis XV’s mistress Madame Du Barry.

Marie Antoinette also confides in the audience that she could never say, ‘let them eat cake’. Whether she did or she did not, she stood by Louis XVI for four years of the Revolution and was executed with him.

Kirsten Dunst really is Marie Antoinette. Sofia Coppola cast her cousin, Jason Schwartzman (better known for comedies like Rushmore, Shopgirl, I Heart Huckabees) as the young and cloddish key maker Louis XVI. The supporting cast perform well – and come from everywhere. Who would have thought of Rip Torn as Louis XV or Asia Argento as Madame du Barry? Judy Davis is all protocol and starch as the queen’s decorum mentor. Steven Coogan is her confidante, the French Ambassador. Danny Huston is the Emperor of Austria and Marianne Faithful the dowager Empress.

Obviously not to purist historians’ taste – but yet it might be.

1. Popular knowledge about Marie Antoinette? "Let them eat cake"? Her death in the French Revolution?

2. The movie tradition, Marie Antoinette and Louis XVI as older? Pictures of the French aristocracy, decay? The films about the French Revolution? A Tale of Two Cities?

3. The work of Antonia Fraser, Sofia Coppola's interpretation of the historical character? The screenplay intentions for the audience to spend time with Marie Antoinette rather than a historical
study? The tone, the touches of satire?

4. The impact of the contemporary score, the opening credits, for various sequences, songs, opera excerpts? The 21st century tone of the interpretation of Marie Antoinette?

5. The production values, re-creation of the 18th century, costumes, wigs and décor, make-up? Lavish sets? The detail of the production design - the food?

6. The locations, Vienna, the Austrian and French countryside, Versailles, the palaces, the Trianon? Paris?

7. The pomp and ritual of the court, the abundance of servants, the formality of dress, manners, etiquette? Rules and protocol? For waking up in the morning, for getting dressed, for meals, for the marriage, the ceremonies, the marriage bed - and the religious blessing? Audience reaction to this kind of formal protocol? Marie Antoinette waiting to be dressed by successive ladies-in-waiting - and her comment that it was ridiculous? Her being continually reprimanded and reminded of what was expected of her?

8. Marie Antoinette and Kirsten Dunst's interpretation? A young teenager, her lack of experience of the world, no knowledge of the world, being raised in luxury? Having to leave home, separation from family, the loss of her dog at the border? Her being confined? Straitjacketed by luxury? Her thinking that the protocol was ridiculous? Her gradually adapting to the pressures? The political expectations of her? The expectations of her pregnancy? Others giving birth - and the awkwardness of the king, his delaying consummating the marriage? The film showing Marie Antoinette as having strengths of character - but, because of lack of experience, her weaknesses?

9. The political implications, Maria Teresa and her demands, the persuasion of the French ambassador, the continued diplomacy, her mother writing letters to her, urging the pregnancy? The emperor coming to speak to her, to speak to the king? The impact of the death of the empress?

10. The Austrian context: the empress and her strength, influence, negotiations with the French ambassador, the use of Marie Antoinette for the political marriage? The farewell? Seeing her later, her concern about the pregnancy, writing the letters? The emperor and his visit to Paris? His mother's death?

11. Marie Antoinette farewelling the court, the reality of the travel, distance, tiring? The border, her dog being taken? Her literally being stripped of everything, given French clothes, style,
coiffeur? The influence of the Countess de Noailles? Marie Antoinette's arrival in Paris, the reception by the king, the presence of Madame Du Barry? The nobility? The aunts and their gossiping - and the
condemnation of 'the Austrian'?

12. The portrait of the court, the aunts, the ladies, the symbol of Marie Antoinette waking, dressing, the protocols, having to wait for the ladies to dress her? The daily routine of mass - at a distance, dressed up but uninterested? The routines of the breakfast, the servants, the gongs and sounds for the serving of the meal, the drinks? Her gathering a group of friends, her talking with them, chatter?

13. Louis XV and his style, the welcome, wanting an heir? His attitude towards Louis Auguste? The relationship with Madame Du Barry, at table with her? The ambassador persuading Marie Antoinette to speak to her - one sentence, vowing never more to speak? The king and his pleasure at this? His dying, sending Madame Du Barry away? Madame Du Barry and her style, her brothel background, getting the title, her manners, wanting to be accepted at court? Her being spurned? Her leaving?

14. Louis Auguste, his age, cloddish, a keymaker, loving to hunt, minimal talk and conversation, the ceremony of the wedding, the pomp of the wedding night, his declining? Seven years of declining? His hearty appetite? His being talked to by the Emperor Josef? The image of making a successful key and lock - and his success? The birth of his daughter? The later birth of his son? The portraits of the mother and children on the wall? The death of the child? His involvement in politics, anti-English sentiment, supporting of the American revolutionaries? His continuing to support them even when the peasants were hungry? His not really being aware of the situation of the French?
A fatalistic attitude towards life and death?

15. Marie Antoinette and the passing of the years, the frivolous life, the money, clothes, fashions, her love for gambling? Wanting to go out? Going to the opera, moving against the code and
applauding and everybody imitating her? Later when she was unpopular and people refusing to applaud? The masked ball, her meeting with Fernes? The king being present, his acceding to her whims?

16. The opening of the Trianon, her happiness in retiring there, trying to live a simpler life, clothes, the garden, the lambs, with her children? Playing the instrument, the song and her performance? The honouring of the soldiers who fought in the American war? Her meeting
Fernes again, the affair with him?

17. Her friends, especially the Countess of Polignac, her fashion, her chatter?

18. The murmurings against the monarchy, the taking of the Bastille and the report? The departures of the nobility? The king and queen staying, Marie Antoinette saying her place was with the king?

19. The final visualising of peasants, the crowd? Marie Antoinette on the balcony, her silencing the people, her gesture as if she were on the guillotine? The consequent history of her execution with the king?

20. Two hours in company with Marie Antoinette, trying to understand her? Being with the aristocracy, their self-absorbed and frivolous life, luxury, oblivious of everyone else? The inevitability of the French Revolution?

JINDABYNE

Australia, 2006, 123 minutes, Colour.
Laura Linney, Gabriel Byrne, Deborra- Lee Furness, John Howard, Leah Purcell, Stelios Yiakmis, Alice Garner, Simon Stone, Betty Lucas, Chris Haywood, Eve Lazzaro, Sean Rees- Wemyss, Tatea Reilly, Charles Tingwell, Max Cullen.
Directed by Ray Lawrence.

The Festival of Cannes, 2006, was something of a showcase for Australian cinema. Three features were in the Un Certain Regard section. One of Jane Campion’s shorts was included in a special directors’ program. And Ray Lawrence’s Jindabyne was chosen for the Directors’ Fortnight.

This was gratifying for Ray Lawrence who attended the screening with several actors. His first film, Bliss, had been hissed when screened at Cannes in 1985.

Ray Lawrence also directed one of the best Australian films in recent years, an intelligent drama that engages an adult audiences at several levels, Lantana. He has followed it up with this equally intelligent drama. It has been skilfully adapted to an Australian setting from the United States by Beatrix Christian. The source is a Raymond Carver story, which was also used as one of the segments in Robert Altman’s Short Cuts (1993).

In this film, Jindabyne is certainly a place, identified and beautifully photographed along with its mountain environment, its lake and the local rivers. We are given a glimpse of a social studies class at the local school with the teacher explaining the Snowy River scheme and the flooding of the old town. But, Jindabyne is also a state of mind, and the film develops this with increasing interest as well as challenge for the audience. It is one of those ‘what would you do in similar circumstances?’ stories.

It actually opens with a murder, all too plausible in this setting. We know who did it, so there is no murder mystery and detecting with clues. Rather, the plot takes us into the lives of several families in the town and sets up a strong set of characters. The central family are the Kanes: Irish father (Gabriel Byrne in one of his best roles), mother with an unexplained American accent (the excellent Laura Linney) and their young son Tom. Friends and neighbours are Jude and Carl (Deborra- Lee Furness and John Howard) who have care of their alienated and rather scary-imaginative young granddaughter, Caylin- Calandria.

Fishing is the key subject of talk – and will soon become the centre of a crisis as four friends go into the mountain for a weekend with rods and reels. Plenty of character development here and a portrait of male bonding.

Most of the characters live in the present, focused on the practicalities of their lives. Stewart Kane has been a champion racing driver, is now retired and runs a local garage. His close friends are Carl and Rocco. Along with Billy, they immerse themselves in the mountains and streams and the fishing.

But, they discover the murdered girl’s body. After the shock, they make sure the body is secure and continue their fishing. No comment, which seems a little strange.

What would we have done? Continue as the men did? Pack up and inform the police? Get help?

This crisis is argued in the second part of the film. Relationships grow tense. The police and the town disapprove of the men’s inaction.

The crisis can be considered in terms of criteria for decision-making. The men are practical, even pragmatic. Their aim is to do the right thing. While they are upset by the discovery of the body and express a certain sympathy, it does not occur to them to break their weekend sport. They consider that they have done the right thing by securing the body so that it does not drift downstream and over a waterfall. They have done their duty and, after the catch and the proud photos, they will let the authorities know. It is only Billy who has some qualms.

The police and the townspeople, especially Claire Kane, respond quite differently. All kinds of subjective and personal criteria for action are expressed. There is a surge of feeling for assessing what should have happened. This is challenging for the audience, especially if they have identified with the reactions and behaviour of the men. On the other hand, those who have felt uncomfortable with the reactions of the men, will experience some vindication.

Claire takes it very personally. There is a powerful back story about the marriage of Stewart and Claire and her depressive running away from husband and son after the birth of Tom and her staying away for 18 months. Her domineering mother-in-law does not let her forget this. In the aftermath of finding the body, tying it up and touching it, Stewart has had a sensual experience which is expressed in passionate love-making. Only afterwards does Claire learn of this. She is shocked and repulsed.

There is a further complication. The murdered girl was aboriginal which leads to all kinds of expression of racism. Stewart, normally a straightforward and honest man, is affected by the town’s reaction and Claire’s rejection, drinks at a barbeque and lets fly with all kinds of shadow, ‘beside himself’, subjective intuitions of a virulent racist kind.

This crisis is powerfully explored, all angles looked at. Some resolution is possible at a smoking ceremony for the dead in the bush. Claire has been collecting money for the dead girl’s family – which is met with racist scepticism. She also asks Stewart to apologise to the family. This possibility for apology is the sign of hope – and of some kind of individuation for Stewart (and consequently for Claire). The apology is made but not immediately accepted. This solution is not some quick, magical formula. It needs to be absorbed. The audience has to be satisfied that the film ends when it does, but will give some thought and emotional response to what they think might happen for the Kanes, the other families and for the children. The open ending is both rational and hopeful.

Jindabyne is well acted, well written, the countryside a treat for the eye, with a plot and issues that challenge the mind.

1. An intelligent adult drama? Issues?

2. The adaptation of a Raymond Carver American story to an Australian setting? The town, the terrain, the isolation and beauty? Race issues?

3. The visuals of the mountains, the town, the lake, forest and river? The fishing sequences? The atmospheric score?

4. The use of songs, the opening song with Susan driving? The Irish songs and blessings? The final song at Susan's commemoration?

5. The title, Jindabyne as a place, as a state of mind? The children in class, the historical film about the development of the Snowy River and the formation of Jindabyne?

6. The prologue, the driver, the binoculars, his stalking the girl in the car? Susan and her singing, Jindabyne, her joy? His chasing her, stopping, dragging her from the car? The murder? Disposing of the body? The body being found in the river? The driver and his role in the town, working for the priest? His stopping Clare on the road? His hovering at the ceremony? His reappearing at the end, the sting? No solution to his arrest?

7. The Kane family? A portrait? Tom and his waking, his parents in their room, the bonds between them? Clare and her being sick, testing for the pregnancy? Her asking about an abortion? Her fears, the revelation of the past, her illness after Tom's birth, leaving for eighteen months? The possibility of doing this again? Stewart and his criticisms of her? Vanessa and her criticisms? Jude and her blunt comments? Her picking up the children for school, the difficulty of Tom and Caylin-Calandria? and the pet, the knife? Their being grounded? Stewart and his career, as a driver, running the garage, working with Billy? Friendship with Rocco? With Carl? Taking Tom fishing and finding the clock, his explaining the drowned town? His hopes for Tom? Seeing him at work?

8. Jude and Carl, their problems with Caylin-Calandria? Her moods? The memories of their dead daughter and Jude blaming Caylin-Calandria? Going to school, the issue of the knife? Jude and her friendship with Clare, their talking? Having the drink, blunt comments about Clare to Carmel? Carmel as teacher, as friend? Carl, his age, experience?

9. Vanessa, her intrusion in the house, arguing against Clare? The clashes, the grounding of the children? Bringing them to the restaurant? Her comments about coming from Ireland, a godforsaken place? Her comments about Stewart's previous marriage? Keeping in touch? Her continually intruding, arguing? Cleaning the fridge? Saying that he treated Clare as a daughter?

10. The importance of fishing, testing the rods and reels? The dinner with everyone gathered, the humorous toast? Everybody happy together? Carmel speaking with the Aborigines? Vanessa's arrival, the change of mood, Clare and her anger, seeing Stewart as weak in his decisions?

11. The expedition, driving, walking? The scenery? The talk in the car, the expedition as a kind of quest? Billy and his mobile phone, talking to Elissa, interrupting Carl's jokes? His standing near the power line? The electricity, the singing (and the memory of the killer and his comment about the power coming from the electricity into him)? Setting up tents, Carl's fall, the fishing?

12. Stewart discovering the body, the impact, his grief? The reaction of the others? Decisions, tying the girl's leg to keep her from floating down the river? Not putting her in the sun?
Their behaviour seeming reasonable at the time or not? Their continuing fishing, the joy, the energy, the success? Taking the photo? Stewart and his gently touching the body - and the repercussions for his touching Clare and saying her skin was soft, the sexual impact? Billy wanting to leave? Their waiting - phoning the police, being responsible to the police?

13. The impact of the return, Clare not knowing, the night, Stewart making love to Clare, her reaction when she knew what had happened? The police at the door? The four at the station, the sergeant rebuking them? Highlighting their responsibility? The toing and froing about the reasonableness of what they did, the lack of human feeling? Issues of respect for the dead? The responsibility for the death, responsibility to the police? The reactions in the town, people staring
at Stewart, the Aboriginal information and his comment? Throwing stones by the Aborigines?

14. The growing tensions, the screenplay putting forward the arguments for and against what they did in terms of each of the families? Billy and Elissa talking about it all night? Billy going to
work, the decision to leave with Elissa? The farewell to Stewart? Carl and Jude, the strong stance, Carl not seeing there was anything wrong? Jude and her backing him up? The barbeque, Carmel's arrival, Stewart and his strong words about Catholicism and superstition? Rocco and his reaction on behalf of Carmel, breaking Stewart's nose? Issues of blame? Clare, her conscience, the growing horror of what happened? Wanting to see the body of the dead girl - and Carmel angry with her about her
disrespect? Clare's decision to go with Tom and collect money for the funeral, the varying reactions? The implicit racism? Saying that Aborigines looked after their own?

15. Stewart and his becoming more morose, Clare blaming him, wanting him to express his feelings about what had happened? The argument, Vanessa intervening? Stewart at work, Billy's leaving? Clare and her going to the priest, asking him to give the money to the Aborigines? His suggestion that she go to the memorial ceremony in the bush?

16. Clare and her asking the others to go, Jude and her stance? Clare travelling, pursued by the driver, the confrontation and his going on? Her arrival, sitting quietly in the bush, the man attacking her for being Stewart's wife? The group arriving, Stewart and his apology to the dead girl's father, the father spitting and turning his back on him? The remaining during the song? The possibilities for reconciliation? Carl and Jude? Clare and Stewart and his asking her to stay with him?

17. The background of the children, their talk, zombies, the buried town, the rituals with the rat and the dead bird? Their being grounded, Vanessa letting them off? Their playing, going swimming, Tom and the session with his mother to hold his breath underwater, his thinking Caylin-Calandria? was drowning, his diving in, his swimming - and then being proud of his achievement? Jude and her being upset, blaming Clare for her absence, Stewart blaming her?

18. The culmination of the film in the ceremony, the pathos in the singing of the song in memory of Susan? The visual and aural effect? The effect on the people at the ceremony?

19. The strands of the film coming together? Characters and issues?

GUISI (SILK)

Taiwan, 2006, 116 minutes, Colour.
Chen Chang, Yosuke Eguchi, Barbie Hsu, Berlin Chen, Karen Lam.
Directed by Chao- Pin Su.

East Asian cinema has been preoccupied with ghost stories for more than a decade. How much of it is part of the culture of the region, how much religious belief or how much of it is a successful trend that has been imitated by Hollywood?

Silk is one of the better examples – though just as far-fetched as any. It tries to give the impression that it is dealing with the phenomenon in a scientific way, the invention of an energy sponge that can trap energy even from another world. When the ghost of a young boy appears, investigation goes into full swing. The results are eerie – and destructive of the team.

Along the way reflections are offered on the meaning of life and death. The silk of the title is a mysterious thread that appears as the ghosts go to their murderous work and link their energy with their victims.

1. Asian interest in the supernatural in its films of the 1990s and the following years? The Asian traditions about ghosts and ghost stories?

2. This film and its intention to give a rational approach to ghosts? The invention of the sponge? To capture energy? From beyond life and in the next world? The scientific approach, the
police investigation approach? Yet the mysterious and the mystery of life after death?

3. The Taipei settings? The house with the siege? The abandoned house? The rooms with the ghost? The streets, the contemporary Taipei settings, the underground? The musical score and its eerie atmosphere?

4. The title, the silk thread, linking the energy of the ghosts to people in this world?

5. The prologue, the Canadian, his setting up the photos, his being commissioned to photograph the ghost? His failing - then his looking at the photos, the appearance of the boy, the terror of his death? The picture of him lying dead - and the autopsy and Tung actually opening him up, taking out his heart and seeing the imprints of the hand and fingers?

6. The siege of the house, the little boy and his getting the numbers from his scientist father? The hostage attack to the bomb? The squad coming in and defusing the bomb? Tung and his ability to lip-read and getting the code? The boy found in the cupboard? The boy as the ghost? The sniper shooting his father dead, saving the hostage?

7. The team and their invention of the Menger Sponge? Hashimoto and his polio, his artificial limb? His genius? The invention? His accountability to the chiefs? His asking for more time to find the ghosts? His decision to hire Tung, his ability to lip-read? A good investigator? His assistant? The young couple and their work, their scepticism?

8. The appearance of the ghost, the boy? The woman and her trying to use her own methods, being trapped behind the glass? Looking at the boy, her being killed by him - and the two forms of the woman, the theory about energy, the second image disintegrating?

9. Tung, his background, his relationship with his mother, her wanting to die, her boiling the egg and putting her hand in the water? Her going to the hospital? The tension of the relationship
between the two? His coming to assist Hashimoto? His commission? His examining the body of the Canadian? His following the boy - going around the city, getting on the bus and off the bus? Going to the school - interviewing the teacher, finding out that the boy had killed himself? His following the boy, the threat to the man in the street, his pulling the gun, his own wounds? His further pursuit, the car chase, the crashing of the car and his getting out? His encounter the other ghosts? In the train? Going to the hospital for his mother? The ghosts finally destroying him - but his being resuscitated, his heart being revived?

10. Hashimoto, crippled, fall and his injuries? His relationship with the women? His orders to the young couple? His pessimism - his philosophy about life and death? His ultimately cutting his own throat?

11. The women, the investigations? The young assistants?

12. The ghosts, the boy, the mother? Their appearances, their moving in and out of people? Their destructiveness?

13. The significance of the silk thread? The link between this world and the next?

14. The rational approach to investigating ghosts - how realistic, surrealistic, transcendent?

EL VIOLIN

Mexico, 2006, 98 minutes, Black and white.
Don Angel Tavira, Degoberto Gama, Girardo Taracena, Mario Garibaldi.
Directed by Francisco Vargas.

A first film that is both modest and ambitious.

It is modest in its small budget, use of local actors, filmed in black and white and telling a local Mexican story. It is ambitious in its cinema style and in the scope of exploration of themes.

The setting is a generalised peasant revolt against government oppression – that could stand for so many uprisings and liberation movements all over Latin America during the 20th century. The film opens with a grim sequence of military torture and comes back to it at the end.

The central characters are three generations of peasants who play music and sing in the cafes and marketplaces. However, they are also involved in the guerrilla warfare. The son is a leader. The old father, a riveting performance by Don Angel Tavira, a gnarled old man with a hand missing but who can play the violin beautifully. He also has other plans, using his violin as a decoy to save the peasants. The music-loving captain appreciates the music, but was not born yesterday…

The Violin takes its audiences (except for Latin Americans) into an unfamiliar world, a world of poverty, of long systematic oppression, of the taking up of arms in defence of a livelihood and justice, where peaceful methods and negotiation are impossible.

1. The impact of the film? A Mexican story? Told in a Mexican way?

2. The locations, the village, the cornfields, the mountains and the countryside? Authentic atmosphere? The decision to film in black and white? The impact of black and white photography?

3. The title, the importance of music, Don Plutarco and his playing the violin? His son and the guitar? The variety of songs? The captain and his love for music?

4. The prologue, the interrogation, the torture of the prisoners? The violence of the soldiers raping the women? The tone for the film - and for the peasant uprising against the oppressive
government and police?

5. The portrait of Don Plutarco, his age, his music, his love for his son, his grandson? Their journeying to the town? Playing for money in the cafes, in the streets? Their enjoying their
lunch? The irony of messages being passed to them? The information about the rebels? The son and his leadership amongst the rebels? Going out of the town to the camp? Don Plutarco and his plan, coming back to the village, charming the captain, playing the music? Riding the donkey? Leaving the town, the buried weapons and bullets? His burying the violin? His going into the countryside, being held up by the military? The boy collecting the arms, his giving the message to the group? His return, his finding his violin gone? Going back into the town, the captain wanting music - and the irony that the captain knew his plan, had taken the violin? Was sending troops to the town to take the men?

6. The presentation of the military, the torture? Oppressive? The captain and his love for music? The plan, going to the town, capturing the people, the hostages, the interrogation, shooting the
hostages? Bringing them to the town including Don Plutarco's son? Going back to the prologue and the torture scene?

7. The film not establishing what the peasant revolution was, not situating it time or history? As a symbol for the uprisings in Latin America?

8. The peasants, the Indian background, the hard lives? The burning of their homes and villages?

9. The grim ending? Don Plutarco and his son? But the hope with his grandson a young girl singing in the town and collecting
the money?

L'AMICO DI FAMIGLIA (THE FAMILY FRIEND)

Italy, 2006, 110 minutes, Colour.
Giacomo Rizzo, Laura Chiatti, Fabrizio Bentivoglio.
Directed by Paolo Sorrentino.

This is very much a mood film, an unpredictable blend of naturalism, dream and surrealism. Liking it will depend on moods. It is also a rather creepy film. The central character and his behaviour are definitely creepy.

According to the press release, everybody likes Geremia. That was not my impression from watching the characters interact with him. And this review is a dissent. Geremia is creepy and unlikeable.

He is seventy, ugly, lives with his dominating and invalid mother, runs a tailoring business but is a moneylender, exacting and demanding. We see a number of his victims, including parents borrowing for their daughter’s lavish wedding. Geremia is a constant womaniser and takes advantage of the bride to be – whose psychology throughout the film is inconsistent and baffling. The same is true of his longtime friend who helps set up money lending targets.

Pride comes before a fall and Geremia falls hard but it is very difficult to generate a modicum of sympathy for him. Geremia demands full interest from his customers – but he has a hard time getting interest from the audience.

1. The films of Sorrentino? Realism? Fantasy? Surrealism? The impact of this film in story, character, plot?

2. The town settings, the interiors, Geremia's home, dark? His tailor shop and bright? The exteriors? The church? The beach? Authentic atmosphere? It filmed surrealistically?

3. The film as a portrait of Geremia? The press notes saying that everybody liked him? How true is this for the audience? Seeing him with his potato healing cloth on his head? His relating to his mother, her complaints? His going shopping? His looking for a maid, the interview with the Romanian girl? Seeing him in his work, lending money? His being hard, exacting? The woman who wanted the operation? The parents wanting the money for their daughter? The other clients? The business deal and the borrowing of a million euros? His eyes for women? His friendship with Amanada? Walking around the city, finding girls, sunbaking and sleeping etc? His meeting with Rosalba? The wedding, having to sew her dress? The sexual relationship, his pressure on her?
His friendship with Gino? At the bar? Their walks? Setting up clients? The twins and their doing the dirty work? The surreal opening with the nun in her veil buried in the beach sand? Their threats to the widow? The irony that she paid everything back after winning at bingo? Her grandchild and not taking sweets from Geremia? The discussions with his mother? Putting her in a home? Her advice about the loan? The absence of his father, going to visit Rome, meeting his brothers? Finding that
they did the set-up to get the million euros, the plan with Gino and Rosalba? His disillusionment? Back home, the threat and the shooting? The funeral? His pursuit of Rosalba, her rejection, her changing her mind? The irony of the revelation that Gino and Rosalba turned against him? His recovery, not lending money any more? Rosalba coming to see him? What future?

4. Rosalba, her winning the contest, her proud parents, her ability to dance? The wedding, her discussions with her father, not wanting the big ceremony? His paying the money so that he wouldn't be humiliated? The discussions with the in-laws, the cost and menu? The borrowing of the money from Geremia? The ceremony? The aftermath, the encounter with Rosalba's husband and her considering him an idiot? Her approach to Geremia after his treatment of her at the wedding? The revelation that she was plotting against him? Her final arrival and rejection?

5. Gino, friend, pretending he was a cowboy, at the square-dancing? His setting up clients with Geremia? The twins and their violence? The ultimate betrayal?

6. The women, Geremia's mother and her complaints, her death? Amanda, the neighbour, Geremia's treatment of her, his final thoughts of her - saying nice things?

7. The creepy atmosphere of the film and the story? Relationships? The film depending on people's moods for a blend of realism, dream and surrealism?

BABEL

US, 2006, 142 minutes, Colour.
Brad Pitt, Cate Blanchett, Gail Garcia Bernal, Koji Yakusho, Adriana Borraza, Rinko Kikuchi.
Directed by Alejandro Gonzalez Inarritu.

A very fine film. Winner of the Ecumenical Prize at the 2006 Cannes Film Festival (where it also won the main award for Best Director).

The Ecumenical Jury citation wanted to draw attention to potential audiences that the film reflects the globalised world in which we live and the breakdown in communication; but it also highlights common humanity and the potential for restoring communication.

Writer Guillermo Arriaga brings his now famous skill in presenting several interwoven stories while playing with timelines (in Amores Perros, 21 Grams, and winner of the 2005 Cannes award for screenplay, Melquiades Estrada).

His fellow Mexican, director Aleyandro Gonzales Inarritu directed both Amores Perros and 21 Grams. Once again he shows great sensitivity, impressive craft and finesse as he moves with ease from the deserts and mountains of Morocco to the deserts and villages of Mexico to the neon brightness of central Tokyo. There is an arresting score and such vivid photography that the landscapes become characters in the stories. Inarritu and Arriaga have opted to be more accessible than in their previous films.

Many of the cast are non-professionals, especially in the Moroccan stories where the family in the mountains, especially the two young boys, stand out. A number of deaf students appear in the Japanese story. And Mexican Inarritu is able to create a wedding celebration in a local village with exuberant Hispanic verve.

The stars are excellent as well. Brad Pitt gives a strongly tender performance, broken only when he is at his wits end after his wife has been shot as they travelled in a tourist bus through the Atlas Mountains of Morocco. He breaks out in that loud and demanding was that Americans have when they expect everything to be at their disposal and at once. Cate Blanchett could have limited herself to an almost passive role as the wounded wife but she brings vitality to the rather small role.

Gael Garcia Bernal who starred in Amores Perros returns to his native Mexico, grins and whoops a lot at the wedding but, returning his aunt to the US with the American children she had taken with her because no one at home was available to mind them, he encounters the American border guards who drive him to desperation. Adriana Barraza as the American children’s nanny ensures that the Mexican story is emotional and moving. In Japan, Koji Yakusho is a widowed father who is at a loss to communicate with his wilful deaf daughter who has not recovered from her mother’s suicide (a tour-de-force performance from Rinko Kikuchi).

Babel is the image from the book of Genesis image: God confounds the human race, when the king arrogantly tries to build the tower that will reach to heaven, by creating languages, confusion, misinterpretation. Inarritu notes that while languages separate (Moroccan from American, Spanish from English, Japanese from sign language), there is a common human spine, a common human core. Suffering can destroy but it can also lead to transformation and reconciliation.

The misunderstanding theme is very strong as Americans, especially amid the apprehensions from the war against terrorism, are prone to fear the worst and interpret more straightforward events in a sinister way. An accidental shooting becomes an alert against fundamentalist Islamic terrorists. Just being a Mexican at the American border can lead to frayed tempers, presumptions of guilt and the unnecessarily heavy hand of the law.

The other theme concerns consequences of actions and responsibility, where disasters can follow from a boast, a rivalry, a lie, a good-hearted decision that can be threatened by legal action. Well worth seeing.

1. The impact of the film? Four distinct stories - but interlinked, intercut?

2. The career of Inarritu? His style? The writer and his use of multiple stories, shifts in time? Their making their themes and style more accessible in Babel?

3. The structure of the film: the introduction, the Moroccan story, intercutting the story of the couple, introducing the Mexican story through the phone call, the Japanese story through the
rifle? The time shifts - especially at the end with the phone call and the Mexican story about to happen?

4. The strength of the cast, the non-professionals, the professionals?

5. The Moroccan settings, the mountains? Mexico and the village, the desert? Japan and the affluent city? The variety of locations - and a sense of globalisation? The locations becoming akin to characters? The evocations of the musical score?

6. The film's sympathy for ordinary people, the Moroccans, the Mexicans? The critique of the dominance of Americans and English-speaking people?

7. The image of the United States, the war against terrorism, immediate fear and suspicions, domination and arrogance, expectations of everything for them? Commanding people? Issues of politics, paranoia? The repercussions on people's lives? The Mexican border, suspicions? Simply for Mexicans at the border? The background of illegals?

8. Terror and its effect on the bus people, their behaviour, the Englishman and his aggression? Their fears?

9. The Moroccan story, interest in the family, empathy with the family? The opening with the man journeying to sell the rifle - and the revelation that the Japanese businessman had left it for him as a gift? The police suspicions that it was black market? The family, buying the rifle, the enjoyable haggling? The sale and the goat? The family, the two boys, their rivalry, the older wanting to assert himself but his being ineffectual, especially with the rifle? The younger and his being a good shot? The issue of the younger boy looking through the wall at his naked sister? The older boy reporting it desperately to the father? The boys going out with the goats, trying to shoot the
jackals? The rivalry leading to the shot at the car, at the bus? The police and the investigation, suspicions? The authorities thinking it was terrorists? The attack on the man who sold the rifle, the brutal treatment, bashing, his wife? Her leading the police to the family, seeing them in the hills, the boys having told their father, running away, retrieving the rifle? Their being caught, the shoot-out, the wounding of the older boy, his death? The father's grief? The younger boy breaking the rifle, holding his hands up, confessing? The future?

10. The presentation of the police, the brutality of the interrogations, the shooting first action? The diplomatic background, the pressure from the American government, seeing the American officials? The war on terror? Seeing the information on television, especially in Japan?

11. The portrait of the couple, on the tour, the restaurant, Susan and her fussiness about the food, throwing away the ice? Richard and his feeling of guilt, his having run away with the death of
their child? His thinking that she would not forgive him? On the bus, Susan sleeping, the suddenness of the shot, the extent of her bleeding? Stopping the bus, the young guide and his helping? In the desert, feeling of helplessness? Turning the bus around, going to the village? The fears of the passengers, the burly man and his aggression? Richard and his ultimate desperation and punching the man? Susan taken to the house, the old woman looking after her - and especially the gentleness of giving her the hashish to ease her pain? The young man and his vigil? Richard showing him the photos of his children? Getting the vet, the issue of stitching, Susan's fear? The tenderness of Richard's looking after her, her embarrassment at peeing, getting the pan? The continued delay?
Richard and the phone call, the diplomatic response, the embassy? The helicopter issue? The bus people getting more angry? The bus leaving? The helicopter and the rescue? Richard offering the guide the money and his refusal? The implicit Moroccan hospitality? The hospital, the need for the operation? Richard and his phone call to the children (the audience having already seen it from the point of view of the little boy)? His weeping? The connection with the children and their story?

12. The children, their relationship with Amalia? Her being like a nanny? Allaying the little girl's fears, the light in the room? The dilemma about her having to take the children with her, trying to get other friends to mind them? The decision to go to Mexico? The illegality? Santiago and his arrival, his style? Exuberant? The wedding, the joy, Amalia's son? The dancing, the kissing and the cake, the spirit of celebration? The decision to return, Santiago and his being drunk, the driving of the car and going on the edge? At the border, the suspicions of the Americans? Having a look in the trunk, wanting the documents? The passports of the children? Santiago and his getting irritated, his reaction? The behaviour of the police, the manner of speaking? Santiago and his taking off, the culmination of Mexican anger against the Americans? The chase, letting Amalia out with the children?
Their fears, in the middle of the desert? Amalia having to leave them, searching for the vehicle? Her being arrested? Interrogated before action for the children? Her being questioned, an illegal, the sixteen years in America, her being ousted? The phone call, Richard not pressing charges? The news that the children had been found? Her future?

13. The Japanese story, the game, the girls, it emerging that the girl was deaf? Her anger, tantrum with the referee, being sent off? The girls in the dressing room blaming her for losing the game? Her driving with her father, her antagonism towards him? Her going to the club with the girls? The boys watching, her resentment about their reaction, her deafness? Her sexual insecurity, provocative, the panties, exposing herself? Going to the dentist, licking the dentist and his reaction and
ousting her? Going to the mall, meeting the boys with the drugs? The taking of the drugs, going to the disco? Jealousy of her friend kissing the boy? Her going home, the police and their wanting to talk? Her having met the police earlier, talking about the attraction? The issue of her mother jumping and her explaining this to the policeman? Her taking off her clothes, provoking the policeman? His reaction, care for her? Listening to her? His leaving, meeting the father on his return, the truth about the mother's death? The policeman reading the girl's note? The father, the girl's desperation, her standing naked on the balcony? The final image of reconciliation with her father?

14. The story of Babel in Genesis, the different languages, people going their separate ways? Hostility? Yet the common human core? People coming together? Language and misinterpretation, the consequences? Issues of responsibility and consequences - small events leading to disasters and consequences? Yet themes of suffering, transformation, reconciliation and hope?

IKLIMLER (CLIMATES)

Turkey, 2006, 97 minutes, Colour.
Ebru Ceylan, Nuri Bilge Ceylan.
Directed by Nuri Bilge Ceylan.

No love in a cold climate here. Rather, the opposite. We see the break-up of love in a warm climate, separation as the weather gets cooler and frustration in winter.

It is all looks good on the screen and even starts with a kind of Bergman brooding intensity, long takes, enigmatic expressions, an edgy meal with friends. But, most audiences will probably observe the central couple rather than empathise with them. He is self-centred with a tendency to control. She is younger, more reticent, frustrated. And they don’t get any better than that even when he promises that he will change – and immediately reminds her of an appointment time and callously throws away the address of a decent taxi driver that he promised to send a photo to. That’s how he is and, it seems, always will be.

Writer-director Nuri Bilge Ceylan must have known what he was doing as he casts himself as the selfish male (also giving himself a long, loud and flailing sex scene with a friend who serves merely as a sexual prop for him).

Maybe the characters have some depth but they don’t show it, say it, let alone explore it. Which is what this kind of film really needs to give it strength and authenticity. There are a lot of cigarettes, which means that there is more smoking than substance.

1. The impact of the film? The director’s reputation? Writing and directing? Casting himself in the lead?

2. The title, climates and seasons? The sea in summer, the warmth, the archaeological ruins? The city in the autumn? The interiors? The winter in the city, the snow, the travel to the east and the mountains? The town, the television set, the archaeological ruins? The musical score?

3. The director’s style, long takes, close-ups? The set scenes for the interaction between the couple, their break?

4. The depth of the film? The characters being self-centred, self-absorbed? Having very little to say of depth or meaning? Immaturity, clinging to each other, the desperation of the man, the refusal of the woman?

5. The summer: the archaeological ruins, the husband taking photos, concerned about his wife’s boredom, her watching, the long takes, her weeping? Driving back and his being asleep in the car? Turning off the music? Back at the hotel, lying down, his head in the drawer? Her not answering? The tension of the meal, her tantrum, the husband and his controlling? The hosts, uncomfortable? The build-up to the break-up? On the beach, her dream and her husband suffocating her? Going for the swim? His watching? The decision about breaking up? Her not being surprised?

6. The autumn, in the city, the wife’s absence? The man and his work, going to see his friend at the club, going home with her, the groping and flailing sex scene? Her participation? His next visit, not so interested in the sex?

7. The winter, his loneliness? His going to the countryside? His meeting his wife, their not having anything to say, her being busy, her life being fulfilled by her job? His going to the mountains, climbing, taking photos? The friendly taxi driver, promising the photo – and then throwing away his address? The wife coming to the room, lying down, the discussion, his controlling her, wanting to get her breakfast? His asking her to give up the job? Her dismay?

8. The finale – her working on the set, the director and the cast, the plane going overhead, his returning?

FAST FOOD NATION

US, 2006, 114 minutes, Colour.
Greg Kinnear, Catalina Sandino Moreno, Ashley Johnson, Ethan Hawke, Wilma Valderamma, Patricia Arquette, Bobby Cannavale, Kris Kristofferson, Bruce Willis, Esai Morales, Luis Guzman, Lou Pulci.
Directed by Richard Linklater.

If Morgan Spurlock had seen Fast Food Nation (or read the book by Eric Schlosser who co-wrote the screenplay with Richard Linklater), there would have been no 30 days of eating at Mc Donald’s and no ‘Super Size Me’. He would have sworn off burgers instantly and forever.

The disclaimer at the end that any similarity to any characters is coincidental needs to be read with tongue-in-cheek. Mc Donald’s arches are visible at times and a list of fast food outlets is mentioned during the film.

However, the film’s intention is not simply to target the burger franchises, though it does that very, very effectively. By the time the film ends, we have met the executives, listened to their marketing ploys and advertising campaigns, discovered that there are probably traces of manure in the patties, seen acres full of crowded herds fattened on genetically modified feed (which makes them listless when fences go down and they could have stampeded to freedom), toured the spotless parts of the enormous Colorado plant, seen the workers hosing down floors (and rats) and, finally, been taken into the stun gun, blood and guts slaughtering halls.

The genial Greg Kinnear is the marketing man who is asked to go to Colorado to investigate. Along the way, we he listens to two entertaining cameos who put forward opposite views on the meatworks. Kris Kristofferson as a rancher has nothing good to say about them. He is the prosecution. On the other hand, Bruce Willis turns up with another of his clever performances as a good ol’ boy who is downing his burgers even as he concedes that things aren’t perfect and that Americans have become weak and too fearful of everything. Cook the patty well and you get rid of any impurities! He speaks for the defence.

Ethan Hawke also turns up as a rather free-spirited uncle who makes speeches about not doing what others say you should but listen to yourself and act accordingly. Patricia Arquette is his sister and Ashley Johnson is his niece who teams up with a student group to try to do something about the meatworks – rather than simply write a letter of protest.

In case the review so far gives the impression that the film is solely about burgers and fast food, it is definitely not. It is about the illegals coming into the US from Mexico, the smuggling, the harsh treatment, the poverty, the menial jobs, the ugly jobs at the meatworks which can literally tear limbs from workers. It is about the American dream – and how the migrants, used, exploited with drugs and sexually and victimised with false medical reports to say that workers had drugs in their bloodstream and therefore caused the accidents which maim them, thus absolving the company from blame and expenses).

The film featured in competition in Cannes, May 2006, the month that thousands of Hispanic workers went on strike in the US to highlight their plight and how much the fast food nation depended on them. It was shown the week that a force of 10,000 was sent by President Bush to control the Mexican border against illegals.

It might be preachy at times. The targets are obvious. But, a good story, some humour and some serious drama are not bad ways of communicating a topical message.

1. A piece of Americana, the beginning of the 21st century: social concerns, business and corporation concerns, illegals and Hispanics in the United States, the workforce? The American dream?

2. The Texas settings, the Colorado town, Cody? Mexico and the desert, the border? The cattle ranges, the towns, motels, schools, apartments? Musical score and songs?

3. The title and its irony, the focus on the fast food, the outlets? The fulfilment of the American dream?

4. The structure of the film: the situation for fast food outlets in the credits? Introduction to Don and his work, research? The theme of fast food, contamination, the investigation? Intercut with the illegals coming into the country? The trip to Colorado, the cattle, Mickey’s, the introduction to Amber and her world? The cameos and the partisan speeches? The action against the company? The migrants’ lives? The build-up to the crises? The end, irony, ongoing?

5. The Mexican sequences, the guides, the police cars, hiding in the desert, the trek? The hopes? The truck, the driver and his living in Atlanta? The delivery of the migrants, Cody – the men chosen for the meatworks, the women for the cleaning and sorting of the meat? The supervisor, his control, exploiting the women, sex, the drugs, dependence, his playing favourites, the women fighting over him, his domination? His ability to get people jobs where he wanted? The focus on Sylvia, her leaving the meatworks, working in the hotel, the filthy rooms? Raoul and his working at the works? Getting some money, the happiness with the eighty dollars? Their going to the restaurant – ordering but not knowing English? The filthy jobs, the rats on the roof? The man offering to invest money in his account? The women and the sorting of the meat, the build-up to the accidents? Raoul going to hospital, the man losing his leg? The company representative, initial sympathy, the false medical report indicating drugs were in the blood system, therefore no compensation or responsibility for the company? Sylvia, her looking after Raoul, the sexual encounter with Mike, for the benefit of Raoul? Her being taken into the abattoir section, the finale of the film? The fulfilment of the American dream? The irony of the truck driver and the new set of migrants – and offering them packets of fast food?

6. Don, his work, the marketing jargon, the Big One? Itty bitties etc? The executives and their being pleased with themselves? Don and his campaign? His going to the laboratories – and testing the odours that would attract people to buy the products? The information about the manure in the patties? His discussion with his wife, the jokes? His kindness in the family, reading the boys stories, having to be away? The interview with Jack? The investigation? The later discussion with Harry, Harry and Jack as rivals, Harry saying that Jack would be dismissed for fraud? Jack as earnest, the drive to Colorado, standing and watching the crowded herds? Eating at Mickey’s the discussions with Amber? At the motel – and the comic touch with the pornographic film? His visit to the works, the tour, everything clean? The discussions with Tony, getting other accounts? His visit with Rudy, riding through the ranch, seeing the housing settlement on the other side of the ranch? Rudy and his explanations? Against the company? The discussion with Harry, Harry and his discussions about the patties, allowing for the manure, urging everything to be cooked well? Don seeming to be a man of conscience? His return home – the final sequence, his still being part of the system?

7. Amber, her work at Mickey’s, the fellow workers, their spitting on the patty, their discussions about robberies, the theories and their plans? Amber and her study, her relationship with her mother? Her doing papers? Pete’s arrival, going out with him, the talk, the background of family? His encouraging her? Her work with the group, the plan, opening the fence, trying to get the cattle to go, her disappointment, the post-mortem with the group? The sketch of her mother, genial, supportive?

8. The group, their discussions, the decision to write a letter, very earnest, talking about Greenpeace, the student challenging them, Amber’s plan for freeing the cattle, their going to do it, having to run away – no achievement?

9. Tony, his management, analyses, the bad reports?

10. Rudy, the ranch, his family, fraud in 1919, the meat packers, his speech and its being for the prosecution?

11. Bruce Willis as Harry, eating the burgers, cynical, his comment on American fears, cooking the bad elements out of the patties and eating them? His being for the defence? Warning Don about Jack?

12. Pete, his visit, his part of the family, the family’s past, his speech about doing what you want to do and listening to your own heart? His supporting Amber?

13. The film offering particular points of view, the years of the Bush administration, the Hispanics striking to show how much America depended on them and their work? The guards at the Mexican border? The exposes of big business and practices, Enron, Walmart and others? The contribution of this film to the discussion about American values?