LUNG BOONMEE RALUET CHAT (UNCLE BOONMEE ...)

Thailand, 2010, 113 minutes, Colour.
Directed by Apichatpong Weerasethakul.

Director Weerasethakul has built up a festival following, especially with his recent films, Tropical Malady and Syndromes and a Century. While he does portray the Thai present, he goes into legendary and mythical areas and the past in a way of storytelling that is not familiar to the west. He often juxtaposes elements of story or symbols which audiences have to work on to see or intuit connections.

This is the case here, not only with legends but also with ghosts and spirits – with one ghost acknowledging that they do not live in a place but are connected to people.

The bulk of this story is that of a man who is ill, whose relatives arrive as well as the ghost of his wife and an odd creature, part monkey, part human who is his dead son. They all trek to a cave where he dies.

The last part of the film is puzzling, set in a routine present where a monk has a shower in a hotel and changes into ordinary clothes for a meal and two others watch television at some length. We have to make the connections.

1. The director and his vision, his belief in past lives, transmigration of souls? The present, reality, myth?

2. The visuals, the forests, the houses, the city, modern life and hotels?

3. The score and its contrasts?

4. The long opening, the ox, getting loose, the workers, the ox wandering, the carer coming, the appearance of the ghost?

5. The contrast with the modern times, the car, the family's arrival, the uncle and his poor health, the Laotian looking after him, care for him, the detailed tending to his wounds? Jen and her relationship with the sick man, Tong and his visit? Settling in, the meals, talk?

6. The appearance of the ghosts, the man's wife? Her saying that ghosts are not in places but with persons? Her staying, talking, helping with her husband, tending to him as he died?

7. The ghost of the son, his monkey appearance, the red eyes? His life, his life after death, mating, becoming part monkey, part human?

8. The themes of gods and ghosts? The appearance of the monkey ghosts with their red eyes?

9. The trek to the cave, for the old man to die, going through the forest, the details of the cave, the experience, the wife and helping her husband to die?

10. The contrast with life in the house, television, the meal, discussing relatives and the past?

11. The Buddhist shrine, the monks, the flashing lights? The funeral? No photos taken? Jen's regrets?

12. The hotel, counting the money, Jen keeping an account, room and her being tired?

13. Tong's arrival, his being a Buddhist monk, his changing his clothes, the long shower sequence, his wanting to go out and eat?

14. The three in the room, watching the television? The long scene of the watching television - and then the two spirits leaving (to go to a meal...?)?

15. The final credits and the long contemporary song?

16. Thai ways of storytelling, different from the West? Myths, reality? The comment on the traditions of the past? The comment on contemporary behaviour in the modern and comfortable world?

LIFE ABOVE ALL

South Africa, 2010, 106 minutes, Colour.
Khomotso Manyaka, Lerato Mvelase, Harriet Manamela, Keaobaka Makanyane.
Directed by Oliver Schmitz.

A moving story based on a novel, Chandra’s Secrets, by Allan Stratton. Chandra is at the centre of this Soouth African story, a young girl going into her teens but who has strong reserves which she needs to take responsibility for all that happens to her family.

The film is particularly geared to a South African audience with its subject of AIDS and HIV infection, its prevalence in Africa and South Africa, the secrecy that can still surround it, community fears and the shame they impose on those infected and their families, and the difficulties in getting effective treatment.

No, Chanda does not have AIDS. Her stepfather does and has infected her mother leading to the death of their young baby. Chanda is full of common sense, arranges for the funeral, retrieves the money down at a bar stolen by her stepfather, and tends her weak and shamed mother as well as looking after her small step sister and brother who want their father and behave badly towards Chandra. Chandra also incurs the criticism of the villagers (most of whom are prone to gossip) by befriending an orphan girl who goes down to the local truckstop to service the drivers. Ultimately, chandra has to confront members of the family, the wealthy woman next door who is a friend of her mother, and stand, with the friend, boldly against a crowd who want to, literally, stone her.

Some austere audiences will find the sentiment presented strongly and feel it is too sentimental. The film is not for them. It is a film of the heart intended to touch South Africans and tell them a story which could encourage change in attitudes and behaviour.

1. A film for South African audiences? Current issues, especially AIDS and the handling of AIDS? For a worldwide audience? Life, illness, AIDS, fear, prejudice?

2. The authentic village setting, the homes, the church tent, the school? The contrast between wealth and poverty? The truck stop? The countryside of South Africa? The musical score, the local songs, religious songs?

3. The title, the original book being called Chanda's Secrets?

4. The religious background, the opening hymn and The Gates of Heaven, reprised at the end, the church and the worship, the minister, prayer, individual prayer, prayer Christianity and prejudice?

5. The issue of AIDS in Africa, in South Africa, prevalence, secrecy, shame, treatment?

6. The film as Chanda's film? Her age, commonsense, her dead father and her love for him, seeing the dam and pride in his building it? Her ill mother, the remarriage, the stepfather? The mother's illness, Sarah and the baby's death? Jonah and his drinking, irresponsible? Her trying to take care of Iris and Soly and their jealousy of her? Her coping, the death of the baby, visiting the undertaker, the choice of the coffin, the issue of the money, Jonah stealing it, her confronting him in the bar with Dudu? Not telling the young children about their sister's death? The children, going with their aunt, not attending the funeral, not knowing their sister was dead, wanting to talk with her? The aunt coming to the funeral, her judgmental attitudes?

7. Chanda and school, the considerate teacher, her absences? Her friendship with Esther, Esther's story, considered the prostitute, going to the truck stop? The town despising her? Mrs Tafa and her prejudices? Esther and the clash with Chanda, Chanda ignoring her at church? Going to the trucks, her going with the men, beaten, Chanda taking care of her, letting her in the house, Mrs Tafa and her change of heart?

8. Iris and Soly, young, their ill mother, their absent father, playing, Mrs Tafa looking after them? Their father falling down the hole, their wanting to talk to their dead sister, falling down the hole, Iris telling Chanda she was sorry?

9. The mother and her sewing, for the church, her illness, Jonah blaming her for the milk and the death of the baby? Mrs Tafa taking her to the doctor, the fees, Chanda being shrewd and beating down the doctor in his charges? At home, her collapse, their calling in the witchdoctor? The diagnosis, the ceremony, the snake? Her leaving, her family taking her, their shame? Chanda trying to call? Going in the bus, the friendly man at the shop, her critical aunt, the grandmother telling her the truth, her going out to the countryside to find her mother, her love for her mother, the ambulance bringing her mother home?

10. Jonah coming back, in the cart, falling off the cart, falling down the hole and his death? His asking Dudu for help, her refusal?

11. Mrs Tafa, her wealth, using the phone, her critique of people, her friendship with Lilian, calling in the witchdoctor?

12. Chanda's return, Esther in the house, the confrontation by the people from the village, wanting to stone Chanda and Esther? The crowd, Mrs Tafa and her hiding, praying, coming out of the house, defending Chanda, sending the people away, knowing their secrets, threatening them? Her confession about her son's death from AIDS and her shame? Assisting Lilian as she died?

13. A humane film about ordinary people, struggles, poverty, illness, AIDS? The African setting? The theme of continued repentance and forgiveness?

HAHAHA

Korea, 2010, 116 minutes, Colour.
Directed by Hong Sang Soo.

A kind of Before Sunrise and Before Sunset (and during the day as well). Two young Korean men (and this is very much a male film from the director of Woman is the Future of Man – this time they are the present of man as well) meet and talk over their experiences during the summer. One plans to migrate to Canada, the other is a depressive character. Their various conversations are introduced in stills of them talking – and many of the conversations conclude with a toast and they have another drink. While there is a lot of talk in the film, there is a fair amount of alcohol drunk as well. By the men and by the women.

The depressed friend is married but has a girlfriend whom he says he is in love with and wants to marry. She is rather patient with him in his talk and in his behaviour. The intended migrant takes a shine to a museum guide who sounds rather profound as she does her spiel but is not so bright in real life. She has had a number of boyfriends but seems to take a shine to her new suitor. There is also a poet who is friendly with a young woman who works part time in a restaurant owned by the migrant’s mother. And some time is spent there.

If you would like to listen to young Koreans and their interests in life, their relationships and their hopes, then you have almost two hours to do so. Not an unpleasant experience – but they still are very young.

1. The director and his interest in relationships between men and women, observation and insight?

2. The title, light, the reference in Korean to summer? The season of summer in the provincial town?

3. The Korean background, the town, restaurants and apartments, museums and hotels, the river?

4. The conversation with the two young men, the still photos, the end of each sequence with their making a toast and having a drink?

5. Their talk, the stories, verbal and visual?

6. The two men: the one depressed, his experiences, the contrast with the other wanting to migrate to Canada and his story? The poet and the connections? The different women, the cook, the girlfriend, the museum guide? The mother and her friend?

7. The personalities, the cheerful and the depressed? Consciousness of self, work? The capacity for talk, the capacity for drink, the influence of drink?

8. The focus on the migrant, his mother and her fuss, the restaurant, the food, talk of his father and her dismissal of him? Seeing the museum guide, disagreeing about 'the more you know, the more you see'? His return, the impromptu gift? Talking, their sharing stories, her going out, her story and her past relationships, the boyfriends and their military background, his lying and boasting? Her drinking? Their being together, sexually? At play? The ex-boyfriend, the punch? Her decisions - to migrate or not? Did she love the would-be migrant?

9. The poet and the girl at the restaurant, talk, going out, the job, flighty, her flat, his new apartment, his punching out his ex-girlfriend's boyfriend?

10. The depressed man, his wife, leaving her, moods, tablets, sharing, his girlfriend, love for her, leaving his wife, drinking, going to see his uncle?

11. The mother, her life, the restaurant? Her gift of the money to her son?

12. The characters in the background, the uncle, the friend at the museum - and his ability to silence the group of talkative young students?

13. A slice of life - the future for the characters?

ROUTE IRISH

UK, 2010, 109 minutes, Colour.
Mark Wermack, Andrea Lowe.
Directed by Ken Loach.

If you are wondering what the route Irish is and where it is exactly, the film tells us that it is one of the most dangerous roads in the world, the road between Bagdad airport and the city’s green zone ( already the title of Paul Greengrass’s film about the search for weapons of mass destruction in Iraq).

And, if you are wondering whether Ken Loach is making a political and social commentary film, the answer is yes... but he is also making a thriller in the classical mode of such films.

Loach’s focus here is on the companies who went into Iraq to help with the rebuilding and won themselves enormous contracts. Many of the individuals, and some companies, have been accused of abuse and violence against Iraquis (as one characters states here after a mate has been killed in Basra, he was so angry he had to go out and get himself a towelhead). These cowboy tactics have been widely criticised and some perpetrators have been brought to trial, but it is an area of reprehensible behaviour that needs more spotlighting, especially for justice towards Iraqui victims and their families.

While there are some sequences in Iraq (filmed in Jordan), most of the action takes place in Liverpool where the film opens with Fergus (Mark Womack) going to the funeral of his friend, Frankie, whom he had persuaded to go to work in Iraq for the money. Frankie has died in mysterious if not suspicious circumstances. The rest of the film shows Fergus’ determination (both relentless and angry and often mouthed in wearisome crass language) to find out what exactly happened and who was responsible. That is not too difficult to fathom but the drama of the film is in what it does to Fergus himself, the danger of becoming as monstrous in his pursuit of truth as the violent and indifferent men who killed Frankie. Loach and his constant film-writer for almost 15 years, Paul Laverty, take an almost pessimistic view.

The Loach justice concern is to the fore, but in a style different from his usual social dramas.

1. Ken Loach and his political perspectives, analyses of society, critique of society? Critique of conservative politics and the right?

2. Loach and his making of a political thriller, straightforward in plotting, an investigation, a mystery, vengeance?

3. The sequences in Baghdad, the fighting, the taxi and the shooting, the van being destroyed, the families? Using Jordan locations?

4. The action taking place in Liverpool, the water and the ferry, the beginning (and the flashbacks to Fergus and Frankie as kids)? The finale on the ferry? Homes, offices, meetings? A sense of realism? The low-key score?

5. The introduction to Frankie and Fergus, Fergus not answering Frankie's calls, Frankie desperate? Fergus and his memories? Going to Frankie's funeral? In the church, the Catholic atmosphere, the arrangements for the funeral, the sealed coffin and his staying back, looking in the coffin and holding Frankie's hand? Rachel angry with him? His grief? The ceremony, Haynes and his address, tribute to Frankie, the theory of the wrong place at the wrong time?

6. The episode with Marisol, the background of Ibeza, Fergus and Frankie and the others with R and R in Ibeza? Frankie getting the mobile to her through Jamie? Her giving the mobile to Fergus? Fergus and his office, its look? With Hareem, watching the video on the mobile, the translation of the calls? The consequences? Hareem and his concern, doing it for the families in Iraq? Nelson, bashing Hareem, his being in hospital? His memorising the phone number of the mother of the murdered children?

7. The family meeting after the funeral, Fergus and his intervening, his getting angry, the reactions for and against him?

8. Frankie and Fergus and their growing up together, like brothers, their story, the friendship, Frankie and his military career, getting out, Fergus working in Iraq, the companies and their contracts, the amount of money to be made, so quickly? The flashback to Fergus persuading Frankie to go to Iraq, his not wanting to go because of Rachel, the financial issues?

9. The film's focus on international companies, their contracts, the contractors themselves, the amount of money, the cowboy behaviour? The different types: Walker and his smooth-talking, the golf, diplomatic? Nelson and his heavy-handed attitudes, wanting to get himself a towel head, his drinking, violence? Haynes, the CEO, a smooth-talker? The various threats, angers and orders, moving people around? Mad Max as the driver, his throat being cut? The international hiring, the Colombians and their part in the ambush? Issues of accountability and non-accountability?

10. Fergus, his age, his passport taken, awaiting a court case for brawling? The background with Marisol? His always being on edge, flaring up, showing his anger? With Rachel, her watching the video, his determination to solve the mystery?

11. Fergus and his sources in Baghdad, Tommy on Skype, the information, Tommy being bashed and fired? Jamie sent to Afghanistan, fixing cars, his return? Craig wounded and returned? Peggy, the call, the story of the bar fights, Frankie and Nelson's taunts of Florence Nightingale, the graffiti in the toilet?

12. Rachel, her love for Frankie, her grief? The impact of the video sequences? Going through the things, finding photos, Fergus wanting to take them and Rachel's outburst against him? Frankie and the emails in his own phone, his opening up to Marisol more than he did to her? Yet his love for Rachel? Rachel and her love for Fergus, the encounter? The search of her flat and everything in disarray? Going to Fergus's office to make sure he was all right? Her dance class? Fergus's final call to her from the boat?

13. Meeting Walker with Rachel, planting the phone, listening in to the phone call and discovering the lies? The meeting with Haynes, his plausible talk, about the merger? The golf sequences?

14. Nelson, his arrival back in England, hiring thugs, destroying apartments, bashing Hareem, searching Fergus's office? Fergus and his taking Nelson, the water torture, Nelson's fear, his truth and lies, his death?

15. Craig and Jamie, arguing with Fergus, his not wanting to face the truth, their persuading him of what really happened?

16. The meeting, the merger, Haynes and his talk, Haynes and Walker and the secretary, getting in the car - and the explosion? Fergus becoming as bad as those he was pursuing?

17. Fergus, nothing left to live for, the final phone call, falling to his death?

18. Ken Loach and his perspectives on international corporations? The fabricating of wars? The financial gains from wars? The effect on individuals and their behaviour? His sympathy towards the Iraqis, victims of the invasion and the war? The consequences of the invasion of Iraq?

SIMON WERNER E DISPARU... (LIGHTS OUT)

France, 2010, 91 minutes, Colour.
Jules Plissier, Ana Girardot, Arthur Mazet, Laurent Delbeque.
Directed by Fabrice Gobert.

Based on the experiences at school of the writer-director, this seems to be a murder mystery, a jigsaw puzzle. At the opening, a body is found in the woods. The action goes back ten days and we see events from the point of view of four of the students at the local high school. The action overlaps and we see quite different interpretations of what has happened.

The resolution may seem something of an anti-climax (but Simon was murdered). What the film is doing is creating characters of high school students, exploring their attitudes, behaviour, relationships and the consequences of speculation and gossip about one another and the teachers. To that extent it is something of a welcome change from the usual teen comedies and melodramatic behaviour.

1. A mystery, a jigsaw puzzle? The perspectives of the various students?


2. The French high school in the 1990s, the classrooms, laboratories, the art room, corridors, sports facilities, the locker rooms, cafeteria, the grounds? A sense of realism?

3. The homes, the streets, the woods, the abandoned shack?

4. The musical score, Sonic Youth? A score for a younger audience?

5. The title, the focus on Simon, as a person, as perceived by the others, his story, tense relationship with his mother, his being a senior student, relationship with Alice? With Claire? The disappearance, the reasons?

6. The party, the walk in the woods, discovering the body? The film going back to ten days earlier? The structure of the film with the focus on separate stories: Jeremie, Alice, Rabier and Simon?

7. Jeremie's story, at home, going to sports practice, Simon talking, following, Jeremie being the last to see him? Playing, temper, the injury, the students watching, the coach? His going to hospital, return to class, his friends, meeting Alice, giving her the lift on the bike, Leticia and her bringing the notes from classes to his home? The background of gossip of the students? His party?

8. Alice's story: glamorous, her friendship with Claire, the relationship with Simon, his wanting to break with her, his attachment to Claire? Her studies, her essay and the discussion about philosophy? Her rebuke of Rabier and his lurking? Going to the party, the search?

9. Rabier and his story, on the outer, people suspicious, audiences' suspicion of him? With Jeremie, his comment about his mother's beauty? His father, the laboratory, the gossip about him and a sexual encounter with Simon? His lurking - and the rebuke from Alice, the true reason for helping Leticia? Helping her, his dreaming about her, their falling out? His seeing the gay kiss, reporting it? At home, his father and cooking, saying that he didn't have a social life, going to the art room and pretending he was with friends? The shack, finding the lighter? His talking to the press?

10. Letitia, the relationship with Frederick, the break-up, her going missing, friendship with Jeremie, bringing the notes, the police and her parents, meeting Rabier, explaining things to him, the pros and cons, in the art room, in the woods, finding the shack, her anger with him?

11. The coach, suspicions, Simon talking about the console and the computer games? The coach and his helping Grammont, Grammont's sexual problems?

12. Grammont and the kiss, spreading the rumours about Rabier's father and Simon?

13. The reality of the killer, the encounter with Simon, stabbing him? The arrest - and his killing others in the district?

14. The funeral, the students all together, the staff?

15. The solution as somewhat anticlimactic, audiences suspicious of the students themselves, their various theories? But the story as a setting for the exploration of teen personalities and themes?

REBECCA H. (RETURN TO THE DOGS)

France/US, 2010, 75 minutes, Colour.
Geraldine Pailhas, Pascale Greggory.

A brief experimental film that will have the audience puzzling. Lodge Kerrigan has made few films. His Keane was a signficant character study.

This time he is in Paris making a film about singer Grace Slick. His star is the French actress, Geraldine Pailhas. He edits, without warning, scenes of Geraldine Pailhas, interviews and takes of his film, along with the character of Rebecca H. who has mental problems but wants to go to the US to be a singer. Pascal Greggory plays himself as well as Rebecca’s brother.

There are songs from Jefferson Airplane. There are long tracking shots following behind Rebecca and Geraldine Pailhas. So, this film about film-making and performers is an experiment and an experience – for those who relish this kind of experiment.

1. The impact of the film, experimental, a performance film, a film about directing and editing, the set-ups, repeat takes, stand-ins? A film about filming?

2. The impact: narrative, minimal, Rebecca and the loud music, the makeup in the mirror, her breakdown? The visit to her brother, demanding the money, wanting to go to America, for a singing career, asking in the street about the travel agent, the price of the fare, wanting something cheaper, her intentions?

3. Geraldine Pailhas as an actress in herself, the interviews with Pasquale Greggory, making a film about Grace Slick? The songs, Jefferson Airplane? Somebody to love? The various takes? Her talk about Maurice Pialat and his influence on her career? The scene from the Cannes opening of 2003? Working with the director? The final song, her miming, singing? The set-ups and her double? The scenes of Grace Slick?

4. The narrative of Geraldine or Rebecca, the swimming sequences, the walks, the long takes with the camera behind her?

5. Rebecca and her walk, the swim, the murder, the body in the ditch?

6. Pasquale Greggory as himself, as Rebecca's brother, the interviews, the various takes for the film, the death, going in the taxi, revisiting the scene?

7. The director himself appearing as himself, directing the film, explaining the takes?

8. An exercise in experimental film and the experience of filming?

FAIR GAME

US, 2010, 106 minutes, Colour.
Naomi Watts, Sean Penn, Sam Sheppard, Bruce Mc Gill, Ty Burrell, Rebecca Rigg.
Directed by Doug Liman.

Fair Game is the title of the book written by former CIA agent, Valerie Plame, outed by the Bush administration in 2003 as a tactic to divert public attention from the untruths told in the president’s state of the union address and offered as one of the key pieces of evidence for Saddam Hussein’s weapons of mass destruction program: 500 tons of uranium bought from Niger. That this was not the fact was reported by former ambassador, Joseph Wilson, Valerie Plame’s husband, who published an expose article about this after the invasion of Iraq.

It is a sign of communications today that a film about this important episode could be made in the US within ten years of the events.

Where the film is of interest is in the covert operations undertaken extensively by Valerie Plame and her teams, in the former ambassador’s uranium fact-finding visit to Niger, in the workings of the CIA in their analysis of data and how the White House exerted pressure to get the information they wanted for the invasion. It is also of interest to see the manchinations against the husband and wife and how the media turned against them as traitors. Joseph Wilson spoke out but Valerie Plame was silent until she testified at an official enquiry, part of which is shown in the final credits.

Noami Watts is Valerie Plame, perhaps too nice a screen presence for the tough woman she had to be in real life. Sean Penn as Wilson doesn’t really have to act (though he does most convincingly) given his own personal views and outspokenness in real life. Direction is by Doug Liman (The Bourne Identity and Mr and Mrs Smith) who knows a thing or two about espionage films.

While the film uses familiar conventions for this kind of story, it is still very interesting – and adds to the doubts and scepticism about the motives for the invasion of Iraq (and is linked with Paul Greengrass’s Green Zone which showed the search in Iraq for the WMD).

1. Audiences and their response to Iraq, the invasion, the war, the grounds for the war, the Bush administration, the consequences?

2. Indignation with the use of evidence, non-evidence? Weapons of mass destruction? The predetermination of the information from the CIA? The role of the Bush administration?

3. Audience attitudes towards the CIA, their work, the need for the CIA, the need for intelligence, its values, analysts, reliability, use of information, manipulation, secrecy? The identities of agents and this being protected?

4. The film based on two books, by Valerie Plame, by Joseph Wilson? The two perspectives on the experience?

5. The CIA and Langley, the building, the corridors and offices? The personnel? The variety of jobs, decision-making, the influence of the White House and visits from White House officials? The field officers? Meetings, reports, discussions? Secrecy and lies? Telling the truth or not?

6. Valerie Plame, the opening in Kuala Lumpur, meeting the nephew of the businessman, her cover, her questions, the links to Pakistanis and nuclear bombs? The visits to Cairo, going to the lecture, confronting the professor about his identity? The blackmail about his daughters? Going to Amman, putting the agent on the flight to Iraq? The range of identities, documents, cover? Her having to vary her personality for the different covers? Her skills, interrogation, getting facts and information? Telling lies but knowing the truth? Her loyalties? Tough, her story about the torture at the beginning of her career, her breaking point or not?

7. Valerie at home, with Joseph, with the twins, the ordinary life, the cover, with the finance company, her friends, the political discussions at table, Joe and his forceful opinions, her trying to control him, her coping with her career and her family, her absences, Joe looking after the kids? Leaving notes on the fridge?

8. Joe and his background as an ambassador, an official for Africa for President Clinton? His knowledge of Niger? His being briefed, the decision to visit on behalf of the CIA? The visit, his friends, the locations, going to the uranium mines? His report that it was not possible for Niger to sell five hundred tons of uranium to Iraq?

9. The issue of the tubes, the reports, the official and his saying they were to be used for nuclear weapons? The counter-evidence of the size, width, the impossibility of using them? The range of experts and their opinions? The interrogation of the official, Valerie and her criticisms? Condoleezza Rice going on television, giving false information about the tubes? President Bush's State of the Union address, 2003, the false information about the UK report and the Niger uranium? This misinformation in terms of invasion, war, matters of life and death?

10. Valerie and the Iraqi woman, questioning her, wanting to go to her brother in Iraq, her being briefed, the questions needing answers? Her going to Iraq, the difficulties in Amman, her arriving in Baghdad, her being taken aside, special privilege for her brother? The reunion with the family? The brother and his information about weapons of mass destruction, the Americans destroying the plant after the Gulf War, the inability to produce these weapons? The promise by Valerie that the family and the scientists would be saved? Valerie being exposed, her projects closed down, her failure, the sister and her coming to her, lack of trust? Valerie's warnings that not saving the scientists meant that they could go to Iran and other would-be nuclear countries?

11. Scooter Libby, his role in the White House, connection with President Bush, with Carl Rove? His interviews at Langley, Dave and his going to save the day, but Libby and his ability to quibble with words, their meanings, truth, opinions, percentages of certainty? The predetermination of the White House about the uranium and the tubes? The plan to divert the media from asking questions about Niger by exposing Valerie Plame? Joseph Wilson and his article in the New York Times, the truth about Niger? The outing of Valerie Plame as an agent? Joe and his discussions with the students, making them realise that their attention had been diverted from important information and grounds for war to the identity of his wife as an agent?

12. The insertion of scenes from Baghdad, the bombings, the war, the destruction, the people trapped in cars, families not able to escape?

13. Joseph Wilson and his diplomatic background, his outrage about the way that information was used? Sean Penn in this role - not far from his attitudes in real life and his political campaigning? The article, the White House wanting revenge, naming Valerie Plame? Asserting that she had sent her husband on a fact-finding mission? The consequences, Valerie's silence, Joseph going to the television?

14. Joseph Wilson and the television interviews, telling the truth, the official investigation, the report, the conclusion that Valerie had sent him officially on the mission? The reporters, Joe and the African meeting, the journalist denouncing him in public? His loss of jobs and livelihood?

15. The tension between Joseph and Valerie, at home, the way they were talking, not talking, Valerie explaining her breaking point? The separation, Valerie taking the children to her parents? The children playing?

16. Valerie and her father, his military record, the tensions in his own marriage, knowing her strength and wondering about it? His wise counsel about the marriage? Her return, Libby and the investigation and his being found guilty? The further congressional inquiry? Valerie giving testimony? Finally speaking?

17. The consequences of this episode, public mistrust of government and the CIA? The real Valerie Plame in the final credits and her testimony?

18. The aftermath, the expose, the role of the search for weapons of mass destruction and the credibility of the invasion of Iraq?

THE TREE

Australia/France, 2010, 100 minutes, Colour.
Charlotte Gainsbourg, Marton Csokas, Morgana Davies.
Directed by Julie Bertuccelli.

From the director of the fine SIGNIS award winning film, Since Otar Left. And the tree that they found for the film looks quite magnificent.

This is a story of an ordinary family in Queensland, the father a truck driver (Aden Young) and the mother at home with four children (Charlotte Gainsbourg). The father dies at the opening of the film and the rest of the plot concerns how well, or not, they cope with the death, especially as the months pass. They all grieve in their own way. The most dramatic is 8 year old Simone (Morgana Davies) who finds the presence of her father in the Moreton Bay Fig tree outside the house and communes with him. She persuades her mother to do the same but becomes unhappy, thinking the others have forgotten their father, and she becomes resentful when her mother takes a job at a store in town and the owner comes out to do jobs at their house and lends them his trailer for a Christmas holiday at the beach (Marton Csokas).

While the Queensland scenery looks wonderful, the film is more ordinary, likeable (though Simone can be rather irritating as she makes emotional demands on her mother ‘this instant’) than highly dramatic.

Nature turns against them rather spectacularly at the end, but they go forward with some greater happiness to begin again.

Adapted from a novel by Judy Pascoe, Our Father who art in the Tree.

1. An Australian story, French co-production? French author and screenplay? Perceptions of Australia and its way of life, characters?

2. The Queensland setting, the town, the landscapes, the coast? Houses and shops? The musical score?

3. The tree, its size, appearance, impact? Realism? Symbolism? Mysticism?

4. The introduction, Peter and Dawn, at ease with each other, love, the years, the four children, the hammock?

5. Peter and his work, transporting the large house? His mate? Driving, the heart attack, the children on the back of the truck, his death? Living in their memories? In the tree? The title of the novel - My Father Who Art in a Tree?

6. Dawn, her background, her salesman father, French, mother returning to Europe? Sales, in pubs? Meeting Peter? The children, not imagining having a life without the children? The neighbours, friends, busybodying? The group meeting? Part of the town? The long years in the house? Tim, Lou, Simone, Charlie? Peter dying and her not being able to help, not knowing what to do?

7. The cemetery, the visit, no name on the headstone, symbol of the loss of memories, yet the photos, talk about Peter?

8. Simone and the tree, climbing it, talking to her father, being in the tree? Waking Dawn in the night, getting her to go into the tree, Dawn talking, revisiting the tree? Sleeping in the tree? Rational and mystical explanations?

9. The tree and its size, the drought, the roots coming to the surface, breaking into the toilet, the frogs, the neighbour's fence, the cutting down of the branch, its being destructive, the crack in the tank, watering and the climbing vine? George bringing the equipment, Simone and her staying in the tree, George going up to her, Dawn paying off the workers?

10. Simone, her age, demanding? Her friend and their chatter, their makebelieve about what they would be like at different ages? Sharing secrets? Riding with her father on the truck? Experiencing his death, grieving, discovering the tree, talking with her father? Tim telling her that she was not the only child? Her resenting George? The attempt to cut down the tree, her climbing and staying in the tree, her demands from her mother? The holiday, enjoying it, swimming, seeing the jellyfish - and their later being stranded by the cyclone? Her saying the first Christmas without her father?

11. Lou, the boys, the bikes, playing the instrument, an ordinary young boy? Charlie as the baby, playing up, his cheerfulness? Not talking? Finally talking?

12. Tim, reliable, the care of his father in death, the job enquiry and his father's mate, studying for the exams, helping his mother, the shopping, at home, passing his exam, preparing to leave, his mother being fussy about his things?

13. Dawn, the job, talking with George, snooping in his room? Getting him to fix the toilet and the frogs? The pub, the drink, talk, the kiss? George and the cutting down of the branch? Simone's resentment? George lending the trailer for the holiday, swimming and enjoying the beach? The tree and its roots, the decision to cut it down, George and his helping, Simone and her control? Dawn and the relationship, yet asking him to leave? The end - and the two vehicles going past each other, the possibilities?

14. The staging of the cyclone, Simone and the tree, her mother getting it down, the family huddling together, the house battered, the tree uprooted?

15. Their leaving, new beginnings, passing George in the truck, the end of a phase, death, the death of the tree, and their literally having to move on?

HORS- LA- LOI (OUTSIDE THE LAW)

Algeria, 2010, 137 minutes, Colour.
Jamil Debbouze, Roschty Zem, Sami Bouajila.
Directed by Rachid Bouchareb.

There was double security at the venues in Cannes for the screening of this film, no food or liquids allowed inside the cinemas and bags more thoroughly searched. Even before the screening it had caused protests and debates in France. The subject: the fight for Algerian independence, especially in the 1950s and 1960s until it was achieved in 1962. Needless to say, this involves an indictment of much French colonial action and dominance. It also raises questions of what is Resistance and what is Terrorism – resistance for the French in World War II, terrorism for the Algerian action for independence. A perennial question and one that is still dominant in the world, especially for Israel and Palestine.

Boucharib has made some quieter and intense films, Little Senegal and London River (both SIGNIS and Ecumenical award winners). He also made the striking Indigenes, about the Algerian soldiers who fought with and for the French but were treated as colonials – the film led to the French government awarding belated pensions to some of the Algerian veterans. Hors- La- Loi follows Indigenes with some of the same cast.

On May 8th 1945, Europe celebrated VE day. The same day there were marches in Algeria for the independence movement which led to protests and fierce shooting into the crowds by police, soldiers and citizens. This film follows the lives of three brothers, each with a different perspective on the indendence movement.

One bcomes something of a spiv in Pigalle, opening a night club and training a boxer to be world champion. Another has experienced the war in Vietnam and French defeat. The third was imprisoned on May 8th 1945 and served ten years in a French jail where he learned protest and strategies.

It is the latter brother who is the focus of the film, an intellectual who is committed to an ideology rather than to people (the actor who plays him remarked that this man is trapped in his own charisma). He is unscrupulous in using terror methods but cannot kill any individual. It is his soldier brother who does this for him.

The film highlights their lives and action from 1956 to 1961 and immerses the audience in the experience of Algerians living in France and of the ruthlessness of the French police in dealing with them.

The film portrays historical events, tells a narrative that challenges the audience to reflect on the importance of freedom, the evils of colonialism and the consequences and, always, to ask questions about the use of violence to win a cause and to free people.

1. The importance of this film? Algerian history? Supplying information, a narrative, emotion, different perceptions?

2. The director, his work with indigenes and changing of French law about pensions for Algerian soldiers who fought in World War Two with the French? His ability to tell stories?

3. The re-creation of Algeria in 1925, the land, its vastness, the new landowners, the native people having to move? The transition to 1945, the city of Sefit, May 8th, VE Day, the march, the protest, Algerian independence? The police, the troops, the ordinary citizens, shooting to kill? The massacre of the Algerians? The arrests, lining up victims against the wall and shooting them? This information on the record?

4. France in the 1950s and 60s? Paris, the shantytown on the outskirts and the detail of the town, buildings, roads? Pigalle and the nightclubs and the boxing area? The ordinary city, the police precincts, the countryside? The musical score?

5. The introduction to the family, the father and his being moved off the land, his ancestors living there, not having papers and deeds, the French Colonials taking over the land? Ousting the families? Unable to support themselves? Abdel Kader and his not being able to go to school? The other boys, the girls? The wife and her reluctant leaving the countryside? Their taking the soil with them?

6. The family on May 8th, 1945? The father being shot in the protests? The girls killed? Saeed and his ability to escape? Abdel Kader and his being arrested, saving the flag?

7. 1954, Indochina, the defeat of the French at Dien Ben Phu? France and its colonial powers? The war, defeat, prisoners? The Vietnamese making parallels for the Africans to fight for independence? Messaoud and his being a soldier, released and going home?

8. Saeed and his mother, Saeed persuading her to go to France, to see her sons? Abdel Kader in prison, the executions by guillotine, his studying? Saeed and his possibility for working in the Renault factory, seeing the well-dressed man in the street, becoming a pimp, the girl and her proceeds, his becoming a petty gangster, his promoting the boxing, his suits and his hat?

9. Abdel Kader and his being released, the return to the family, working with Messaoud in the Renault factory? Messaoud and his military background, the young girl, the marriage ceremony - interrupted by the French police, taking away hostages?

10. The activity in favour of Algerian independence? The different groupings? Those in favour of more peaceful revolutions? The activists, the NLF? Progress and resistance? The pros and cons of resistance or terrorism? The methods of terrorism, the deaths, the violence? The praise as resistance? The condemnation as terrorism? The effect on individuals, Messaoud and his absence, using his military techniques, killing people, the strangling, the shootings? The plots? Abdel Kader and his devoting himself to the cause, becoming fanatical, an ideology rather than anything personal? Ruthlessness, yet not able to kill? Intelligent, relentless? The formation of groups, trying to start in the factory, the friends in the shantytown? Activities, tactics, Abdel Kader and his better clothes, more upmarket? The collaboration? Going to Germany, the collecting of funds, the role of Helene? The buying of the arms in Germany?

11. Characters and change, Abdel Kader as leader, trapped by his own charisma, the confrontation with the police, his condoning violence, all in the name of the cause, Helene trying to make a personal approach, his almost giving in, her death with the car bomb? Messaoud and his critique, his work as a soldier, distance from his family? Saeed and his life, the nightclub and its prosperity, training the champion, the threats from Abdel Kader?

12. 1956-61, life in Paris, the attacks, the move towards Algerian independence, the stances of the French, General de Gaulle?

13. The French and their killing the Algerians, the revenge? Messaoud getting information from his military friend, going into the police precinct, killing the violent commander? Taking the colonel, his discussions with Abdel Kader, his forming the Red Hand, outside the law, the attacks, the bombings in the shantytown?

14. The visit to Germany, the arms, the buses? The man tortured and giving information? Saeed and his being closed down, driving to rescue his brothers? The shootout and the attack on the buses, the many deaths?

15. The mother, her patient life in France, happy with the marriage and the grandchild, the difficulties of the birth? The wife and her wanting to be a good wife to Messaoud? The mother and her TB?

16. The boxing tournament, October 1961, the warnings against the tournament, Saeed and his being pressurised by Abdel Kader, shooting his champion? The case, on the Metro, getting into the train, the Algerian support? The next station and the massacre, Abdel Kader's death?

17. The use of newsreel information throughout the film, of 1945, of the 50s, of 1962 and Algerian independence?

18. The importance of this kind of film in order to show the history, the different sides, the violence, right or wrong?

SZELOD TEREMTES - A FRANKENSTEIN TERV (TENDER SON - THE FRANKENSTEIN PROJECT)

Hungary, 2010, 105 minutes, Colour.
Rudolf Frecska, Kornel Mundruczo, Lili Monori.
Directed by Cornel Mundruczo.

The key to this film is that it states that it has been ‘inspired by’ Mary Shelley. This sets up an expectation for those who like making connections between the plot of the film and the Frankenstein story. For those who take the plot as it comes, it may well be a quite different experience.

Viktor (played by Kornel Mandrusczo, the film’s director) is a successful theatre director but is now casting for a film in a dilapidated Budapest building which is to be knocked down. He conducts auditions (thus making new creatures of his cast and giving them new lives). An impassive young man does not audition well but the director gives him a chance with a young aspiriting actress, with disastrous consequences. Is he a monster?

The young man is sheltered in the building by his mother whom he had been seeking. He is attracted to another girl who lives there and wants to marry here. The director returns to help him escape and they drive to the Tirol and into the snow.

This variation on the Frankenstein theme (who is a monster and what makes a monster) has some brutal action but is also a contemplative piece with some strangely beautiful photography with snow falling and in the mountain sequences.

1. A different film, in content, style, themes?

2. Hungarian film-making, the Budapest setting, the road and the long opening sequence on the highway, the main action in the decaying building, the interiors, the courtyard, the inner court? The road towards the Tyrol, the Tyrol and the snow?

3. Inspired by Mary Shelley, the connections, the parallels with the original, the adaptation?

4. The director, with the director himself acting the role, driving, in the city, his talking on the phone about casting, the radio interview and his play, the relevance of 19th century stories like The Count of Monte Cristo? His personal project?

5. The woman in the building, bringing in the Christmas tree, the lights, the sparkler? His paying the rent? Using the building for the filming? The auditions, asking the young actors to cry, the initial young man, the two men who couldn't cry? The woman and her sad scene?

6. Rudi, getting off the tram, buying the flowers, not for the cemetery? Walking, the flowers in the pot for his mother? The form and no information and background? Being asked to cry, not crying but saying he was? The seduction sequence, his violent reaction? Going into the other room, the camera and the screen, the filming stopping? The young girl, being fired, trying to get a role, the blacking of the screen? Her death?

7. The dead girl, Rudi fleeing, yet staying in the building?

8. Victor, creating Rudi as father, wanting to create him as an actor? The police?

9. The father of the girl, going berserk, his wife urging him to search for the killer, his return, seeing Rudi and Magda, his threats to Magda, Rudi killing him?

10. Rudi hiding, the encounters with his mother, asking her questions about his past, her giving him shelter, his washing, eating? Seeing Magda? His being alone, his wanting a wife? The preparations for a marriage, the plans, the mother ironing the wedding dress, Magda and Rudi eating the peaches, the interruption by the father?

11. Magda, having no family, ready to be the bride, helping Rudi, attracted towards him, the wedding?

12. Rudi, the confrontation with his mother, the threats, her death?

13. Victor, helping Rudi escape, driving, the questions about his being a father, his wanting a career and being young and not caring, Rudi trying to escape, his father tying him up, into the snow, the crash?

14. Rudi, his wounds, Victor going for help, lost in the snow?

15. The theme of the Frankenstein monster, the role of the monster, different from the rest of society, created by society?

16. The visual style, the strange beauty, a variation on the Frankenstein theme?