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Wednesday, August 26, 2009

This week at SFC:The Crying Game


Thursday August 27th 8:15 pm doors open 7:30 for short films


THE CRYING GAME (Neil Jordan/UK/1992/114')

When "The Crying Game," opened in 1992, independent film was enjoying a renaissance of sorts. Not since the nineteen-seventies had American and British audiences been treated to such a wide variety of movies, all generally slotted for audiences that were interested in diversity--an ideological impulse that has since gone the way of fax machines. But perhaps no psychological drama from that time was as chilling--and ultimately as moving--as screenwriter and director Neil Jordan's heart-wrenching photoplay about people not seeming to be who they are. Set against IRA-generated intrigue and English repression, the second half of Jordan's eighth feature quickly flowers into a powerful dissection of the personality inherent in politics. Don't tell your friends about one actor's "secret." Hilton Als 2009

Thursday, August 20, 2009

This week at SFC:It's All True

Fernandes Industrial Centre
Eastern Main Road

STUDIOFILMCLUB is located in the back studio of building 7.

Our screenings are FREE and all are welcome to ALL.

Thursday August 20th

Start time 8:15 pm - doors open at 7:30 for docu on Orson Welles

This is the story of the aborted production of the young master's 1942 Latin American, three-part film

IT'S ALL TRUE (Bill Khron+Myron Meisel/1993/France USA/85')

The events surrounding the making of "It's All True" aren't mysterious but, like so many chapters in Welles's professional life, they are full of production complications, financial problems and the interference of money men who never see themselves as made of money. Conspiring in the disaster was Welles's own tendency to be high of hand, loving of fun and casual about schedules set by others.

The initial conception of "It's All True": Welles was already planning an anthology film in 1941 when he was approached by Nelson Rockefeller, who was a large stockholder in RKO Pictures (Welles's studio) and the coordinator of the Office of Inter-American Affairs. Rockefeller's idea was for Welles to make an entertainment film to help promote President Franklin D. Roosevelt's Good Neighbor Policy. Up until 1942 it was not certain that the Brazilians would not align with Germany because of their presidents flirtations with fascism. This changed when the Germans torpedoed five Brazilian ships - and when Brazil and America signed a military accord.

It was a busy time for Welles. He was finishing work on "The Magnificent Ambersons" and acting in "Journey Into Fear," which he had supervised though it was being directed by Norman Foster. By chance he had earlier envisioned a short film about a Mexican boy and his bull, "My Friend Bonito," which was to be one of the three segments in the RKO-produced, Government-promoted movie celebrating Latin America. He decided that the second segment would center on the annual carnival in Rio de Janeiro, and that the third would be determined when he arrived in Rio.

In those youthful days, Welles was full of energy and magnificent self-assurance. Yet "It's All True" seems never to have been thought through with any realistic sense of time, place and money. He oversaw the shooting of several sequences of "My Friend Bonito" in Mexico and then, in February 1942, took off for Rio with both Technicolor and black-and-white cameras to photograph the carnival.

That did not go easily, but he did get the idea to use the story of the history of the samba as one of the principal themes of what became the two Brazilian segments. Welles spent close to six months and a great deal of money improvising his way through the film. He delved into the samba world for the episode Carnival in Rio and reportedly spared no expense in his quest for the authentic. Sambista Raul Marques (1913–1991) told how, during the filming of a batucada, the pernada tripping contest turned violent, but the director egged the contestants on and continued shooting until the bitter end. Several participants were injured, and the actor-singer-songwriter Grande Otelo was hospitalized. When people complained of the violence, Welles said, “I’ll pay for everything.”The second segment was to be a re-enactment of the story of four Brazilian fishermen from the northeast who, the year before, had caused a sensation when they sailed their tiny fishing raft across 1,600 miles of open ocean to Rio to seek redress for social ills.

RKO officials quickly panicked about the money Welles was spending in Rio without having a finished script. The carnival material they saw was formless. But they truly hit the ceiling when Welles's interest turned to Rio's favelas (mountainside slums) and blacks in his search for the samba's roots. Poor people, particularly poor black people, did not fit into any good neighbor policy that RKO or the United States State Department wanted to publicize.

The production was halted in midstream by RKO, but Welles persisted in his efforts to finish the film's third segment, "Four Men on a Raft," with a modest budget and primitive equipment. This material, which he shot but never edited, changed hands several times and then was lost. Some of it was destroyed. In 1985, the year Welles died, the surviving material was found in a Paramount vault.

Because there was no screenplay, Richard Wilson, Welles's assistant in Brazil, used letters and memorandums to put together a 22-minute version of "Four Men on a Raft," which was shown at the 1986 Venice Film Festival. That material remains the heart of the new documentary.

The new film also makes use of the remaining Technicolor carnival material and several sequences from "My Friend Bonito," all supplemented by filmed interviews with Welles, both as a young man and in later years; with Wilson, who died of cancer in 1991; with other associates, and with some of the Brazilian members of the project who are still alive.

It's the black-and-white material from "Four Men on a Raft" and "My Friend Bonito" that gives the documentary its importance. There is the initial surprise at the way it recalls the look and style of the great Russian film maker Sergei Eisenstein in his monumental "Que Viva Mexico!" (1930-31), a project almost as cursed as "It's All True." Planned as four distinct stories, with a prologue and an epilogue, "Que Viva Mexico!" was taken away from Eisenstein by his American partners before he could put it together. It was later edited into four separate films that could only hazily suggest what Eisenstein would have done.

Yet the Eisenstein material was preserved and, if not honored, it was at least used. Welles's material was casually trashed.

Both "Four Men on a Raft" and "My Friend Bonito" have the gloriously liquid look of the heavily filtered, black-and-white photography favored in the 1930's to ennoble peasants and other common folk. It's corny and possibly condescending, but it still works. Glauber Rocha, a leading talent in Brazil's own Cinema Novo movement, used the same style in his "Barravento" (1961), which is set in the fishing villages of Bahia.

Of special interest is the funeral procession sequence in "Four Men on a Raft," a stunning preview of the even more remarkable sequence that would later open Welles's "Othello."

"It's All True: Based on an Unfinished Film by Orson Welles" might have been even more fascinating if Welles's raw material hadn't been so smoothly edited that it's impossible to tell how sequences were put together, what was saved and what was discarded. Such a film would be unwieldy, if of more scholarly interest.

Though Welles's own "It's All True" remained unfinished, its place in history is firm: if Welles had not undertaken the project, the chances are that his greatest film, "The Magnificent Ambersons," would not have been butchered by the studio while he was flying down in Rio.

Wednesday, August 12, 2009

This week at SFC:Ornette Coleman: Made in America





Thursday August 13th

8:15 pm

A film portrait of Ornette Coleman (this summer's MELTDOWN selector) by film artist Shirley Clarke. Hilton Als, who will be SFC's guest selector for the forthcoming T&T Film Festival 2009 has written the synopsis.


Born in New York in 1919, the film artist Shirley Clarke identified far more with blacks than she did other women. ("I couldn't deal with the whole feminist thing," she said once.) Originally trained as a dancer and choreographer, the privileged Clarke eventually realized she had no real talent in either field, so she switched to film, where she made her mark not only in terms of form--her gritty, improvisatonal realism presaged that of John Cassavettes and Andy Warhol--but content: her most astonishing work, still, is devoted to the social and inner lives of blacks. In 1967, Clarke shot "Portrait of Jason," which remains one of the more exceptional explorations of truth and portraiture that we have. Eighteen years later, in 1985, the director put together "Ornette: Made in America." The movie is as much about Coleman's "science fiction," phase of musicianship--he liked lots of electronic bleeps in his music then--as it is a further examination of the forms and themes that always fascinated her--specifically, how to tell the truth in a lie while addressing our collective fiction of being. Using the great jazz artist's evolution as her primary story, "Ornette: Made in America," is also an attempt to visualize sound. So doing, Clarke's film tells us more about Coleman's artistry than a million pages of analysis. For all its visual and sonic excess, though, Clarke's final film is filled with silence--a silence that leaves Coleman's essential mystery intact.
Hilton Als 2009

Wednesday, August 05, 2009

This week at SFC:Klute & A Letter to Jane






Thursday August 6th

Letter to Jane starts 7:30 - Klute 8:30

All our screenings are FREE ones

This weeks synoposis is by Hilton Als who is to be our guest selector for the upcoming T&T Film Festival 2009

Klute (Alan Pakula/USA/1971/114')

Jane Fonda won an Oscar for her portrayal of call girl Bree Daniels in 1971's Klute. Smart but defensive, controlling and lonely, Bree is being hunted by a former client who wants her to disappear--permanently. And Bree's pretty much on her own until a private investigator named John Klute (Donald Sutherland, father of 24's Keifer Sutherland) comes into her life. Klute's a decent man, new to the world of sex and drugs that Bree introduces him to. And while he's ostensibly in search of a killer, Klute's sense of justice becomes clouded by his eventual love for Bree, the ultimate femme fatale--and actress. With this film, Jane Fonda cast off her iconic Barbarella status and became the personification of the modern woman. Her famous Klute haircut is still a powerful fashion statement--and inspiration.
Hilton Als 2009

A Letter to Jane (Jean-Luc Godard + Jean-Pierre Gorin/France/1972/52')

In 1972, after filming "Tout Va Bien" (Everything's All Right) starring Jane Fonda and Yves Montand, the brilliant French flmmaker, Jean-Luc Godard, and his then frequent collaborator, Jean-Pierre Gorin, came across a photograph of Jane Fonda in a magazine. It showed the activst actress in conversation wth some North Vietnamese. Annoyed by Fonda's celebrity and her politics, the two filmmakers--who more or less constituted Dziga Vertov, the filmmaking collective named after the Russan avant-garde filmmaker--produced a movie they originally titled, "Inquiry Into A Still." The "action" of the hour long "Letter to Jane," ends up being Godard and Gorin's voice over narration, wherein the unseen authors produce a scathing film-essay about the nature of celebrity, liberalism, and looking, while indirectly revealing their own complicated, and sometimes thwarted, view of women.
Hilton Als 2009

Tuesday, August 04, 2009

The films of StudioFilmClub

StudioFilmClub opened its doors on Thursday, February 13, 2003 with a screening of Perry Henzell's The Harder They Come (1972). To date almost 250 films have been shown. One film has been screened twice, Pedro Almodovar's All About My Mother (1999), which was voted the most popular film shown at StudioFilmClub by its patrons.

The Films of StudioFilmClub
(In chronological order, to Thursday 6 August, 2009)

1. The Harder They Come (Perry Henzell, 1972, Jamaica, 100')
2. Ghost Dog: The Way of the Samurai (Jim Jarmusch, 1999, USA, 116')
3. The Gleaners and I (Agnes Varda, 2000, France, 82')
4. Le Mepris (Jean Luc Godard, 1963, France, 103')
5. Dog Town and Z-Boys (Stacy Peralta, 2001, USA, 91')
6. Rashomon (Akira Kurosawa, 1951, Japan, 88')
7. Reggae (Horace Ove, 1970, UK, 60')
8. King Carnival (Horace Ove, 1972, UK, 40')
9. A Taste of Cherry (Abbas Kiarostami, 1997, Iran, 95')
10. Black Orpheus (Marcel Camus, 1959, France, 107')
11. Blue Velvet (David Lynch, 1986, USA, 120')
12. Rockers (Theodoros Bafaloukos, 1979, Jamaica, 100')
13. In the Mood for Love (Wong Kar-Wai, 2000, Japan, 98')
14. All About My Mother (Pedro Amoldovar, 1999, Spain/France, 101')
15. London (Patrick Keiller, 1994, UK, 85')
16. Gentlemen (Nick Relph & Oliver Payne, 2003, UK/USA, 25')
17. All Around Her the Noise Echoes Her Footsteps (Mario Lewis, 2002, TT, 3')
18. May 1st July 4th (Mario Lewis, 2002, TT, 5')
19. Jules et Jim (Francois Truffaut, 1961, France, 105')
20. East is East ( Damien O'Donnell, 1999, UK, 96')
21. Stepping Razor - Red X Diaries (Nicholas Cambell, 1992, Canada, 103')
22. Talk to Her (Pedro Amoldovar, 2002, Spain, 112')
23. The Importance of Being Morrissey (Tina Flintoff/Ricky Kelehar, 2003, UK, 90')
24. Adaptation (Spike Jonze, 2002, USA, 114')
25. All of Emily (Elspeth Duncan, 2002, TT, 22')
26. Pepe le Moko (Julien Duvivier, 1937, France, 90')
27. That Obscure Object of Desire (Luis Bunuel, 1977, Spain/France, 102')
28. Crossing Over (Christopher Laird, 2000, TT/Ghana, 58')
29. Konimo - Palm Wine Guitar (Christopher Laird, 2000, TT, 36')
30. Solas (Benito Zambrano, 1999, Spain, 101')
31. The Journey of Lesra Martin (Cheryl Foggo, 1999, Canada, 46')
32. Coffy (Jack Hill, 1973, USA, 91')
33. Space is the Place (John Coney, 1974, USA, 85')
34. Quilombo (Carlos Diegues, 1984, Brazil, 114')
35. Kes (Ken Loach, 1969, UK, 110')
36. Bowing for Columbine (Michael Moore, 2002, Canada/Germany/USA, 120')
37. The Magdalene Sisters (Peter Mullan, 2002, UK/Ireland, 119')
38. Xala (Ousmane Sembane, 1974, Senegal, 119')
39. Dancer in the Dark (Lars Von Trier, 2000, Germany/Denmark/France/Finland/UK/Iceland/Norway/Netherlands/Sweden/USA, 140')
40. City of God (Fernando Meirelles, 2002, Brazil, 130')
41. The Big Lebowski (Joel Coen, 1998, USA, 117')
42. Black Stalin (Judith Laird, TT, 30')
43. Ali: Fear Eats the Soul (Rainer Werner Fassbinder, 1973, Germany, 93')
44. Nights of Cabiria (Federico Fellini, 1956, Italy/France, 110')
45. Dance the Calypso (John Barry, 2003, TT, 35')
46. Tango (Carlos Suara, 1998, Spain/Argentina, 115')
47. Der Lauf der Dinge (Fishli & Weiss, 1986/87, Sweden, 30')
48. Mixtape (Payne & Relph, 2002,UK, 23')
49. Dial H-I-S-T-O-R-Y (Johan Grimponez, 1997, TT, 100')
50. Les Fiances du Pont MacDonald (Agnes Varda, France, 3')
51. Looking for Langston (Isaac Julien, 1989, UK, 40')
52. Fiorucci Made Me Hardcore (Mark Lecky, 1999, UK, 15')
53. Les Mistons (Francois Truffaut, 1957, France, 17')
54. The Trinidad Tripoli Steelband (Bud Smith, TT, 1971, 28')
55. The Mirror (Andrei Tarkovsky, 1974, USSR, 108')
56. George and the Bicycle Pump (Asha Lovelace, 2003, Cuba, 13')
57. The Filth and the Fury (Julien Temple, 1999, UK/USA, 2000, 108')
58. Afro Punk (James Spooner, 2002, USA, 73')
59. L'Avventura (Michelangelo Antonioni, 1960, France, 145')
60. Some Like it Hot (Billy Wilder, 1959, USA, 120')
61. The Story Beneath the Surface (Jason Riley, 2002, TT, 35')
62. Smile Orange (Trevor D Rhone, 1974, Jamaica, 88')
63. Roots Rock Reggae (Jeremy Marre, 1977, UK/Jamaica/USA, 60')
64. Tokyo Story (Yasujiro Ozu, 1953, Japan, 136')
65. Pierrot le Fou (Jean Luc Godard, 1965, France, 110')
66. Sex and Lucia (Julio Medem, 2001, Spain/France, 128')
67. Together (Lukas Moodysson, 2000, Denmark/Sweden/Italy, 106')
68. BC (Before Columbus) (Robert Yao Ramesar, 2000, TT, 3')
69. The Saddhu of Couva (Robert Yao Ramesar, 2001, TT, 5')
70. The Gospel According to St Matthew (Pier Paulo Pasolini, 1964, France/Italy, 137')
71. Capturing the Friedmans (Andrew Jareki, 2003, USA, 107')
72. 101 Reykjavik (Balthasur Kormakur, 2000, Denmark/France/Iceland/Norway, 88')
73. The Vanishing (George Sluizer, 1993, Netherlands, 109')
74. Baadasssss Cinema (Isaac Julien, 2002, UK/USA, 60')
75. Taxi Driver (Martin Scorsese, 1976, USA, 113')
76. Amores Perros (Alejandro Gonzalez Inarritu, 2000, Mexico, 153')
77. Ratcatcher (Lynne Ramsay, 1999, France/UK, 94')
78. L'Argent (Robert Bresson, 1984,France/Sweden, 85')
79. Elephant (Gus Van Sant, 2003, USA, 81')
80. Omeros (Isaac Julien, 2003, UK, 20')
81. La Dolce Vita (Federico Fellini, 1960, France/Italy, 174')
82. Gram Parsons: Fallen Angel (Gandulf Henning, UK/Germany, 2004, 90')
83. Pather Panchali (Song of the Little Road) (Satyajit Ray, 1955, India, 115')
84. The Spirit of the Beehive (Victor Erice, 1973, Spain, 97')
85. Aparijito (The Unvanquished) (Satyajit Ray, 1956, India, 113')
86. Osama (Siddiq Barmack, 2003, Afghanistan/Iran/Japan/Netherlands, 83')
87. Apu Sansar (The World of Apu) (Satyajit Ray, 1959, India, 106')
88. Zatoichi (Takeshi Kitano, 2003, Japan, 116')
89. Dogville (Lars Von Trier, 2004, Germany/Denmark/France/Finland/UK/Netherlands/Norway/Sweden/USA, 177')
90. Kids (Larry Clark, 1995, USA, 91')
91. The Coconut Revolution (Dom Rotheroe, UK, 50')
92. Rocco and His Brothers (Luciano Visconti, Italy/France, 1960, 177')
93. Chungking Express (Wong Kar-Wai, 1994, Hong Kong, 102')
94. Tape (Richard Linklater, 2001, USA, 86')
95. Old Boy (Park Chan-Wook, 2003, Korea, 118')
96. Fahrenheit 9/11 (Michael Moore, 2004, USA, 122')
97. Calypso Dreams (Geoffrey Dunn/Michael Horne, 2003, USA, 85')
98. Music is the Weapon (Stephane Tchal-Gadjieff/Jean Jacques Flori, 1982, France, 53')
99. Jump Up (Rune Hassner, 1966, Sweden, 86')
100. Don't Look Now (Nicholas Roeg, 1973, UK, 110')
101. Elephant (Alan Clarke, 1989, UK, 39')
102. Easy Rider (Dennis Hopper, 1969, USA, 94')
103. Agua, L'Eau, Water (Sonja Dumas, 2002, TT, 15')
104. Fog of War (Errol Morris, 2003, USA, 107')
105. A Man Escapes (Robert Bresson, 1956, France, 99')
106. Buena Vista Social Club (Wim Wenders, 1999, Cuba/France/Germany/UK/USA, 105')
107. Maria Full of Grace (Joshua Marston, 2004, Colombia/USA, 101')
108. The Return (Andrei Zvyagintsev, 2003, Russia, 105')
109. Dazed and Confused (Richard Linklater, 1993, USA, 103')
110. Jeffrey's Calypso (Vashti Anderson, 2004, USA/TT, 25')
111. In This World (Michael Winterbottom, 2002, UK, 88')
112. Sweet Sweetback's Baadasssss Song (Melvin Van Peebles, 1971, USA, 93')
113. Dark Days (Marc Singer, 2000, USA, 90')
114. I Have a Dream (Zak Ove, 2002, USA, 22')
115. Suite Havana (Fernando Perez, 2004, Spain, 84')
116. Rules of the Game (Jean Renoir, 1939, France, 100')
117. Bad Education (Pedro Almodovar, 2004, Spain, 109')
118. Salaam Bombay (Mira Nair, 1988, UK/India, 113')
119. Day for Night (Francois Truffaut, 1973, France, 115')
120. The Night of the Hunter (Charles Laughton, 1955, USA, 93')
121. The Battle of Algiers (Gillo Pontecorvo, 1965, Italy, 117')
122. Muhammad Ali: The Greatest (William Klein, 1964/74, USA, 120')
123. Hana Bi (Takeshi Kitano, 1997, Japan, 103')
124. Rastafari (Herman Lohe, 2004, Sweden, 12')
125. Edward Said: The Last Interview (Mike Dibb, 2004, UK, 205')
126. Fat Girl (Catherine Breillat, 2000, France, 84')
127. Bali - Altar of the Gods (Errol Sitahal, 2003, TT, 26')
128. Idi Amin Dada: A Self Portrait (Barbet Schroeder, France, 1974, 90')
129. Basque Ball (The Skin Against the Stone) (Julio Medem, 2003, Spain, 108')
130. Francis Bacon - Arena (Adam Low, 2005, UK, 96')
131. Black Narcissus (Michael Powell/Emeric Pressberger, 1947, UK, 100')
132. Writers and Places: Shiva Naipaul (Adam Low, 1982, UK, 35')
133. Lolita (Stanley Kubrick, 1962, USA, 152')
134. All About My Mother (Pedro Almodovar, 1999, Spain/France, 101')
135. Exotica (Atom Egoyan, 1995, Canada, 103')
136. Bus 174 (Jose Padhila/Jose Lacerda, 2004, Brazil, 120')
137. Waking Life (Richard Linklater, 2001, USA, 99')
138. Wild Strawberries (Ingmar Bergman, 1959, Sweden, 99')
139. Spetters (Paul Verhoeven, 1980, Holland, 127')
140. Central Station (Walter Salles, 1998, Brazil, 113')
141. Gadjo Dilo (Tony Gadlif, 1997, Romania,100')
142. Secretary (Steven Shainberg, 2002, USA, 111')
143. Vera Drake (Mike Leigh, 2004, UK, 125')
144. Derrida (Kirby Dick, Amy Ziering Kofman, 2002, USA, 85')
145. The Third Man (Carol Reed, 1949, UK/USA, 104')
146. The Dreamers (Bernardo Bertolluci, France, 2004, 124')
147. The Holy Girl (Lucrecia Martel, Argentina, 2004, 104')
148. The Dream Life of Angels (Elodie Bouchez, 1998, France, 113')
149. The Terrorist (Santosh Sivan, 1998, India, 100')
150. Written on the Wind (Douglas Sirk, 1956, USA, 99')
151. Belle de Jour (Louis Bunuel, 1967, France/Italy, 101')
152. Bullet Boy (Saul Dibb, 2004, UK, 89')
153. Rues Cases Negres (Euzhan Palcy, 1983, France/Martinique, 103')
154. Palindromes (Todd Solondz, 2004, USA, 100')
155. A Film About Jimi Hendrix (Joe Boyd, 1973, UK, 100')
156. George Washington (David Gordon Green, 2000, USA, 89')
157. Last Days (Gus Van Sant, 2005, USA, 97')
158. Who the Fuck is Pete Doherty? (Greg Rosselli, UK, 2005, 50')
159. 8 Femmes (Francois Ozon, 2002, France/Italy, 111')
160. 2046 (Wong Kar-Wai, 2004, China/Germany/France/Hong Kong, 130')
161. Spring, Summer, Autumn, Winter, and Spring (Kim Ki-Duk, Korea, 2004, 108')
162. Moolade (Ousmane Sembene, Senegal/France, 2004, 120')
163. The Agronomist (Jonathan Demme, 2003, USA, 90')
164. Grizzly Man (Werner Herzog, 2005, USA, 103')
165. Baldwin's Nigger (Horace Ove, 1969, UK, 45')
166. Pickpocket (Robert Bresson, 1959, France, 75')
167. 3 Iron (Kim Ki-Duk, 2005, Korea, 90’)
168. Mad Hot Ballroom (Marilyn Agrelo, 2005, USA, 105’)
169. Fire (Deepha Mehtra, 1996, India/Canada, 106’)
170. A Dream to Change the World (Horace Ove, 2004, UK/Trinidad)
136. Hyenas (Djibril Diop Mambety, 1992, Senegal,113’)
137. The White Diamond (Werner Herzog, 2005, Germany, 90’)
138. Capote (Bennett Miller, 2006, USA, 114’)
139. DiG! (Ondi Timoner, 2004, USA, 107’)
141. Lucia (Humberto Solas, 1968, Cuba, 160’)
142. La Vida es Silbar (Life is to Whistle) (Fernando Perez, 1998, Cuba, 106’)
143. Soy Cuba (I Am Cuba) (Mikheil Kalatozishvili, 1964, USSR/Cuba, 141’)
144. Le Souffle au Coeur (Murmur of the Heart) (Louis Malle, France, 1971, 158’)
142. The Squid and the Whale (Noah Baumbach, USA, 2005, 81’)
143. Beijing Bicycle (Wang Xiaoshuai, China, 2002, 113’)
144. Badlands (Terence Malick, USA, 1973, 90’)
145. De Battre Mon Coeur s'est Arrêté (The Beat That My Heart Skipped) (Jacques
Audiard, France, 2005, 102’)
146. Block Party (Michael Gondry, 2006, USA,114’)
147. Lady Vengence (Park Chan Wook, Korea, 2005, 117’)
148. Cache (Hidden) (Michael Haneke, Austria, 2005, 118’)
149. Barrel Children (Cara Weir, USA, 2006, 24’)
149. Paris is Burning (Jennie Livingston, USA, 1990, 78’)
150. The Red Shoes (Michael Powell& Emeric Pressburger, UK, 1948, 134’)
151. The Road to Guantanamo (Michael Winterbottom & Mat Whitecross, UK, 2006, 98’)
152. Vers le Sud (Heading South) (Laurent Cantet, France, 2006 108’)
153. The Wind That Shakes the Barley (Ken Loach, UK, 2006, 127’)
154. Mamute Siberiano (The Siberian Mammoth) (Vincente Ferraz, Brazil, 2005, 90’)
155. The Proposition (John Hillcoat, Australia/UK, 2005, 104’)
156. Au Hasard Balthusar (Robert Bresson, France, 1966, 95’)
157. Sullivan’s Travels (Preston Sturges, USA, 1941, 90’)
158. Crna Macka, Beli Mackor (Black Cat, White Cat) (Emir Kusturica,
France/Germany/Yugoslavia, 1998, 127’)
159. Bread & Roses (Ken Loach, UK, 1998, 110’)
160. Suna No Onna (Woman in the Dunes) (Hiroshi Teshigahara, Japan, 1964, 123’)
161. Volver (Pedro Almodovar, Spain, 2006, 121’)
162. Wassup Rockers (Larry Clark, USA, 2006, 111’)
163. The Yacoubian Building (Marwan Hamed, Egypt, 2006, 161’)
164. Pan’s Labyrinth (Guillermo del Toro, Mexico, 2006, 112’)
165. Ping Pong (Fumihiko Sori, Japan, 2006, 114’)
166. Water (Deepa Mehta, 2006, India, 140’)
167. Up and Dancing: The Magic Stilts of Trinidad & Tobago (Harald Rumpf., 2007,
Trinidad & Tobago/Germany, 51’)
168. Carnival Roots (Peter Chelkowski, 2003, Trinidad & Tobago, USA, 90’)
168. Blue Collar (Paul Schrader, USA, 1978, 114’)
169. Raising Victor Vargas (Peter Sollett, France/USA, 2002, 88’)
170. Grey Gardens (Albert and David Maysles, USA, 1976, 100’)
171. The Passenger (Michelangelo Antonioni, 1975, Spain/Italy/France, 119’)
172. The New World (Terrence Malick, 2006, USA, 135’)
173. Cockfighter (Monte Hellman, USA, 1974, 83')
174. The Wild Blue Yonder: A Science Fiction Fantasy (Werner Herzog,
Germany, 2006, 81’)
175. C.R.A.Z.Y (Jean-Marc Vallee, 2005, Canada, 127’)
176. Junebug (Phil Morrison, USA, 2005, 106’)
177. Etre et Avoir (To Be and To Have) (Nicholas Philibert, France, 2003, 100’)
178. Glastonbury (Julien Temple, 2006, UK, 124’)
179. Coffee and Cigarettes (Jim Jarmusch, USA, 2004, 93’)
180. Two for the Road (Stanley Donen, USA, 1967, 111’) 9/08/2007
181. 24 Hour Party People (Micheal Winterbottom/UK/2002/117') 16/08/2007
182. Round Midnight (Betrand Tavernier/France/1986/133') 23/08/2007
183. The Lives of Others (Florian Henckel Von Donnersmarck/Germany/2006/137') 30/08/2007
184. Vagabond (Agnes Varda/France/1985/105') 6/08/2007
185. Choose Me (Alan Rudolph/USA/1984/106') 13/08/2007

BABYLONDON 27 - 29th Sept 2007 (SFC's with Joel Karamath's contribution to T&T Film Festival)
186. A Hole in Babylon (Horace Ove/UK Trinidad/1979/70') 27/09/2007
Playing Away (Horace Ove/UK Trinidad/1986/100') 27/09/2007
The Equalizer (Horace Ove/UK Trindiad/1996/45') 27/09/2007
187. Dread Beat an' Blood (Franco Rosso/UK/1979/45') 28/09/2007
Territories (Isaac Julien/UK - St Lucia/1984/25')28/09/2007
Babylon (Franc Rosso/UK/1970/90') 28/09/2007
188. Cold Dead Hands (Kaz Ove/UK/2006/12') 29/09/07
The West Indian Front Room (Joel Karamath/UK/2006/15') 29/09/2007
Kidulthood (Menhaj Huda/UK/2006/87')

189. Edvard Munch (Peter Watkins/Sweden - Norway/1974/210') 1/11/2007
190. Gates of Heaven (Errol Morris/USA/1978/85') +Scott Walker 30 Century Man (Stephen Kijak/Uk-USA/2006/95') 8/11/2007
191. Fox and his Friends (RW Fassbinder/Germany/1975/123') 15/11/2007
192. Ghosts of the Cite Soleil (Asger Leth/Denmark- USA/2006/86') 22/11/2007
193. The Land of Look Behind (Alan Greenberg/USA-Jamaica/1982/90') + Catch a Fire (Jermey Marre/USA-JA/1999/60') 29/11/2007)
194. Gilda (Charles Vidor/USA/1946/110') 6/12/2007
195. Eastern Promises (David Cronenberg/CAN-UK-USA/2007/100') 27/2/2008
196. Crea Cuervos (Carlos Saura/Spain/1976/107') 6/03/2008
197. Into the Wild (Sean Penn/USA/2007/148') 13/03/2008
198. Last Temptation of Christ (Martin Scorsese/ USA/1988/164') 20/03/2008
199. Touki Bouki (Djibril Diop Mambety/Senegal/1973/85') 27/03/2008
200. In the Mirror of Maya Deren (Martina Kudlacek/Austria/2003/103') + Dancing Dieties (Emily Rose/T&T/ 2007) + Alonestar 'live!' 03/04/2008
201. Wristcutters (Goran Dukic/USA-UK/2007/88') 10/04/2008
202. Lost in La Mancha (Keith Fulton Louis Pepe/UK/2002/93') 24/04/2008
203. Little Voice (Mark Henman/UK/1998/97') 01/05/2008
204. Dog Day Afternoon (Sidney Lumet/USA/1975/104')_08/05/2008
205. Dark City (Alex Proyas/AUS-USA/1995/100') 15/05/2008
206. Rear Window (Alfred Hitchcock/ USA/1954/112') 22/05/2008
207. Lust Caution (Ang Lee/China-USA/2007/148') 04/06/2008
208. Killer of Sheep (Charles Burnett/USA/1977/80') 12/06/2008
209. Memories of Underdevelopment (Tomas Gutierrez Alea/Cuba/1968/97') 19/06/2008
210. Do the Right Thing (Spike Lee/USA/1989/120') + Style Wars (Tony Silver & Henry Chalfant/USA/1983/70') 26/06/2008
211. The Science of Sleep (Michel Gondry/France/2006/105') 09/07/2008
212. PERSEPOLIS (Marjane Satrapi/France/2007/98') 17/07/2008
213. A NOS AMOURS (Maurice Pialat/France/1983/102') + Part 1 WHEN THE LEVEES BROKE: A REQUIEM IN FOUR ACTS (Spike Lee/USA/2006/256') 24/07/2008
214. 'Yeelen' (Souleymane Cissé/Mali/1987/105') + pt 2 WHEN THE LEVEES BROKE: A REQUIEM IN FOUR ACTS (Spike Lee/USA/2006/256') 30/07/2008
215. NEAR DARK (Kathryn Bigelow/usa/1987/94') Part 3 WHEN THE LEVEES BROKE:A REQUIEM IN FOUR ACTS (Spike Lee/USA/2006/256') 07/08/2008
216. PIXOTE (Hector Babenco/Brazil/1981/123') + final act WHEN THE LEVEES BROKE: A REQUIEM IN FOUR ACTS (Spike Lee/USA/2006/60') 14/08/2008
216. BROADWAY DANNY ROSE (Woody Allen/USA/1984/84') + pt 1 EASY RIDERS RAGING BULLS (Kevin Browser/USA/2003/119') 21/08/2008
217. el violin (francisco vargas/mexico/2006) + pt 2 EASY RIDERS RAGING BULLS (Kevin Browser/USA/2003/119') 28/08/2008
218. How Tasty Was My Little Frenchman (Nelson Pereira dos Santos/Brazil/1971/80') + pt 1 Midnight Movies : From the Margins to the Mainstream (Stuart Samuels/USA/2005/45') 04/09/2008
219. THE LAST MISTRESS (Catherine Briellet/France/2007/102') 11/09/2008

220. DEREK (Isaac Julien/UK/2008/76') 18/09/2008
221. PARADISE OMEROS (Isaac Julien/UK/2002/20')
TRUTH NORTH (Isaac Julien/UK/2004/14')
Fantôme Afrique (Isaac Julien/UK/2005/17')
WESTER UNION: Small Boats (Isaac Julien/UK/2006/20')
BALTIMORE (Isaac Julien/UK/2003/20')

222. Let's Get Lost (Bruce Weber/USA/1988/120') + Je Chanterai Pour Toi (Jacques/France/2001/77')
223. Katzelmacher (RW Fassbinder/Germany/1969/88') + I Just Want You to Love Me (Hans Gunther Pflaum/Germany/1992/103')
224. Black and White (James Toback/USA/2000/100') + The Agony And The Ecstasy Of Phil Spector (Vikram Jayanti/UK/2008/100')
225. Ten Canoes (Rolf de Heer&Peter Djigirr/Australia/2006/90')
226. Manda Bala (Jason Kohn/2007/Brazil-USA/85')
227. The Bicycle Thieves (Vittorio De Sica/Italy/1948/93') + Henri Langlois: The Phantom of the Cinematheque (Jacques Richard/France/2004/120') PART I
228. MAN on WIRE (James Marsh/UK/2008/90') + Henri Langlois: The Phantom of the Cinematheque (Jacques Richard/France/2004/120') PART 2
229. EXODUS 77 (Anthony Wall/UK/2007/90')
230. CALYPSO DREAMS (Geoffrey Dunn/Michael Horne; T&T/USA; 2008; 90 min.)
231. High and Low (Akira Kurosawa/Japan/1963/143')
232. MIDNIGHT COWBOY (John Schlesinger/USA/1969/113')
233. MY ARCHITECT (Nathaniel Kahn/USA/2003/116')
234. THE DIVING BELL AND THE BUTTERFLY (Julien Schnabel/USA-France/2007/112')
235. Carmen & Geoffrey (Linda Atkinson and Nick Doob/2009/USA/80')
236. MY BROTHER TOM (Dom Rotheroe/UK/2001/111') + Stephen Gill TALK
237. Madame Satã (Karim Ainouz/2002/Brazil/103')
238. TYSON (James Toback/USA/2009/90')
239. VAMPYR (Carl Th. Dreyer/Denmark/1932/73')
240. COOL (Anthony Wall/2009/UK/60') + JAZZ BARONESS (Hannah Rothschild/UK/2008/82')
241. LEY THE RIGHT ONE IN (Tomas Alfredson/Sweden/2008/115')
242. BERGMAN ISLAND (Marie Nyrerod/Sweden/2006/83') + ONE MAN BAND (Orson Welles) (???USA/1996/88')
243. KLUTE (Alan Pakula/USA/1971/114') + A LETTER TO JANE (Jean-Luc Godard+Jean-Pierre Gorin/France/1972/52')