Arts Film Festival load shedding schedule

2008-04-23 00:00

LOAD shedding is having its effect on the Arts Film Festival at Ster Kinekor, which runs until May 1. The Scottsville schedule for load shedding is:

Tuesday: 1.30 am to 4 pm

Thursday: 11 am to 1.30 pm

Friday: 7.30 pm to 9 pm.

Saturday: 3.30 pm to 5 pm.

Films scheduled for those times will be affected. For more information, phone the Scottsville Ster Kinekor office at 033 342 6606.

Thursday 24 April

09:15 Lars & The Real Girl

12:00 No showing

14:45 Deliver Us From Evil

17:30 Gone Baby Gone *

20:15 Kite Runner

Friday 25 April

09:15    Darjeeling Limited

12:00    Away From Her

14:45    La Vie En Rose

17:30    Willow Tree

20:15    Feast of Love

Saturday 26 April

09:15 Sicko

12:00 Things We Lost In The Fire

14:45 Lars & The Real Girl

17:30 There Will Be Blood

20:15 Deliver Us From Evil

Sunday 27 April

09:15 No showing

12:00 US vs John Lennon

14:45 Darjeeling Limited

17:30 Away From Her

20:15 La Vie En Rose

Monday 28 April

09:15 Gone Baby Gone

12:00 Kite Runner

14:45 Sicko

17:30 Things We Lost In The Fire

20:15 Lars & The Real Girl

Tuesday 29 April

09:15 Willow Tree

12:00 Feast of Love

14:45 Love In The Time Of Cholera

17:30 US vs John Lennon *

20:15 Darjeeling Limited

Wednesday 30 April

09:15 There Will Be Blood

12:00 Deliver Us From Evil

14:45 Gone Baby Gone

17:30 Kite Runner

20:15 Sicko

Thursday 1 May

09:15 Away From Her

12:00 La Vie En Rose

14:45 Willow Tree

17:30 Feast of Love *

20:15 Love In The Time Of Cholera

Film synopses of the Ster Kinekor Arts Movie Festival, April 18 to May 1.

SiCKO: SiCKO is a straight-from-the-heart portrait of the insane, often cruel, and always profit-hungry U.S. health care system, told from the vantage point of everyday people faced with extraordinary and heartbreaking challenges in their quest for basic medical care. Academy Award winning filmmaker Michael Moore’-s new movie SiCKO asks his fellow Americans “What is wrong with us?” Moore shows that U.S. health care ranks last among developed nations despite costing more per person than any other health system in the world. Moore seeks answers in Canada, Great Britain, and France, where all citizens receive free medical care. Finally, Moore gathers a group of 9/11 heroes rescue workers now suffering from debilitating illnesses, unable to receive help at home, and takes them to a most unexpected place where they receive the tender care unavailable in the richest nation on earth. Moore follows the trailblazing path of his previous hit films, the Oscar-winning BOWLING FOR COLUMBINE and all-time box-office documentary champ FAHRENHEIT 9/11, with a new film, SiCKO, that many are calling his best film ever.

Things We Lost in the Fire:

Academy Award® winners Halle Berry and Benicio Del Toro star in director Susanne Bier’s (the Oscar®-nominated After the Wedding powerful new drama. It’s a moving and emotionally compelling drama about two people brought together by fate. Audrey Burke (Berry) is reeling from the shock of the news that has just been delivered to her door by the local police: her warm and loving husband Brian (David Duchovny), the father of their two young children, has been killed in a random act of violence. Once anchored by the love and comforts of their 11-year marriage, Audrey is now adrift. Impulsively, she turns to Jerry Sunborne (Del Toro), a down-and-out addict who has been her husband’s close friend since childhood. Desperate to fill the painful void caused by her husband’s death, Audrey invites Jerry to move into the room adjacent to their garage in the hope that he can help her and her children cope with their sudden loss. Jerry is facing a daily battle to stay off drugs, but in his unexpected role as surrogate parent and friend to Audrey’s son and daughter he finds a core of inner resilience. As Jerry and Audrey navigate grief and denial, their fragile bonds are constantly tested. Working together, however, they discover the strength to move forward. The film is directed by Susanne Bier and written by Allan Loeb.

There Will Be Blood:

Daniel Day-Lewis won the Best Actor Oscar for his portrayal in this sprawling epic about family, faith, power and oil. There Will Be Blood is set on the radical frontier of California’s turn-of-the-century petroleum boom. The story chronicles the rise of one Daniel Plainview (Daniel Day-Lewis), who transforms himself from a down-and-out silver miner raising a son on his own into a self-made oil tycoon. When Plainview gets a mysterious tip that there’s a little town out West where an ocean of oil is oozing out of the ground, he heads with his son, H.W. (Dillon Freasier), to take their chances in dust-worn Little Boston. In this hardscrabble town, where the main excitement centers around the holy roller church of charismatic preacher Eli Sunday (Paul Dano), Plainview and H.W. make their lucky strike. But even as the well raises all of their fortunes, nothing will remain the same as conflicts escalate and every human value – love, hope, community, belief, ambition and even the bond between father and son – is imperiled by corruption, deception and the flow of oil. There Will Be Blood is the fifth film from writer-director Paul Thomas Anderson (Punch-Drunk Love, Magnolia, Boogie Nights, Hard Eight). Anderson’s screenplay is loosely based upon the classic, 1920s muck-raking novel Oil! by Upton Sinclair. Academy Award® winner Daniel Day-Lewis heads a cast that includes Paul Dano (Little Miss Sunshine), Ciaràn Hinds (Rome, Margot At The Wedding), Kevin J. O’Connor (Van Helsing, The Mummy) and newcomer Dillon Freasier.

Love in the Time of Cholera:

Stone Village Pictures presents one of the greatest love stories ever told, based on the timeless masterpiece by Nobel Prize-winning author Gabriel García Márquez, Love in the Time of Cholera.

Spanning a half-century in the complex, magical and sensual city of Cartageña, Colombia, the sweeping romantic epic tells the story of a man who waits over fifty years for his one true love. Academy Award® nominee Javier Bardem stars as Florentino Ariza, a poet and telegraph clerk who discovers his life’s passion when he sees Fermina Daza (Giovanna Mezzogiorno) through the window of her father’s villa. Through a series of passionate letters, Florentino gradually awakens the young beauty’s heart, but her father (John Leguizamo) is furious when he learns of the affair, and vows to keep them apart forever. As the years go by, Fermina marries the sophisticated aristocrat Dr. Juvenal Urbino (Benjamin Bratt), who has brought order and medicine to Cartageña, stemming the waves of cholera that mysteriously besiege the city. He sweeps her away to Paris for years, and when they start their lives together back in Cartageña, she has all but forgotten her first love. But Florentino has not forgotten her. Now a wealthy ship-owner, Florentino engages in a series of affairs but still yearns for Fermina. His heart is patient, and he will wait a lifetime for the chance to be with her again. Directed by Mike Newell (Donnie Brasco, Enchanted April), Love in the Time of Cholera is a thrilling, sensual and complex journey into the very heart of love. The Stone Village Pictures production is produced by Golden Globe winner Scott Steindorff (The Human Stain, Empire Falls) and the screenplay is by Oscar®-winning screenwriter Ronald Harwood (The Pianist), based on the novel by Gabriel García Márquez.

La Vie En Rose:

From childhood to glory, from triumph to despair, from Belleville to New York, the extraordinary life of Edith Piaf. The true story of her incredible destiny opens a window onto the artist's soul and into a woman's heart. Intimate, intense, fragile and indestructible, ready to make any sacrifice for her art, Edith Piaf. Writer-director Olivier Dahan recalls: "I wanted to make a film about what drives an artist. I was in a bookstore flicking through a book about Piaf when the idea suddenly came to me. I immediately sent a text-message to Alain Goldman. Five minutes later, he gave me the green-light." Alain Goldman says: "I was keen to work with Olivier again. We're very close, professionally and personally, but I didn't have anything lined up with him. Then, on January 22, 2004, at 3:46pm, I received a text-message from him, which read, ‘A movie about music and love. A tragic, romantic blockbuster. French subject matter, international appeal. A major film about Piaf.’ That sums up the movie perfectly. I kept that message, that initial impulse, as a reference.” Olivier Dahan adds: "For me, Piaf is the perfect example of someone who places no barrier between her life and her art. The spark came when I saw a photo of her, as a young woman, walking in the street with her friend Momone. Few people have ever seen what she looked like so young. The prevailing image of her is from the 50s and 60s – the frail icon in the black dress. That photo gave me a glimpse of somebody completely different, who wasn't yet Edith Piaf and who intrigued me. I pictured a kind of bridge between the prevailing image and that photo of an uncut diamond."

The role of Piaf is played by Marion Cotillard who won the Best Actress 2008 for her role.

The Kite Runner:

Based on one of the most acclaimed novels in recent memory, The Kite Runner is a profoundly emotional tale of friendship, family, devastating mistakes and redeeming love. In a divided country on the verge of war, two childhood best friends, Amir and Hassan, are about to be torn apart forever. It’s a glorious afternoon in Kabul and the skies are bursting with the exhilarating joy of an innocent kite-fighting tournament. But in the aftermath of the day’s victory, one boy’s fearful act of betrayal will set in motion a catastrophe … and an epic quest for redemption. Now, after 20 years of living in America, Amir returns to a perilous Afghanistan under the Taliban’s iron-fisted rule to face the dark secrets that still haunt him and take one last daring chance to set things right. Golden Globe-nominated director Marc Forster (Stranger Than Fiction, Finding Neverland and Monster’s Ball) brings to life Khaled Hosseini’s bestseller on the screen with a globally diverse cast and crew, mixing a remarkable group of non-actors from Afghanistan and Central Asia with an accomplished international cast, and shooting on location in the Western Chinese desert bordering Afghanistan. The result is a journey into a new world, through a universal human story that speaks to anyone who has ever yearned for a second chance to make a change and find forgiveness. Directed by Marc Forster, The Kite Runner is written by David Benioff (Troy, Stay) and is based on Khaled Hosseini's best-selling book.

The Darjeeling Limited : In director Wes Anderson's The Darjeeling Limited, three American brothers who have not spoken to each other in a year set off on a train voyage across India with a plan to find themselves and bond with each other -- to become brothers again like they used to be. Their "spiritual quest", however, veers rapidly off-course (due to events involving over-the-counter pain killers, Indian cough syrup, and pepper spray), and they eventually find themselves stranded alone in the middle of the desert with eleven suitcases, a printer, and a laminating machine. At this moment, a new, unplanned journey suddenly begins. Owen Wilson, Adrien Brody, and Jason Schwartzman star in this film about their adventure and their friendship. The Darjeeling Limited is directed by Wes Anderson from a screenplay by Anderson and Roman Coppola and Jason Schwartzman. Joining Wilson, Schwartzman and Brody in the cast are Anjelica Huston, Amara Karan, Wally Wolodarsky, Camilla Rutherford and Irrfan Khan. The film is produced by Wes Anderson, Scott Rudin, Roman Coppola and Lydia Dean Pilcher and executive produced by Steven Rales.

Feast Of Love:

From venerable, multiple Academy Award® winning director Robert Benton (Kramer Vs. Kramer,Places In The Heart), comes a kaleidoscopic ode to life and love in all its funny, sad, sexy, crazy, heartbreaking and life sustaining facets in: Feast Of Love. In a coffee shop in a tight-knit Oregon community a local professor and writer Harry Stevenson (Morgan Freeman) witnesses love whipping up mischief among the town’s residents. Among young and old, among both parents and lovers, among the sweet and the savage, among humans and even animals, Harry watches in awe as love mystifies, wounds, devastates, inspires, makes unreasonable demands and profoundly shapes the lives of everyone around him – including himself. From the die-hard romantic coffee shop owner Bradley (Greg Kinnear) who has a serial habit of looking for love in all the wrong places, including with his current wife Kathyrn (Selma Blair); to the edgy real estate agent Diana (Radha Mitchell) who is caught up in an affair with a married man (Billy Burke) with whom she shares an ineffable connection; to the beautiful young newcomer Chloe (Alexa Davalos) who defies fate in romancing the troubled Oscar (Toby Hemingway); to Harry himself, whose adoring wife (Jane Alexander) is looking to break through his wall of grief after the wrenching loss of a loved one. All of these strands intertwine into one epic love story in which no one can escape being bent, befuddled, delighted and ultimately redeemed by love’s inescapable spell. Based on the acclaimed novel by Charles Baxter, Feast Of Love is a simultaneously hilarious and bittersweet, problematic and life altering look at life by the award-winning director Robert Benton.

Lars and the Real Girl:

When Lars Lindstrom (Ryan Gosling) introduces his brother Gus (Paul Schneider) and sister-in-law Karin (Emily Mortimer) to his new friend Bianca, who he met on the internet, their immediate response is shock and disbelief. Has Lars, the sweet, socially challenged introvert gone completely mad? They meet Bianca and see a doll, but Lars sees a friend. Bianca isn’t a real woman at all but a Real Doll. How will they explain this to the residents of the sleepy Midwestern town they’ve grown up in and currently reside? Karin and Gus consult the town’s family physician, Dr. Dagmar Berman (Patricia Clarkson), who advises them to go along with it. Lars is experiencing a delusion and in order to help him through this crisis, they and the townsfolk need to get onboard. After some persuasion and appeal to their love and concern for Lars, Gus and Karin enlist their cooperation. Soon Bianca is attending church, modeling at the local dress shop, volunteering at the hospital and accompanying Lars to his first ever social events. Surprisingly to those around her, Bianca weaves her way into the hearts of everyone she meets, filling voids they didn’t know they had. What follows is an emotional, comical, transformative journey for Lars and the people around him. Written by Six Feet Under scribe Nancy Oliver, Lars and the Real Girl also stars Paul Schneider and Kelli Garner. Lars is directed by Craig Gillespie (Mr. Woodcock) with Sidney Kimmel producing, along with John Cameron and Sarah Aubrey. William Horberg, Peter Berg and Bruce Toll serve as executive producers.

Away From Her is the lyrical screenplay adaptation of celebrated author Alice Munro’s short story “The Bear Came Over the Mountain”.

Away From Her is a beautifully moving love story that deals with memory and the circuitous, unnamable paths of a long marriage. Married for 50 years, Grant (Gordon Pinsent) and Fiona’s (Julie Christie nominated for an Oscar Award for this role) commitment to each other appears unwavering, and their everyday life is full of tenderness and humour. This serenity is broken only by the occasional, carefully restrained reference to the past, giving a sense that this marriage may not always have been such a fairy tale. This tendency of Fiona’s to make such references, along with her increasingly evident memory loss, creates a tension that is usually brushed off casually by both of them. As the lapses become more obvious and dramatic, it is no longer possible for either of them to ignore the fact that Fiona is suffering from Alzheimer’s disease. Eventually, Fiona decides that it is time for her to enter into Meadowlake, a retirement home that specializes in the disease. One of the more archaic rules of Meadowlake is that a patient may not have any visitors during their first month in the facility in order to “adjust.” After an excruciatingly painful 30 days separated from his wife, Grant returns to Meadowlake to discover Fiona seems to have no memory of him and has turned all of her affection to Aubrey (Michael Murphy), another resident in the home. Grant, finding no option but to accept his new status as an attentive acquaintance visits her daily and is forced to bear witness to the cement bond that has developed between her and Aubrey. Over time, he befriends Kristy (Kristen Thomson), a salt of the earth nurse who works at Meadowlake. Touched by his dogged devotion, she takes a special interest in him. Through their conversations, Grant’s imperfect history and the perverse poetic justice of this agonizing situation with Fiona and Aubrey becomes evident. When Aubrey’s wife, Marian (Olympia Dukakis) returns from her vacation, she suddenly takes Aubrey out of Meadowlake. Fiona is devastated by the separation and enters into a deep depression. Her condition deteriorates rapidly. Grant, fearful for Fiona’s life, embarks of the greatest act of self-sacrifice of his life as a means to attaining his wife’s final happiness. Sarah Polley (Writer/Director) has been writing and directing in Canada for the last six years.

Deliver Us From Evil is the story of Father Oliver O’Grady, the most notorious paedophile in the history of the modern Catholic Church. A remorseless, and compulsive, sexual predator, O’Grady used his charm and authority as a religious leader to exploit Catholic families and rape dozens of children across Northern California – both physically and spiritually – over the course of twenty years. His victims ranged from a nine month-old infant to the middle-aged mother of an adolescent victim. Despite early warning signs and complaints from several parishes, the Church, in an elaborate shell game designed to avoid liability and deflect criticism, lied to parishioners and local law enforcement while continuing to move O’Grady from parish to parish. Yet internal Church documents prove that since 1973, O’Grady raped and sodomized with the full knowledge of his Catholic superiors. Following O’Grady’s incarceration and deportation, Deliver Us From Evil filmmaker Amy Berg contacted him and, remarkably, persuaded him to participate in the making of her film. Using his chilling testimony as a launching point, Berg exposes the high-level corruption within the Church while she tries to understand why child abuse within this institution, which still occurs today on a global scale, is so rampant. Most importantly, Berg encourages several of O’Grady’s victims to finally speak out, shedding much-needed light on the horrifying legacy of sexual abuse. Capturing startlingly candid confessions that will break your heart, Deliver Us From Evil charts these survivors’ continuing struggle to repair their lives, their broken families and their trust in the very institution that continues to betray them. Moving, infuriating and timely, Deliver Us From Evil is the haunting story of those who were robbed of their faith…and who are now struggling to reclaim it. In the course of her work for CBS’ 30 Minutes of Special Assignment, and later for CNN, filmmaker Amy Berg spent a total of four years investigating paedophile priests. She produced several news stories on the paedophilia scandals within the Los Angeles Archdiocese, and became well acquainted with Cardinal Roger Mahony and the more than 550 priests under his jurisdiction who had abused children without punishment. But nothing quite prepared her for Father Oliver O’Grady.

Gone Baby Gone:

This film is rated R for violence, drug content and pervasive language. “When I was young I asked my priest how you could get to heaven and still protect yourself from all the evil in the world. He told me what God said to his children: We were sheep among wolves. Be wise as serpents, yet innocent as doves.” Patrick Kenzie. Each day in America, 2000 children are reported missing. The sinuously provocative, edge-of-your-seat thriller Gone Baby Gone – adapted from Dennis Lehane’s (Mystic River) best-selling novel and featuring the directorial debut of Academy Award®-winner Ben Affleck – follows the explosive case of just one missing little girl. But inside this investigation lie secrets and a labyrinthine maze of class and corruption, evil and innocence . . . all leading up to one man’s extraordinary choice in a world where right and wrong have become blurred. The story begins in the Boston neighborhood of Dorchester, where the gritty, working-class streets are lined with the wreckage of broken families and dreams. It is here that 4 year-old Amanda McCready has gone missing without a trace. The police have failed to turn up even the narrowest of leads, so Amanda’s desperate Aunt and Uncle plead with local private investigators Patrick Kenzie (Casey Affleck) And Angie Genarro (Michelle Monaghan) to take the case. Though they’re wary to jump in, Patrick and Angie know the neighborhood and they also know the truth about Amanda’s drug-addicted mother Helene (Amy Ryan). As they dig into her story, they find themselves on a trail that winds into the dark heart of Dorchester and through a chain of drug-dealers, ex-cons and child abusers, but brings them no closer to Amanda. In the glare of the media spotlight, they join forces with a relentless detective Remy Bressant (Ed Harris) and police captain Jack Doyle (Morgan Freeman) but just as it appears that the emotionally wrenching case is about to be cracked, in the flash of gunfire, the sad truth of Amanda’s fate is revealed.

Gone Baby Gone stars Casey Affleck, Michelle Monaghan, Ed Harris, Morgan Freeman, John Ashton, Amy Madigan, Titus Welliver and Amy Ryan. The film is directed by Ben Affleck, who previously won an Academy Award® along with Matt Damon for the Good Will Hunting screenplay. Affleck co-wrote the script with Aaron Stockard, based on the novel by Dennis Lehane. Alan Ladd Jr,

The U.S. Vs. John Lennon:

“Of all the documentaries that have been made about John, this is the one he would have loved.” Yoko Ono. Before Iraq, before the Bush Administration, before the Dixie Chicks, Bruce Springsteen, and Pearl Jam … there was John Lennon, the celebrated musical artist who used his fame and his fortune to protest the Vietnam War and advocate for world peace. In the new Lionsgate and VH1 documentary, The U.S. Vs. John Lennon, filmmakers David Leaf and John Scheinfeld trace Lennon’s metamorphosis from lovable “Moptop” to anti-war activist to inspirational icon as they reveal the true story of how and why the U.S. government tried to silence him. Primarily focusing on the decade from 1966-1976, The U.S. Vs. John Lennon places Lennon’s activism - and the socio-political upheaval it represented - in the context of the times. It was one of the most fractious periods of American history, dominated by the Vietnam War; the rise of antiwar, civil rights, New Left and other political movements challenging the status quo; the Nixon presidency; revelations of government deception, surveillance and harassment; and Watergate. The film features a large and diverse array of the era’s notable figures, men and women who bear immediate and authoritative witness to specific events as well as to the prevailing climate. Among them: African-American political activists Angela Davis and Bobby Seale; journalists Carl Bernstein and Walter Cronkite; Nixon Administration officials G. Gordon Liddy and John Dean; Vietnam veteran and antiwar activist Ron Kovic; the eminent American historian/novelist Gore Vidal; former New York Governor Mario Cuomo; and three-term Senator and Democratic Presidential candidate George McGovern. But it is John Lennon himself who is the documentary’s pre-eminent voice and galvanizing central presence. With Lennon’s own music providing subtly incisive narration, the film captures a public and private Lennon that many viewers may not know: a principled, funny, and extraordinarily charismatic young man who refused to be silent in the face of injustice. Yoko Ono, Lennon’s wife, creative collaborator and partner in their campaign for peace, has given the filmmakers unprecedented access to the Lennon-Ono archives, enabling them to draw upon never-before seen or heard audiovisual materials in telling their story. And in a series of in-depth interviews, Ono shares her personal memories, evoking as no one else can the realities of the couple’s daily lives; their hopes and happiness; and their long ordeal at the hands of the U.S. government.

The Willow Tree:

A man who lost his sight as a boy, has an operation in France which restores his sight. He returns home to a wildly different world, now that he can see. Unfortunately he sees so many bad things that he begins to regret the gift of sight. Things get more complicated when he begins to despise his wife and take an interest in much younger women, wanting the experiences he never had as a young man. In Persian with English subtitles.

“The Iranian director Majid Majidi’s sad, soulful film The Willow Tree is his second movie to explore blindness and sight on multiple levels. Its heartbreaking 1999 forerunner, The Color of Paradise, focused on the desperately lonely but strangely happy existence of Mohammad, a blind 8-year-old whose widowed father reluctantly abandons him to the care of a rural carpenter, then vanishes. The Willow Tree examines the traumatic shocks experienced by a blind professor of literature whose eyesight is miraculously restored. Youssef (Parvis Parastui), the 45-year-old protagonist, reads and types in Braille, and teaches the poetry of Rumi at a university in Tehran. If the two films are viewed as a matched pair, as I think they should be, Youssef could be Mohammad’s urban grown-up counterpart. Both films are explicitly religious, intensely poetic meditations, filled with recurrent symbols and suffused with a spirit of divine apprehension. Both are sad beyond measure, and both risk seeming mawkishly sentimental. The Willow Tree is not a film for moviegoers uncomfortable with portentous symbols. Ants, walnuts, snow and sudden wind are among the many phenomena that acquire mystical and metaphoric weight. Like The Color of Paradise, The Willow Tree recognizes that for the blind, what is seen and unseen can be equally real. Because blindness allows those afflicted to imagine a paradise, it can afford a kind of protection.”

Review by Stephen Holden of The New York Times.

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