Ross to show off eclectic fall schedule
ROSS from page 11
“Limbo” is about people and commu
nities taking risks. The similarities
however, may end there.
Sayles takes risks in the unusuall)
structured “Limbo.” The film’s “condi
tion of unknowable outcome” leaves
both the characters and the audiences ir
limbo.
German director Wim Wenders
documentary “Buena Vista Social
Club” follows in September.
Considered a change in style foi
Wenders, the documentary poeticall}
explores the music of American com
poser/musician Ry Cooder and the
Cuban talents with whom he played.
Shot on digital video, the film
transports audiences to the surreal ori
gins of Cooder’s music. Conceri
footage provides a similar sense ol
foundation to the creation of music.
Despite the quirky title, the nexi
film, “Hideous Kinky,” must be taker
as a serious creative-cinematic success
British director Gillies MacKinnor
pursues the exploration of a free-spirit
ed woman (Kate Winslet) and hei
daughters in the ’70s.
The single mother breaks out 01
London with her two daughters anc
continues onto a hippie trip of self-dis
covery to Morocco. The magical work
discovered is in fact hideous kinky!
MacKinnon’s “Kinky” is visually
hot with crisp colors to capture the
essence of such an exotic place, time
and concept.
Paul Wagner’s “Windhorse” begin;
the October lineup. Shot in Tibet, the
film demonstrates the finest in guerril
la filmmaking.
The risks taken to film
“Windhorse” are astounding. Wagnei
shot on location, up 12,500 feet in the
Himalayas, using secret codes and ges
tures for his directorial commands.
In the film, three Tibetans searcl
for freedom amid oppression b)
Chinese military occupants.
Following is German directoi
Joseph Vilsmaier’s “The Harmonists,”
in which a Jewish musician in the
1920s forms a band and becomes
immersed in fame. Somehow oblivious
to Hitler’s rise in power, the band and
the course of the film are7inevitably
cursed.
The Nazi Party forces the band to
break apart in a thought-provoking turn
of events. Vilsmaier reveals a unique
view of the Holocaust through the per
spective of the musicians and their
friends.
Another German director, Tom
Tykwer, created a fast paced film laced
with speed. “Run Lola Run” isn’t com
plex in plot, but the visual imagery pro
vides the complexity that fuels the film.
Lola is on a timed search for money
to save her boyfriend’s life. The film
hardly allows the audience a breath
between images. The plot is repetitively
told through split screens, cartoons and
pixilated photography.
The End of the Millennium Gay
and Lesbian Film Festival, featuring six
i films, runs throughout October.
“Better Than Chocolate” promises
to be an intelligent film commenting on
life in the lesbian community. “Edge of
' Seventeen” shows the sensitivity of a
I teen struggling to come to terms with
sexuality. “Hard” provides a disturbing
crime genre film. “Out of Season” gen
tly exposes two women and their jour
neys toward commitment. “Paul
: Monette: The Brink of Summer’s End”
is a biographical look at the gay activist
and writer. And finally, “The Sticky
Fingers of Time” gives the festival its
sci-fi thriller.
Udayan Prasad’s “My Son the
Fanatic” wraps up October. This unique
flick is packed with cultural and racial
■ issues.
In London, a Pakistani cab driver
discovers his son’s involvement in a
fundamentalist Islamic group,
i Struggling with the boundaries of cul
tures and assimilation, Prasad handles
the film’s content lightly. Humor allows
such intense racial and cultural content
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Courtesy Photo
GERMAN DIRECTOR Tom Tykwer keeps “Run Lola Run” at a frantic pace with
a deluge of images.
to be swallowed and absorbed.
“Xiu Xiu: The Sent Down Girl,”
directed by Joan Chen, tempts the lim
its of filmmaking as Wagner’s
“Windhorse” does.
Filmed in China without the gov
ernment’s consent, “Xiu Xiu” tells the
story of a teen-age girl amidst the
Cultural Revolution. Chen attempts to
tackle dark themes in her coming-of
age tale and first feature film.
Jim Fall’s “Trick” follows “Xui
Xui” in November. Fall racked up some
serious awards at summer festivals foi
this screwball romantic comedy.
A young composer, played by
Christian Campbell (Neve’s brother), is
innocently intrigued by his sexuality.
After meeting another guy (J.P. Pitoc).
the two spend their entire night togeth
er looking for a place to have sex.
Of course, Fall has other plans foi
his characters. Look for Tori Spelling
playing a gay guy’s best friend.
Olivier Assayas’ French film “Late
August, Early September,” presents a
group of people in Paris affected by the
death of a writer and common friend.
Assay as’ cinematic style and grace is
perhaps the most intriguing aspect of
the film.
Kevin Rafferty’s film “The Last
Cigarette” begins the December line
up. This film is for smokers, previous
smokers and potential smokers. Yet,
even non-smokers will appreciate
Rafferty’s look into people’s reasoning
for smoking.
“The Last Cigarette” is presented in
a documentary style complete with his
toric commercial footage to probe into
the cultural significance of smoking.
“Black Cat, White Cat,” winner of
multiple film festival awards, moves 1
slightly away from director Emir i
Kusturica’s previous political commen- i
tary work. ]
Kusturica’s film focuses upon a ]
group of gypsies. Two old friends dis- ]
cover each other, and their families
unexpectedly clash. The hostility of <
family bonds tests the bonds of love.
Finally, Michael Polish’s “Twin
Falls Idaho” will shock audiences.
Mary Riepma Ross
FILM THEATER
Fall 1999 scheilale
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Screenings: Sept. 2 - Sept. 5
Sept. 9 - Sept. 12
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Screenings: Sept. 16 - Sept. 18
Sept. 23 - Sept. 26
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Screenings: Sept. 19
Screenings: Sept. 30, Oct. 1
The Harmonists
Screenings: Oct. 3
■ '■
Screenings: Oct. 7 - Oct. 10
Oct. 14-Oct. 17
Screenings: Oct. 21 -31
schedules available at the
Mary Riepma Ross
Film Theater
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Screenings: Oct. 24
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Screenings: Sept. 30, Oct. 1
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Screenings: Nov. 11 - Nov. 14
Nov. 18 - Nov. 20
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Screenings: Nov. 21
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Screenings: Dec. 2 - Dec. 4
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Screenings: Dec. 5
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Screenings: Dec. 9 - Dec. 12
Dec. 16 - Dec. 19
Melanie Falk/DN
Written by and starring real-life identi
:al twins, the film tells the story of two
conjoined twins. The twins search for
ove, first through family and then in a
irostitute named Penny (Michele
dicks).
When one twin falls ill, and the
ither in love, the twins battle the mental
md physical pains of being separated.
A bittersweet ending for both the
'ilm and the Ross fall season.
Sheldon to feature work by black artists
SHELDON from page 11
Walker, whose art is a narrative of 19th century slavery
and African-American history, uses black paper cutouts to
present captivating images.
Another featured artist, Willie Cole, uses a household
item in his 1997 piece titled “Stowage.” This piece, a large
woodblock with prints of an ironing board and ironing
board bottoms, represents the cargo maps used to measure
how to maximize the number of slaves transported in the
ship’s galley space.
One of the less subtle pieces, “White Power” by
Michael Ray Charles, uses and exploits racial stereotypes
that have been visible in print media since the beginning of
the 20th century. This piece features a black figure with
white teeth sunk into a large piece of watermelon. The large
“White Power” slogan on the top and bottom of the picture
contradicts this oppressive image.
Other pieces, such as Raymond Saunders’ “East and
West Coast Paints,” are more abstract. Saunders created this
piece to refer to the different experiences he had during his
time on each coast. Saunders uses the image of paint in his
work to symbolize his identity as an artist.
Other types of art that will be presented in the exhibition
include photography and word imagery.
“All of these artists have been influenced by Colescott,”
Siedell said. “They have been impacted by his work and his
attitude. Colescott’s works present controversy on all sides.”
The main goal of the “Black Image and Identity” exhi
bition is to explore Colescott’s influence in the African
American art community while at the same time showing
off the diversity within the monolithic set of features that is
, Courtesy Photo
IN “JAZZ,” a hand-colored photo etching, Romare
Beardon explores jazz and the vivid colors of Caribbean
culture.
called “black identity.”
While the works will be shown on their own until
January 2000, a traveling show of Colescott’s pieces will be
intermingled with the present works in three weeks.
“We want to show off the depths of our holdings,”
Siedell said. “At die same time, we are using these works to
complement those paintings that are in the Colescott show.”
wmmmmmmmmmmmm
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