Next Cinema Lounge

The Cinema Lounge meets on Monday, December 9, 7:00pm to talk about the Western, look at some classic westerns and talk about why they have fallen from grace after once ruling in Hollywood.

Suggested viewing: Stagecoach (John Ford, 1939), High Noon (Fred Zinneman, 1952), The Magnificent Seven (John Sturges, 1960), The Good, the Bad and the Ugly (Sergio Leone, 1967), The Wild Bunch (Sam Peckinpah, 1969), Blazing Saddles (Mel Brooks, 1974), Unforgiven (Clint Eastwood, 1992).

Cinema Lounge, a film discussion group, takes place the second Monday of every month at 7:00 PM at Borders Books, 600 14th St., NW in Washington, DC (near the Metro Center Metro stop).

Vote for The Best of 2002 and Win

No acceptance speeches. No statues. No media sponsored parties. Just your opinion and your chance to win.

The Washington DC Film Society announces the third annual vote for The Best of 2002. This is your chance to vote for your favorite movies, performances, and director of 2002. Logon to the DC Film Society website and click The Best of 2002 to cast your ballot and win.

Yes, win! All ballots will be entered in a drawing to win great prizes such as tickets to the 11th Annual Capital Oscars Party, and more. Hurry! The voting booth is only open January 1-31, 2003. Vote and win!

Jean Vigo

Of all cinema's illustrious martyr figures, none is more romantic than Jean Vigo, poet maudit of 1930s French cinema, dead at 29, leaving a filmography of just four films (only one of which is a full-length feature). He was the epitome of the radical, passionate filmmaker, fighting every step of the way against those of less imagination and sensibility. Even though his films had little impact on contemporary audiences, they were enormously influential on other film-makers, both in terms of his aesthetics and of Vigo's model of an auteur struggling against adversity.

He was the son of a famous militant French anarchist, Eugene Bonaventure de Vigo, who took the name Miguel Almereyda reportedly because it contained all the letters for merde. His father died in prison in 1917, almost certainly murdered, and Jean spent an unhappy childhood at a number of boarding schools. His father's anarchism exerted a lasting influence on his artistic sensibility and Jean found himself attracted to the avant-garde of the late 1920s. After a brief spell in the Nice studios as an assistant cameraman, he bought a second-hand camera and began work on what would become his first film, the satirical film essay À propos de Nice (1930), an exceptional study of social inequalities. Using the city of Nice as a microcosm, he juxtaposed images of vacationers sprawled on the beach with impoverished slum dwellers. Vigo said, "In this film, by showing certain basic aspects of a city, a way of life is put on trial…the last gasps of a society so lost in its escapism that it sickens you and makes you sympathetic to a revolutionary solution."

His second film, Taris, Champion de natation (1931) was a demonstration of swimmer Jean Taris, "a beautiful cine-poem exploring the possibilities of underwater cinematography. The Motion reminds one of the classic ballet. The movement underwater is extraordinary." (Jean Cocteau).

A sympathetic independent producer and cinephile, Jacques-Louis Nounez, interested in a series of low-budget medium length films, gave him his third opportunity. Zéro de conduit (1933) was based on his father's prison experiences and his own time in boarding school. The subject, the attempted suppression of childhood by adults, took the form of a story of a rebellion at a boys' boarding school. A powerful indictment of authoritarianism, the film has been universally praised for its depiction of children's secret world and its creative mixture of fantasy and surrealism. It was branded "anti-French" by the censors and not shown again in France until 1945.

Vigo's last film was L'Atalante (1934), an erotic romance set on a barge, and generally considered to be his masterpiece and a key film of the 1930s. A village girl marries a skipper of a barge and comes to live on the cat-infested boat. His own version of poetic realism, it was unfortunately cut to pieces by the producers and retitled La Chaland qui passe after a popular song that was inserted onto the soundtrack.

Much of the poetic power of Vigo's films is due to Russian-born cinematographer Boris Kaufman, brother of Dziga Vertov, who worked on all of Vigo's films and recalled the days of working with Vigo as "cinematic paradise." Boris Kaufman would go on to work in Hollywood on On the Waterfront and other films.

Directors influenced by Jean Vigo include Bernardo Bertolucci who quotes directly from L'Atalante in Before the Revolution (1964) and Last Tango in Paris(1973); and Lindsay Anderson whose If... (1968) is a loose adaptation of the themes and structure of Zéro de conduit. Léos Carax paid Vigo tribute at the end of Les amants du Pont Neuf (1991) when the drowning lovers are fished out of the Seine by an elderly couple on a barge, presumably the skipper and his wife from L'Atlante grown old. Jean-Luc Godard's Eloge de l'amour (2001), pays tribute in a scene where an ill-fated couple stand silhouetted in black and white beside the Seine. The man describes how a landscape can only be 'new' to one if one mentally compares it to a landscape already seen. As he explains this, Maurice Jaubert's L'Atalante theme plays on the soundtrack.

Lecture and screening of all of Jean Vigo's films at the National Gallery of Art on Sunday, December 8 at 2:00pm. Lecture "(Sur)Realism in Zero for Conduct and L'Atalante" by T. Jefferson Kline, Boston University.

Classic, independent and foreign films: from Almodóvar to Zeffirelli

Come Watch a Film With DC Classics

DC Classics is a group for members of the Washington metro area who get together to watch and discuss classic, foreign, and independent films. Originally started as a classic films group, the group expanded its scope to include foreign and independent films in response to interest from its members. The idea is to get people with a common love for film together to fully appreciate the film "experience". This includes watching the film in a theatre or "theatre-like" atmosphere, i.e., with an audience. Ideally, the film would be followed by some social and discussion time, but this varies depending on the timing and setting of the film. Since anyone in DC Classics can plan an event, the plan will depend on the desires of the organizer and the members in the group.

DC Classics meets at public venues throughout the area. Examples of recent organized events include: Real Women Have Curves (2002) at Loews Cineplex Dupont; Mr. Smith Goes to Washington (1939) at American City Diner; Way Out West (1937) at Films on the Hill; L'eclisse (Italy/France, 1962) at the Hirshhorn; Lawrence of Arabia (1962) at the Uptown; The Invisible Man (1933) at Films on the Hill; The Lost Man (West Germany, 1951) and The Murderers Are Among Us (East Germany, 1950) at the National Gallery of Art; Evil Dead II (1987) at Visions; Spirited Away (2001) at Mazza Gallerie; and Seven Samurai (Japan, 1954) at the AFI National Theatre.

Membership is free and open to everyone. To join, visit the website or send an e-mail.

The French Film Festival in Edinburgh

By Jim McCaskill

EDINBURGH, Scotland. The Auld Alliance seems to be alive and well. The Auld Alliance was based originally on the shared need of France and Scotland to curtail English expansion. Born of military and diplomatic need (John Balliol's 1295/6 revolt against Edward I brought the earliest recognized treaty) soon gave way to cultural exchange. This same document that had Scots fighting for French kings gave Scottish merchants the privilege of selecting the first choice of Bordeaux's finest wines. This privilege was protected for hundreds of years while the English received inferior wines. French wines landed at Wine Quay at Leith (down at the heels today but now a fast-recovering section of Edinburgh) and rolled up the streets to the merchants' cellars. While the wine was mostly for the elite (commoners drank whiskey or beer), it was drunk at Hogmanay. Trade in claret continued during Reformation years for one reason. Protestant Scotland was all to happy to drink Catholic France's wine.

The wine vaults are still with us although no longer used for storing superb Bordeaux. Today one building houses The Scotch Malt Whisky Society. Hogmanay (New Year's celebration) is fast approaching and gallons of fine French wine will flow again.

The cultural component that began in the thirteenth century affected architecture and language. The French cravat became the Scot's gravat. The assiette on a French table held haggis as an ashet. So it was a natural extension of that cultural exchange for film journalists. Eleven years ago Richard Mowe and Allan Hunter began showing contemporary and classic le cinema français as the French Film Festival UK. Today the festival is on for the last two weeks in November in Edinburgh, Glasgow, Aberdeen, Dundee and London. This year it continues to grow and impress thousands of ticket buyers. More than ten thousand tickets were sold. Film goers were exposed to "an array of French actors, writers and directors, as well as presenting a broad 'Panorama' of mainstream successes and a 'New Wave' section to celebrate new talent."

Honor was also paid to star Jean-Pierre Leaud whose career spans five decades and 39 films and ranges from the critically important The 400 Blows to The Pornographer and includes Last Tango in Paris and Day for Night. He has worked for almost every legendary director: François Truffaut, Jean Cocteau, Jean-Luc Godard, Pier Paolo Pasolini, Bernardo Bertolucci, Aki Kaurismaki. Leaud has said that "Truffaut was my alter ego. He occupied the center of my being... He helped me live." His mother was an actress and helped him make his film debut at age 4. Truffaut was looking for a street wise kid, and I "told him I was because I wanted the part."

There is a marvelous segment in the critically acclaimed Une Affaire de Gout (A Matter of Taste, Bernard Rapp, 1999) where the two lovers are separated as she goes to Paris and he stays in Hong Kong. In order to understand where she is he looks at a quintessential French Film, The 400 Blows starring the 14 year old Leaud at the same moment she is walking out of a building and walks into the older Leaud. He is the subject of Serge Le Peron's documentary study of his film career, Leaud, The One and Only. Le Peron said, "Every moment of his life he speaks of many things, of life in general." "When you work with Jean-Pierre he brings the story of the cinema." "He was meant for cinema, without cinema I don't see what he can do. Does not care about money. Feeling, friendship and love matter." Known today for this reclusive life, he did not come to Edinburgh for the showing although he was expected.

I wanted to but could not get to all 26 films shown in Edinburgh but the 20 that I did see impressed me. None were terrible. None had me wondering how they got in and conjuring scenes when festival directors are told, "If you really want this film then you must take that film also."

The film I like most was the touching documentary of Nicolas Philibert Etre et avoir (To Be and To Have, 2002) that covers one year at a one room school in rural France. It is the teacher's last year after thirty five years teaching, the last twenty in this village. You see the world through the eyes of the children. The seasonal changes of life in the city mirror changes in the children and teacher.

My top picks were (English titles only) The Man on the Train, A Strange Kind of Love, 17 Times Cecile Cassard, Monsieur Batignole, The Adversary, A Private Affair, Ghost River and Chaos.

First saw L'homme du train (The Man on the Train, Yasmina Benguigui, 2001) at the Toronto International Film Festival. Loved it there and still do after seeing it the second time. The film was reviewed by Ron Gordner and I in the October Storyboard.

Cet amour-la (A Strange Kind of Love, Josee Dayan, 2001). If you know the work of Jeanne Moreau you will love her here. She lets everything go as the writer Marguerite Duras. "What will you tell them when I am dead?" says Duras to her young companion, Yann Andrea. It is from his memoirs that the film is drawn. Andrea has written her every day for five years before being invited to meet Duras. She had lived alone for ten years. The idea of death permeate the film, "You came back to kill me, right?" "Your sweetness reminds me of my death. The death you wish for me." "As long as you talk about death, you will not die." But it is not a depressing film. An important writer in her final years desperate to maintain her dignity. You get the feel of Duras poetic writing style in this film. A film worth look for.

You would expect a film directed by a writer to be filled with dialogue. You would be wrong with Christopher Honore's Dix-sept fois Cecile Cassard (17 Times Cecile Cassard, 2002). The title comes from 17 vignettes that highlight a grieving young widow's journey to understanding. Leaving her young son with her sister, she sets off for Toulouse. "I feel no love and I do not speak." "I'm dead for our son." Along the way she meets various characters the most important of which is Matthieu who is filled with life. Through him she meets his gay friends and reawakens her own passion for life. The film was shown in the Cannes Film Festival and should have world wide release.

A gentle man gets pulled into the atrocities of Nazi occupied France in Monsieur Batignole (Gerard Jugnot, 2002). A non-political man, trying to keep a low profile, the butcher learns to see the horror of war through children's eyes. When he cooperates with the Germans he is rewarded but at what cost? Children escaping transportation force Gerard Jugnot to make critical decisions. Funny at times. Danger filled at times. Poignant at times. Entertaining throughout. Well worth looking for.

Daniel Auteil shows us his depth as an actor in L'Adversaire (The Adversary, Nicole Garcia, 2002). Based on real events in January 1993, this is a twisted tale of murder and intrigue. Why would a respected researcher for the World Health Organisation suddenly murder his wife and two children? Jean-Claude Romand was a man consumed with being what he was not. "What is worse than being unmasked is not being masked at all." His fantasy life comes crashing down upon him with a simple request from his father-in-law. The intriguing plot should not be given away. We usually think of Auteil in light comedy films. This time he successfully shows his talent in a film that is not to be missed.

Missing girl, emotionally spent private detective, and moments in Parisian sex clubs combined with an outstanding cast, excellent director, and haunting musical score add up to an outstanding film. Une affaire privée (A Private Affair, Guillaume Nicloux, 2002). Thierry Lhermitte is more often in comedy and mainstream hits turns in a griping performance in this thriller film.

Isabelle Huppert is another actor to show her talent as she gives s very believable performance as a 40-year-old prostitute in Nice La vie promise (Ghost River, Olivier Dahan, 2002). She is forced to flee when her sister (or is it her daughter) witnesses Huppert being battered by two thugs and intervenes by killing one. Their relationship is harsh ("I'm not responsible for you. Go on, get lost.") Fleeing the murder in Nice, Huppert is forced to face actions she took years before. This episodic, journey film is lifted from the ordinary by Huppert's superb acting. She is helped along the way by staff in a psychiatric hospital, a recently released convict, and a farm family. It isn't certain Ghost River will be the title when released in North America.

Director Coline Serreau continues to explore social responsibility. Chaos (2001) is in a sense a sequel to her earlier hit (the French version not the Hollywood version) Three Men and a Baby. None of the characters in that film from almost twenty years back are in this but the terrain is familiar. When an injustice occurs, in this case a prostitute is savagely beaten in front of an upper-middle class couple do they lock the car doors and drive away or do they get involved? In this film filled with comedy and tragedy the wife becomes involved with the hospitalized victim while the husband is uninvolved. Uninvolved until the last moments as the prostitute, Rachida Brakni in a star making performance, fights the vicious underworld.

Other films at the festival, listed in descending order of my preference (again English titles only) were: Love Bites; Swing; Euro Pudding; Hair Under the Roses; Keltoum's Daughter; Thank God It's Sunday; Shooting Stars; God is Great, I'm Not; A Pure Coincidence and Love Street.

One film I missed that I hope is released as all who saw it loved it was Yves Angelo's Sur le bout des doigts (On the Tip of her Fingers, 2002). What happens when a mother is jealous of her daughter's piano skills? A child prodigy is the musical talent the mother wants to be.

For more information, check out the website.

Spotlight on … the 46th Regus London Film Festival

By Cheryl Dixon

Fellow Film Society Member Claudia Lagos and I recently had the opportunity to travel abroad to attend the British Film Institute's 46th annual Regus London Film Festival (RLFF) held this year in London from November 6-21st. While celebrating "all that is exciting in contemporary world cinema," Europe's largest non-competitive festival reaches across the spectrum to showcase the works of both big-name, established filmmakers as well as the emerging talents of new filmmakers. Almost 200 feature films and over 100 shorts from 48 countries were presented and many of the filmmakers and actors introduced their work in person. RLFF Executive Director Adrian Wootton and Artistic Director Sandra Hebron were delighted with the Festival's program. Hebron commented: "[O]verall this has been a very special year. The quality of the films on offer, the range of galas and special events, and the illuminating participation of the visiting filmmakers has made the 46th Regus London Film Festival such a great success." She further stated: "The response from audiences and the industry alike has been tremendous, and confirms that the Festival has once again earned its place as one of the most vital, enjoyable and memorable cinematic events of the year."

The RLFF offers the chance for the first opportunity for audiences to see films before (and if) they are released in Britain. It also offers them the opportunity to interact with filmmakers, including producers and directors, and actors during both formal and informal interviews and question and answer sessions. In addition to special interviews (The Guardian Interviews), the Festival features galas, masterclasses, and other special events. For more information and the touring program schedule, check out the website. A more specific outline of this year's Festival program follows:


Galas and Special Screenings

Opening Night Gala: Stephen Frears' contemporary urban political thriller, Dirty Pretty Things (U.K. 2002), set amongst London's illegal immigrant community. Chiwetel Ejiofor, Audrey Tautou.

Closing Night Gala: Thaddeus O'Sullivan's The Heart of Me (U.K. 2002), a passionate story of two English upper middle-class sisters who fall in love with the same man in 1934 London. Helena Bonham Carter, Paul Bettany.

Most Popular Gala Screenings: Curtis Hanson's 8 Mile, Shekhar Kapur's The Four Feathers, Roman Polanski's The Pianist, Brett Morgen's The Kid Stays in the Picture, Metin Huseyin's Anita and Me and Peter Mullan's The Magdalene Sisters.

Orange Film on the Square: Previews and premieres of acclaimed commercial films, award-winning directors and stars. Includes Michael Moore's Bowling for Columbine, Denzel Washington's Antwone Fisher, John Malkovich's The Dancer Upstairs, and Phillip Noyce's The Quiet American.

New British Cinema: Includes Isaac Julien's Baadasssss Cinema, Mehdi Norowzian's Leo.

French Revolutions: Includes Delphine Gleize's Carnage.

Cinema Europa: Includes Even Benestad's All About My Father.

World Cinema Experimental: Innovative, cutting-edge filmmaking

Family Events

Treasures from the Archives

Classic films sponsored by Turner Classic Movies: includes the restored 1955 Max Ophuls work, Lola Montez

Short Cuts and Animation

The Guardian Interviews: Formal interview and audience Q&A sessions with Actor/Producer Robert Evans and Directors Curtis Hanson, Bertrand Tavernier, and Michael Moore, and Sweden's Lukas Mooddysson

Masterclasses: Seminars with accomplished film professionals sharing their techniques. Includes Craig Armstrong, Composer; Ellen Kuras, Cinematographer; Vic Armstrong, Stunt Coordinator; and Sarah Monzani, a Max Factor Make-Up Artist.

Special Events: Panels include "The RLFF and The Danish Film Institute present: Exchanging Experience", "40 Years of World Cinema", "Black to the Future", "Charming the West–South Asian Cinema", "The Film Salon: New British Directors", "Women Directors–Breaking the Box Office", and "The RLFF and the Script Factory Present: Anita and Them: Turning a Best-Selling Novel into a Hit Feature Film"


2002 Awards

The Sutherland Trophy, for the most original and imaginative first feature film screening in the RLFF: Delphine Gleize's Carnage (France 2002)

5th FIPRESCI International Critics (the International Critics Award) Award: Djamshed Usmonov's Angel on the Right (Italy/Switzerland/France/Tadjikistan 2002)

The 7th Annual Satyajit Ray Award, for capturing "the compassion and humanism of Ray's vision": Yamina Bachir-Chouikh's Rachida (Algeria/France 2002)

Classic Shorts Turner Classic Movies (TCM) Short Film Prize Award: Gerald McMorrow's Thespian X (U.K. 2002)

TCM Classic Shorts rewards and recognizes the excellence of emerging talent and is considered one of the most prestigious short film prizes in Europe. Audiences could view the top six short films of the year that are selected by a judging panel, including Hugh Grant, Richard Eyre (Iris), Stephen Frears (Dirty Pretty Things, High Fidelity, Dangerous Liaisons), Mark Herman (Little Voice, Brassed Off), Neil Jordan (The Crying Game, Interview with the Vampire, Michael Collins), Iain Softley (K-Pax, Hackers, The Wings of the Dove), and Stephen Woolley (Producer: The End of the Affair, Interview with the Vampire).


A Personal Perspective

What's it like to attend this Festival? The difficulty is deciding on which films to attend, and from which of the seven venues to choose since all are accessible by local transportation (stick to the train, a.k.a. "the tube"). Claudia and I decided to focus on the more intimate National Film Theatre (on the picturesque South Bank of the Thames River nearby the Waterloo tube station and the London Eye and a short walk from Big Ben, the Houses of Parliament and a Dali exhibit at County Hall). We also loved the Odeon West End Theatre (located in Leicester Square where there's an abundance of traditional theatres featuring plays with performers like Judi Dench and Gillian Armstrong. Exciting, energetic, think "Times Square." There's a sculpture of Charlie Chaplin and there are several bronzed handprints, including those of Ralph Fiennes, Omar Sharif, and Sylvester Stallone. After days and nights of film, there's your choice of traditional or modern pubs, international restaurants, cafes, and dance clubs.)

We opted mostly to see the films that we might not ever see back in the U.S. Auto Focus, 8 Mile, The Four Feathers, Antwone Fisher, Punch Drunk Love, Secretary, Bowling for Columbine, Barbershop, Standing in the Shadows of Motown, and Ararat therefore could all wait until we returned home. I couldn't resist, however, seeing Real Women Have Curves since I wanted to hear the audience reaction, which was very enthusiastic. Some films we wanted to see were sold out. I would have loved to see The Pianist, Anita and Me, The Quiet American, and All About My Father. Below is a sampling of some of the films we did see:

Raising Victor Vargas (Peter Sollet, U.S. 2002). Feature film debut of Co-Writer and Director Peter Sollett. This is a heartfelt story of three siblings, raised by their Dominican grandmother in New York's Lower East Side, as they experience first-time love. A hit at Cannes, this is a film about growing up with convincing acting and improvisation by first-time actors.

Eliana, Eliana (Riri Riza, Indonesia 2002). It's a rough day for Eliana: she doesn't like it when two guys flirt with her, she can't find her roommate Heni, and then her mother shows up and wants to take her back home to Padang. What to do? Mom and Eliana go searching for Heni in a taxi all over Jakarta, all night long. Not the most exciting plot and slow pacing, but great views of contemporary Jakarta.

The Other Side of the Bed (Emilio Martinez, Spain 2002). This witty, romantic, musical, sex comedy is a hit in Spain. Sonia (Paz Vega) loves Javier (Ernesto Alterio) who also loves his best friend Pedro's (Guillermo Toledo) girlfriend Paula (Natalia Verbeke). Written by a 21-year-old, David Serrano, this film explores young people dealing with their sexuality in these changing times and the subject of the craziness of relationships. The actors sing and dance with modern and ballet-like movements.

Black And White (Craig Lahiff, Australia/U.K. 2002). David O'Sullivan (Robert Carlisle) and Helen Devaney (Kerry Fox) play two attorneys defending Max Stuart (David Ngoombujarra), an aborigine accused of the rape and murder of a nine-year-old girl, in 1959 South Australia. Based on a true story, this is a riveting courtroom drama, the opening film for the Sydney Film Festival, and my personal Festival favorite.

Suddenly (Diego Lerman, Argentina 2002). An impressive film debut by 26-year-old Diego Lerman. Marcia, a saleswoman, is approached and then kidnapped by two punk lesbians on a Buenos Aires street. They steal a car and head out on a trip to the ocean. We spotted Mr. Lerman in a telephone booth on a London street and congratulated him on his suspenseful movie.

Real Women Have Curves (Patricia Cardoso, U.S. 2002). Ana (America Ferrera) struggles to make a better life for herself following high school graduation. How can she convince her mother Carmen (Lupe Ontiveros) that she wants to attend college and not work in the family dressmaking factory? Will clashing obligations and family expectations tear her family apart? And then there's that matter about her weight. Strong performances by Ferrera and Ontiveros. This was a real crowd pleaser!

Under Another Sky (Gael Morel, France 2002). Samy (Nicolas Cazale), the son of French/Algerian family, accidentally kills a policeman in France in a hit-and-run accident and is sent by his family to Algeria to stay with this grandfather. He doesn't speak Arabic and he doesn't otherwise fit in the rural community in which he finds himself. The set-up is short on words and long on emotions as Samy wrestles with the consequences of his deed and his identity. Cazale, resembling a young Marlon Brando, is terrific.

Octavia (Basilio Martin Patino, Spain 2002). Rodrigo Maldonado (Miguel Angel Sola) returns to his hometown Salamanca after a 40-year absence. There he reconciles with his illegitimate daughter Manuela and her troubled daughter Octavia. Excellent cinematography, poetic dialogue, and a stirring soundtrack were not enough to compensate for a difficult-to-follow convoluted plot, and slow pacing.

Entering a British film theatre is a cinematic experience. Screen curtains part and close, an usher uses a flashlight to guide you to your seat, and there is no open seating! All seats are reserved and have a unique letter/number combination, but you can still ask for a middle seat, or whatever your preferred seating arrangement if it's still available.

There's no denying it. London is expensive. Theatre ticket prices ranged from about $10-$14. However, as previously mentioned, the Festival provides ample opportunity for audience members to ask questions and sometimes to personally meet the filmmakers and actors. (We especially enjoyed chatting with Australian actor, David Ngoombujarra, from the film, Black and White. He talked about his work with aboriginal youth to encourage them to stay in school and to pursue their dreams.) Besides, airfares to London in November are very reasonable. Take an umbrella. It rains a lot, but the weather is always changing. We enjoyed beautiful sunny days as well.

Film lovers, the Regus London Film Festival is the place to be in November! RLFF is well organized. Festival staff is well informed and ready to assist. You won't be able to see all of the films, filmmakers, events, and stars that you want to see, but you'll see much more than you expect. You'll leave London wanting to revisit.

So, Who Was There?

This is only a partial listing of filmmakers and actors attending this year's RLFF: Directors included Paul Thomas Anderson, Atom Egoyan, Stephen Frears, Curtis Hanson, Todd Haynes, Shekhar Kapur, Mike Leigh, Gillies McKinnon, Lukas Moodysson, Michael Moore, Brett Morgan, Peter Mullan, Phillip Noyce, Alexander Sukorov, Bertrand Tavernier, Thomas Vinterberg, Michael Winterbottom and Actor/Director, John Malkovich. Actors included Javier Bardem, Paul Bettany, Adrien Brody, Helena Bonham-Carter, Michael Caine, Robert Carlyle, Daniel Day-Lewis, Chiwetel Ejiofor, Joseph Fiennes, Kerry Fox, Heath Ledger, Audrey Tautou, Emily Watson and Naomi Watts.

2002 RLFF Festival Stats
110,000 festival attendance
600 industry delegates
580 international press delegates (45 countries)
402 public screenings
180 features
122 shorts
118 sold-out screenings
48 countries represented
42 educational events
7 world premieres

Sir Michael Caine's Comments on The Quiet American

By Jim McCaskill

TORONTO, Canada. The world premier of The Quiet American (Phillip Noyce, Australia/USA, 2002) was held at the Toronto International Festival. After the film the director, Sydney Pollack (one of the producers), and the star Sir Michael Caine held a Q and A. It soon became the Sir Michael Q and A. It has been widely reported that the film has been released only because of his pushing Miramax. The first preview screening was held in New Jersey and was highly acclaimed by the audience. The problem? The screening was held on September 10, 2001. The next day's atrocities had Miramax shelve the film. Not the proper time. Sir Michael, it is alleged, called Miramax and threatened to never work for them again if it was not released. "After all, I will be 70 next year. How many more roles like this will I get?" The film's cheering reception in Toronto led to its release and Sir Michael being a front runner for an Oscar nomination. He freely admits that not all of his films are first rate. "I had to buy them [his family] houses. The Swarm paid for my mother's house. The film was crap but the house was nice."

When asked about working with director Phillip Noyce, he said, "It was an intense labor of love." "He is a obsessive perfectionist but he is a lot bigger than me so I did what he told me. "Most enjoyable film I have ever worked on in my life." "I am happiest with this film because I made myself disappear. I only wanted to see Thomas Fowler and I hope that is what you do see."

On working in Viet Nam, Sir Michael said, "(It was) so easy. I had lots of preconceived notions. I was wrong on all of them." "Vietnamese actors are very, very skilled. One of the best experiences I have had with people."

Noyce was able to get in some comments. "The film was independently financed. I had no cutting rights. Final cut lay with Sydney Pollack but he let me cut it as I wanted."

Sir Michael was asked about being a star in a film. "When you are a movie star you say, 'How can I change this to fit me. When you are a movie actor you say, 'How can I change me.'"

Did they think this was a cautionary tale, meaning cautioning Americans from being involved in foreign wars? Sir Michael quickly turned this around saying, "It is a cautionary tale. Don't try to take a 20 year old girl from a 68 year old man."

The Graham Greene novel was written in 1955, some years before America's open involvement in Viet Nam. In the Greene novel there is no doubt that the idealized Alden Pyle is part of the fledgling CIA. It is clear that he had weapons and explosives shipped to the third force in Viet Nam. Your own politics though may color your interpretation of the Pyle character. Was he an American terrorist or an American hero?

The Guardian Interview with Robert Evans at the 46th Regus London Film Festival

By Cheryl Dixon

Writer and Broadcaster David Benedict interviewed legendary Hollywood Actor and Producer Robert Evans on November 14, 2002 during the British Film Institute's 46th annual Regus London Film Festival (RLFF). The audience gave a warm welcome to Mr. Evans, who described his love affair with London and his admiration for British talent. He reminisced about his film career starting from the time when stars Ava Gardner and Tyrone Power, as well as author Ernest Hemingway did not approve of the then 27-year-old's selection to play Pedro Romero in The Sun Also Rises. He was rescued by Darryl Zanuck, who argued for him to stay. Hence the title of the Festival selection, The Kid Stays in the Picture, a film about his rise and fall (the interview included film clips.)

Evans told about his early career in women's clothing in a hugely profitable family business, named Evan-Picone, and his subsequent discovery as an actor by actress Norma Shearer. He spoke of how he was influenced by David O. Selznick, whom he considered "the greatest producer in Hollywood." Even as a self-described "pretty boy" actor, he realized that property was king and set his sights on deal making, securing a three-picture deal with 20th Century Fox and working with such talent as French actor Alain Delon. He spoke of abandoning the deal in order to work with producer/friend Sam Spiegel in London at Paramount Pictures with newcomers like Michael Caine in Alfie and on movies like Romeo and Juliet. He spoke candidly about his successes with Paramount and his own affiliated production company there including, The Odd Couple, Rosemary's Baby, and Chinatown, and of legendary fights with Francis Ford Coppolla on The Godfather. He spoke likewise about his failures, including The Little Prince, a box-office disaster in the U.S., The Cotton Club, and The Saint, which did not result in an expected franchise deal.

"Rules are made to be broken" he assured, "and risks taken." He relished the moment when attending the royal premiere of "Love Story." He was seated behind the Queen Mother waiting for the tears to flow. And flow they did! His most touching story, however, was about Sir Laurence Olivier. Evans had discovered that Olivier had become ill and destitute and wanted to get him working again. He cast Olivier in Marathon Man. Olivier went into remission following work in this film and lived for another 11 years. Evans considered this his greatest accomplishment in film.

His biggest regret? The second half of his life. He thought that he had taken calculated risks, and until the age of 50, they had paid off. He was considered royalty and stayed that way for many years. Then his involvement with cocaine began to threaten his career and his life. Personal and professional struggles ensued and by 1998 he had a debilitating series of strokes. Although severely depressed for a couple of years, he assured the audience that he had gotten back the will to live, as well as his speech, and today is much happier and appreciative of life. He mentioned that he is still based at Paramount and working on other films.

He commented that The Kid Stays in the Picture is his life, his film-acting career, his film producing career, and his marriages, including one with actress Ali MacGraw. The message he hoped to convey in the film was to take risks in life. He relished the opportunity to make magic, to enjoy total autonomy, and to be the boss. Talkative, humorous, and frank, Evans closed by speaking of the warm embrace he felt from the audience and said that the warmth meant more to him than words could ever say.

2002 Awards of the Film Critics Circle of Australia

By Jim McCaskill

EDINBURGH, Scotland. Australian film critics have awarded most of their 2002 awards to three films that look at the relationship between European descendents and native aboriginals. Rabbit-Proof Fence, currently in world wide distribution, won two awards: Philip Noyce (who also directed The Quiet American) was named Best Director. Rabbit-Proof Fence picked up its second award as Christine Olson won for Best Adapted Screenplay. She was also the producer. If you missed the Rabbit-Proof Fence interview, see the November Storyboard.

Australian Rules uses soccer players to look at racial relations and class warfare. The film has several outstanding performances and two were given supporting role awards for their husband-wife roles: Simon Westaway was named Best Actor in a Supporting Role and Celia Ireland won the Best Actress in a Supporting Role.

Both of these films were at the Toronto Film Festival. Rabbit-Proof Fence was honored by audience awards at Toronto and Edinburgh Film Festival.

The big winner was Dutch writer/director/producer Rolf De Heer's The Tracker. He is currently finishing Alexandra's Project which is scheduled for release in 2003. Past films include Dance Me to My Song (1998) and Dingo (1991). It won Best Music Score with music by Graham Tardiff and lyrics by De Heer. Songs were sung by Archie Roach. Ian Jones won Best Cinematography. David Gulpilil, who has been called Australia's best aboriginal actor but who could arguably be its best actor, won the Best Actor award for playing the title role. He also is superb as the tracker in Rabbit-Proof Fence. De Heer and fellow director Julie Ryan picked up Best Film award for The Tracker.

Sherine Salama's A Wedding in Ramallah won Best Documentary. Best Foreign Language Film award went to Y tu mama tambien and Best Foreign Film-English Language was won by David Lynch's Mulholland Drive.

Anita and Them: Turning a Best-selling Novel into a Hit Feature Film

By Cheryl Dixon

If you enjoyed the British film, East is East, as far as its insight into immigrant families in Britain, then you'll certainly like the film Anita and Me, a comedy, which deals with a similar subject: a mostly comedic view of the adjustment of Indian immigrants to British life. Where Anita and Me distinguishes itself is that the experiences are drawn from the perspective of a young girl, Meena Bashkar, growing up as a member of a Punjabi family in a 1970s English village. The Script Factory, Britain's script development organization designed to support and develop screenwriters, and the RLFF presented a special event featuring writer Meera Syal's conversation about adapting her novel into a screenplay. She was joined by the film's producer Paul Raphael. Both were interviewed by the Script Factory's Briani Hanson.

Syal spoke of writing the much-loved book, Anita and Me, on which her film is based, to describe her own extraordinary childhood as a member of the first generation/children of immigrants and the cultural schizophrenia that resulted. She mentioned that she had previously explored the adaptation experience from an adult perspective in her film, Bhaji on the Beach. She mentioned that the book itself reads like a diary in which Meena struggles to make sense of life in her rural English village. The book tackled serious subjects of race and cultural issues, but with a sense of comedy. It's like a "dramedy," Syal commented.

Questions were asked about whether there was concern about offending anyone by portraying stereotypes. Syal thought that that was inevitable, but she stated that in the writing process she started with the characters and then the stories and the personalities emerged from them. She believes her characters are true to life. As far as challenges of screen adaptation, Syal stated that there are scenes in the film that did not appear in the book because of "gaps in the arc of the story." Syal found screenwriting a humbling process: "to find that 25 pages of eloquent prose can be conveyed in a look." She found it helpful in writing to find a trusted person to read her writing for feedback. Both Syal and Raphael spoke of the five-year effort to get the film made, the multiple writing drafts, and the editing process. The film was made on three million pounds. They both spoke of not having a particular target audience for the film. They just tried to make it as good as possible and hoped that the appeal to nostalgia, teens, Asians, and families would cross over to an even wider audience.

Syal discussed the fact that the message she hoped would emerge form the film is that sometimes with no role models, self-hatred can emerge, and that "fitting in" means not forgetting yourself. Creative people often "don't belong" because they can see the bigger picture. She further stated some deeper observations about the immigrant adaptation process, that immigrant children sometimes do not understand the epic pain of their parents, who emigrate in order to improve the lives of themselves and their children, and in the process become obsessed with security and marriage for them. Released in the U.K. on November 22, 2002, watch for the upcoming U.S. release.

The 13th Washington Jewish Film Festival: An Exhibition of International Cinema presents 37 features, documentaries and shorts from 16 countries, in three venues, during the December 5–15, ten-day Festival.

The Festival kicks off Thursday, December 5 at 6:45pm with the DC Premiere of the French romantic comedy God Is Great, I'm Not at the DC Jewish Community Center's Aaron and Cecile Goldman Theater (1529 16th Streets NW). A charming tale of two unwitting lovers, God Is Great, I'm Not stars the doe-eyed Audrey Tatou (Amélie) as a young girl searching for spirituality in love and religion. A wine reception will follow the screening in the 16th Street Lobby of the DCJCC.

The Festival closes with Nowhere in Africa, an inspiring tale based upon author Stefanie Zweig's best-selling autobiography of the same name. This strikingly beautiful epic film, shot in the expansive plains of Kenya, will be screened Closing Night on Sunday, December 15 at 7pm, as well as at a Sneak Preview screening on Saturday, December 14 at 5:45pm. Both screenings will be held at the DCJCC's Aaron and Cecile Goldman Theater. A wine reception will following the Sunday night screening only in the 16th Street Lobby of the DCJCC.

Now in its 13th year, the Washington Jewish Film Festival is one of the largest Jewish film festivals in the world. The Festival has presented more than 200 films on the Jewish experience from 30 countries. An audience of 6,000-plus is expected to attend this year's extraordinarily diverse Festival. In addition to the DCJCC's Aaron and Cecile Goldman Theater, a number of screenings will be presented at the Goethe-Institut Washington (814 Seventh Street NW) and The National Gallery of Art-East Wing (4th Street and Constitution NW). For the fourth consecutive year, an Audience Award will be presented for the Best Feature Film and Best Documentary. The winning films will be announced at the closing night reception.

Feature Film Highlights
One of Italian Cinema's most provocative writer/directors, Ettore Scola, brings us Unfair Competition, a bitter comedy about the rules and injustices enforced against the Jews in 1938 Italy. The film stars acclaimed French actor Gerard Depardieu and Italy's Sergio Castellitto (star of Mostly Martha).

In The Discovery of Heaven, God is disappointed with the human race and wants the Ten Commandments back. Based upon the book by acclaimed Dutch author Harry Mulisch, actor/director Jeroen Krabbe (Immortal Beloved, The Sky Falls [11th WJFF], Crossing Delancy) leads the viewer through a fantastic journey into the unknown.

Esther Kahn is French Director Arnaud Desplechin's adaptation of a short story by Arthur Symons. Esther Khan (played by Summer Phoenix) is a ghost of a girl who exhibits no human emotions, except when she is performing on stage and suddenly becomes alive.

Cloaked in magic realism and waking dream, Shoes From America is a tender requiem for loved ones lost. This German/Russian co-production, shot on locations in Ukraine, tells of a friendship borne in grief, that soon blossoms into a tender love story.

Dutch Filmmaker Frans Weisz will be in attendance at the screenings of both of his highly praised films--Polonaise (December 14, 8:45pm) and Qui Vive (December 15, 4:15pm).

Nominated for Best Foreign film at the 1990 Academy Awards, and honored with Holland's Golden Calf Award for Best Director, Best Actor and Best Actress, Polonaise is the story of Lea and Nico--both hidden children during the war. About to be married for the second time, the wedding is wracked with memories of the war torn past. Director Frans Weisz masterfully succeeds in prying open the post-war Pandora's box.

Qui Vive is the sequel to Polonaise, focusing on the not so happy marriage of Lea and Nico and the secrets of the past now out in the open. Nominated for the Golden Calf for Best Actress, Best Actor, and Best Screenplay of a Feature Film, Qui Vive plays like a Dutch Robert Altman film--full of humor, wit and a combination of lightning fast dialogue and drama.

Films on Music
In Marlene Dietrich: Her Own Song, Dietrich's grandson, J. David Riva, provides fresh insight into the life and times of one of the original divas of the silver screen. This is the definitive document of one of the most fascinating and least understood stars of the 20th century.

Hear the true story behind Strange Fruit, the song most famously sung by Billie Holiday. Director Joel Katz will attend the screening of Strange Fruit, a film which has proven to be an important anecdote in the history of Black/Jewish relations, music history, and leftist politics. Written by Abel Meeropol, a Jewish New York City school teacher, the song gives a bitter description of a lynching in the Southern U.S. This screening is part of the on-going Windows and Mirrors series co-sponsored by the DCJCC and the African American Resource Center at Howard University. Windows and Mirrors celebrates shared traditions between the African American and Jewish Communities.

Another song by Abel Meeropol was an appeal for religious and racial tolerance. Written in 1942, the song was recorded by Frank Sinatra and later made into the Academy Award winning short The House I Live In (to be screened along with Strange Fruit).

In Hitmakers: The Teens Who Stole Pop Music, director Morgan Neville tells the amazing story of how a bunch of Jewish kids from Brooklyn hijacked the stale pop music industry and began writing songs for a long neglected American teen audience. Featuring interviews with such great talents as Carole King, Jerry Leiber, Doc Pomus, Ellie Greenwich, Dionne Warwick, and many others, Hitmakers is an inspiring history of the days when songs like "Jailhouse Rock" ruled the airwaves. David Segal, Pop Music Critic for The Washington Post, will introduce the film. This screening is part of the on-going Windows and Mirrors series co-sponsored by the DCJCC and the African American Resource Center at Howard University. Windows and Mirrors celebrates shared traditions between the African American and Jewish Communities.

Israeli Features and Documentaries
A night of mistaken identities descends into deceit, escape and murder, in Giraffes, a modern-day mystery starring Tinkerbell from Time of Favor and Liat Glick from Kippur. Director Tzahi Grad will be in attendance.

By turns painful and uplifting, Purity explores the 2000-year-old laws and rituals that still shape Jewish women's life and sexuality--visiting the mikvah (ritual bath).

For Israelis time clicks double speed, pursued by a glorious past, an uncertain present and an irresolute future. It's About Time is a very human story about people wondering if they have used time to its fullest, or if they could have done it any other way.

In For My Children, acclaimed Israeli filmmaker Michal Aviad explores the moral dilemmas and practical questions about raising a family in war-torn Israel.

More Documentaries
Director Ruth Behar will be in attendance at the screening of Adio Kerida (Sunday, December 8, 5:45pm), a poetic documentary in which she goes in search of the exotic tribe of Sephardic Jews left in Cuba, as well as the Jewish Cubans living in the United States since the revolution.

Today, in bittersweet irony, tens of thousands of Eastern European Jews escape persecution by fleeing to Germany. Many have found sanctuary in Berlin. Award-winning Filmmakers Peter Laufer and Jeff Kamen will discuss their engrossing doc Exodus To Berlin with Marc Fisher, Washington Post columnist, former Berlin Bureau Chief and author of "After the Wall: Germany, the Germans and the Burdens of History."

Director Bonnie Burt will introduce her documentaries A Home On The Range: The Jewish Chicken Ranchers Of Petaluma and Song of A Jewish Cowboy (Wednesday, December 11, 6:15pm). In A Home On The Range, directors Bonnie Burt and Judith Montell trace the fascinating tale of a group of Eastern European Jews who bypassed the sweatshops and concrete of the city, traveled to California, and became chicken ranchers. Not many cowpokes roam the West singing social justice songs--fewer still do it in Yiddish! In Song of A Jewish Cowboy, Scott Gerber is an unlikely mix of Jewish, activist and cowboy cultures, who learned Yiddish and progressive songs from his mother and grandmother, who left behind their Eastern Europe villages for the open prairies of the West. Scott carries on the Yiddish and ranching traditions and proudly works in agriculture today.

Director Garry Beitel and Producer Barry Lazar will attend the screening of their doc My Dear Clara, an intimate portrait of a sixty year love affair that spanned three continents. It is the story of Beitel's Aunt Clara's plight in bringing his Uncle Chaim to Canada during the Holocaust and how Clara tirelessly lobbied for a change in Canada's discriminatory immigration policy.

In Shalom Y'All, director Brian Bain (who will be in attendance at the Tuesday, December 10, 6:15pm screening) tells about his journey through the South and his encounters with an eclectic mix of southern Jews--cowboys, police chief, boxer, Congressman, kosher butcher, hoop-skirted tour guide, Mardi Gras crew and much more.

Award-winning Director Matej Minac follows his feature film All My Loved Ones (WJFF 2000) with a doc about the same subject. Nicholas Winton: The Power of Good tells the story of Englishman Nicholas Winton. Often referred to as the English Oskar Schindler, Winton was directly responsible for saving the lives of 669 Jewish children during WWII. The film has been nominated for the International Emmy Awards at MIPCOM.

Shanghai Ghetto tells the familiar story of the German Jews forced to escape Nazi persecution. However, this story is unique in its outcome. Unable to obtain entry visas to America and Britain, in desperation, several thousands fled eastward to a place that would still accept them, the only place in the world that didn't require visas: the Japanese-occupied city of Shanghai in China. Arriving penniless, the Jews eventually built up a rich cultural and educational life within the "Jewish Ghetto."

"The Jewish mothers that I know and love are sexy, smart and strong, but I have never seen this mother in Hollywood movies, and I set out to find out why," explains Filmmaker Monique Schwarz, when referring to her delightful new documentary Mamadrama: The Jewish Mother in Cinema.

With characteristic humor, respected Jewish directors Paul Mazursky, Paul Bogart and Larry Pearce, and actress Lainie Kazan, reflect on their own mothers and how they influenced their screen mothers.

Special Programs
Singles Program: DCJCC Adult Programs sponsors the screening of A Match Made In Seven on Saturday, December 14th at 11pm. By the 1990s, one of every two North American Jews was marrying out of the faith. In an attempt to reverse this trend, Orthodox Rabbis in Los Angeles invented SpeedDating--a seven minute round-robin event where eligible men and women get the chance to meet and, hopefully, connect with other Jewish singles. In this documentary, director Ilan Saragosti brings us center stage for Vancouver's first SpeedDating event where we meet four singles, determined to find "the perfect match."

Before viewing the film there will be SpeedDating from 8:30 to 10pm. The registration fee is $30/person (includes SpeedDating event, Coffee Hour admission, and film ticket) To register go on-line at the website.

For those not ready to SpeedDate, there will be a pre-film Coffee Hour from 10 to 10:45 pm. The $12 admission includes the Coffee Hour and film ticket. Registrations can be made at Box Office Tickets.

Special Sidebar: The Goethe-Institut Washington (814 Seventh Street NW) hosts a special sidebar on The Early Films of Ernst Lubitsch, the masterful German-Jewish Director known for such classics as Ninotchka and To Be or Not To Be. Shoe Palace Pinkus was Lubitsch's first feature film, in which he starred alongside film diva Ossi Oswalda. In Meyer From Berlin, Lubitsch plays the Berlin Jew hilariously out of place in the Bavarian Alps.

Max Alvarez, Film Coordinator at the National Museum of Women in the Arts, will make introductory remarks.

Author and film scholar Annette Insdorf, will discuss the newly released, third edition of her book "Indelible Shadows: Film and the Holocaust," on Sunday, December 15 from 11:30am to noon in the DCJCC's Ina and Jack Kay Community Hall. How does one make a movie that is both morally just and marketable? The updated "Indelible Shadows" investigates this question and others raised by films about the Holocaust. Film scholar Annette Insdorf provides sensitive readings of individual films and analyzes theoretical issues such as the "truth claims" of the cinematic medium. There will also be a book signing from noon to 12:30pm. This program is made possible by a grant from the Milton Covensky Fund, an endowment established in honor of Milton Covensky, a professor of history who honored and encouraged scholarship.

Aviva Kempner, Director, (Partisans of Vilna, The Life and Times of Hank Greenberg and Today I Vote For My Joey) will provide welcoming remarks.

"Echoes of the Past"--Shorts Program (Saturday, December 7, 5:45pm, Aaron and Cecile Goldman Theater) includes four shorts from around the world. From Ukraine/UK: Dust; from France: Mémoires incertaines; from USA: Silent Song; from Latvia: Madonna With Child, XX Century.

Performance
Free Program: In The Mirror of Maya Deren. Skirting the line between the fantastic and the abstract, filmmaker, writer and dancer Maya Deren was a pioneer of the American avant-garde movement of the 1940s and '50s. Director Martina Kudlacek has created a fascinating biography of this woman who was "possessed by the rhythm of life." Presented in association with The National Gallery of Art, In The Mirror of Maya Deren will be screened on Sunday, December 15, 4pm at The National Gallery of Art East Wing, 4th Street and Constitution Ave NW. (No tickets necessary. Seating is first-come first-served. For info: 202-842-6799).

In Last Dance, world renowned Pilobolus Dance Theatre and author and illustrator Maurice Sendak (creator of such beloved works as "Where the Wild Things Are" and "In the Night Kitchen") entered into new creative territory when they teamed up to create a ground-breaking dance piece about the Holocaust--The Selection. Director Mirra Bank will share stories with the audience from this unique experience during which she created an intimate, "fly on the wall" perspective of this dynamic, humorous (and often vexing) creative process.

For Festival Catalog: The 24-page Festival Catalog will be inserted in the Friday, November 22nd edition of The Washington Post (on top of the weekend section with the circulars) and in the Thursday, November 21st edition of The Washington Jewish Week. The catalog can also be downloaded from the website and can be picked up at the DCJCC after November 22nd.

Ticket prices: Opening Night: $15--film and wine reception; Closing Night: $15--film and wine reception; $9 evenings and weekends; $5.50 weekdays (before 6pm); Seniors and Students receive $1 discount off regular ticket price except for opening and closing night tickets. Tickets go on sale November 21st (priority ticket purchasing for DCJCC members and Film Fest Funders on November 19th and 20th). No service charge; 50-cents per film handling fee.

To Order Tickets: Box Office Tickets or 800-494-8497 (no service charge).

For information: see the website or call 202-777-3248.

Calendar of Events

Previous Storyboards

November, 2002
October, 2002
September, 2002
August, 2002
July, 2002
June, 2002
May, 2002
April, 2002
March, 2002
February, 2002
January, 2002
December, 2001
November, 2001
October, 2001
September, 2001
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July, 2001
June, 2001
May, 2001
April, 2001
March, 2001
February, 2001
January, 2001
December,2000
November, 2000