Harvest: Food on Film
28 June – 21 September 2014
Australian Cinémathèque | Gallery of Modern Art (GOMA)
‘Harvest: Food on Film’ showcases a rich vein of contemporary filmmaking that explores food production, consumption and presentation as vivid storytelling motifs. Feature films and documentaries that take food as their subject variously touch on narratives of connection; identity and tradition; power and status; and our deepening awareness of the larger political and ethical framework that surround our agricultural systems and the impact of our food choices. The presence of food on the cinema screen often expresses forms of spoken and unspoken communication between characters. It can convey identity with a dish that evokes yearning of home; transgression through food deprivation or straying into forbidden consumption; or power and status in the display of excess. The recent rise of documentary stories has enabled a focus on the personalities behind food creation as well as the ethical and environmental considerations of farming systems and food politics.
Friday Night Film + Food at GOMA
4, 11, 18 and 25 July 2014
The GOMA Restaurant is opening exclusively on Friday evenings during July in conjunction with the Gallery’s ‘Harvest: Food on Film’ program. Take in a food-inspired film at 6.00pm before delighting your senses with one or more of the mouth-watering dishes at the GOMA Restaurant. With a menu largely inspired by the Gallery’s ‘Harvest: Art, Film + Food’ exhibition (28 June - 21 September), you’ll enjoy an array of fresh, local and seasonal produce.
Stanley Place, Cultural Precinct, South Bank
5.30–10.00pm, Friday 4, 11, 18 and 25 July 2014
Film screenings are optional and free of charge
T: (07) 3842 9916
The Australian Cinémathèque thanks the National Film and Sound Archive Australia, Canberra; National Film Archive of India, Pune; and Chinese-Taipei Film Archive, Taipei for providing film prints for this program.
Sun 03 Aug 1.00pm (remind me) and Wed 13 Aug 6.00pm / Cinema A
35MM, COLOUR, MONO, 105 MINUTES, FRANCE/ITALY/SPAIN, FRENCH/SPANISH (ENGLISH SUBTITLES) / DIRECTOR: LUIS BUÑUEL / SCRIPT: LUIS BUÑUEL, JEAN-CLAUDE CARRIÈRE / CINEMATOGRAPHER: EDMOND RICHARD / EDITOR: HÉLÈNE PLEMIANNIKOV / PRINT SOURCE/RIGHTS: TAMASA DISTRIBUTION
‘"Freedom is conceivable only after a certain number of calories."-Caroline Benjo. Buñuel and Carrière's account of the nightlong (lifelong, class-wide) attempts of six wealthy people to sit down to dinner is the comedy of manners to end all comedies of manners. With la crème de la crème of European actors, Buñuel produces, in lieu of something edible, the secret ingredient of the bourgeois power base, which might be the desire for thwarted desire. Cuisine interruptus. As Raymond Durgnat wrote, "Their plague is not the Exterminating Angel but the Interrupting One." It's never the right time for sex or food-a theme that goes back to L'age d'or - but the rituals of sangfroid continue in the face of a pot-smoking militia and terrorists at the door, the elusive leg-of-lamb and the rubber chicken, waking nightmares and walking dreams. If reality is a promise, so is consumption, and one can live on air.’ Judy Bloch, Pacific Film Archive
Fri 08 Aug 6.00pm (remind me) and Sun 10 Aug 1.00pm (remind me) / Cinema A
35MM, COLOUR, MONO, 101 MINUTES, INDIA, BENGALI (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: SATYAJIT RAY / PRODUCER: SHARBANI BHATTACHARYA / CINEMATOGRAPHY: SOUMENDU ROY / EDITOR: DULAL DUTTA / CAST: SOUMITRA CHATTERJEE, BABITA KAPOOR, SANDHYA ROY / MUSIC: SATYAJIT RAY / PRODUCTION COMPANY: BALKA MOVIES / PRINT SOURCE: NFAI PUNE / RIGHTS: FILMS SANS FRONTIÈRES/ SCREENING FORMAT: DIGITAL VIDEO (WITH FRENCH AND ENGLISH SUBTITLES)
In his 1973 film Distant Thunder, acclaimed Indian filmmaker Satyajit Ray examines the implications of hunger on the human condition through resource control and political power during the Bengal famine of 1943. This devastating human catastrophe, caused by shortages due to weather alongside import restrictions during World War Two, also suffered from a poor administrative reaction to the problem. It is estimated that between 1 and 4 million people died of starvation. Ganga (Soumitra Chatterjee) and his wife Ananga (Babita Kapoor) live in a small, rural village, are high caste Brahmin and at first are unaffected. Ganga who is the village doctor, priest and teacher is sure that patience and common sense is the best approach to rice shortages. However, as rice becomes scarce, social order is abandoned and people panic, turning on one another. Hunger eventually reduces everyone in the village and surrounding communities to desperation and powerlessness. Through the film, Ray asserts that a nation’s government has a fundamental responsibility to its population in the regulation of food distribution, arguing that a sustainable food source is at the very heart of human dignity.
Please note: This film will be presented on digital video with French and English subtitles. No 35mm print of this rare film is available.
Fri 29 Aug 6.00pm (remind me) and Wed 03 Sep 6.00pm (remind me) / Cinema A
35MM, COLOUR, MONO, 130 MINUTES, FRANCE/ITALY, FRENCH/ITALIAN (ENGLISH SUBTITLES), DIRECTOR: MARCO FERRERI / PRODUCER: VINCENT MALLE, JEAN-PIERRE RASSAM / SCRIPT: MARCO FERRERI, RAFAEL AZCONA / CINEMATOGRAPHY: MARIO VULPIANI / EDITOR: CLAUDINE MERLIN, GINA PIGNIER / CAST: MARCELLO MASTROIANNI, UGO TOGNAZZI, MICHEL PICCOLI, PHILIPPE NOIRET / MUSIC: PHILIPPE SARDE / PRODUCTION COMPANIES: FILMS 66, MARA FILMS, CAPITOLINA PRODUZIONI CINEMATOGRAFICHE / PRINT SOURCE/RIGHTS: ROISSY FILMS
‘Four gourmands-Marcello (Mastroianni), Ugo (Tognazzi), Philippe (Noiret) and Michel (Piccoli)-repair to a disused villa for a blow-out gastronomical weekend. Marcello brings a beautiful Bugatti; Michel, gas (natural); Ugo, his prized culinary skills; and Philippe, a schoolteacher (Andrea Ferreol) who becomes Snow White to the four sedulous sensualists. They are joined for a time by three call girls but the tarts can't get with the food thing and leave. Then the subtle shift in mood is masterful as the men's true drive becomes clear: they will eat themselves to death, methodically, mechanically, bowing to the inevitable, what Ugo calls "the universal deluge of shit." This bawdy, bad-taste beautiful comedy of the body mécanique doesn't just erupt, it disrupts.’ Pacific Film Archive
Fri 25 Jul 6.00pm (remind me) and Sun 03 Aug 3.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 114 MINUTES, JAPAN, JAPANESE (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: JÛZÔ ITAMI / PRODUCERS: SEIGO HOSOGOE, JÛZÔ ITAMI, YASUSHI TAMAOKI / CINEMATOGRAPHY: MASAKI TAMURA / EDITOR: AKIRA SUZUKI / CAST: TSUTOMU YAMAZAKI, NOBUKO MIYAMOTO, KEN WATANABE / MUSIC: KUNIHIKO MURAI / PRODUCTION COMPANIES: ITAMI PRODUCTIONS, NEW CENTURY PRODUCTIONS / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE, AUSTRALIA / RIGHTS: FILM SANS FRONTIÈRES
‘After the "spaghetti western," could the "ramen western" be far behind? That's how director Juzo Itami describes Tampopo, an oddball comedy "about people in a situation where sex and eating are not yet clearly separated." What little plot there is has to do with two truckdrivers who teach Tampopo, the mousy proprietress of a rundown noodle shop, how to make and serve the best noodles. Along the way, viewers pick up tips on such diverse subjects as how to make great noodle soup in three minutes flat, the zen of eating ramen ("while slurping the noodles, look at the pork, eye it affectionately"), the perils of eating noisy food when watching a movie-and some unbelievably erotic things to be done with the yolk of an egg. This wildly original work has more than enough belly-laughs [but] with mouthwatering dishes served up in every third scene, it is definitely a film you should not see on an empty stomach.’ Peter Scarlet, San Francisco International Film Festival.
The archival 35mm print for this screening is courtesy of the National Film and Sound Archive Australia.
Fri 04 Jul 6.00pm (remind me) and Sun 13 Jul 1.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 102 MINUTES, DENMARK, DANISH/SWEDISH/FRENCH (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: GABRIEL AXEL / PRODUCERS: JUST BETZER, BO CHRISTENSEN / CINEMATOGRAPHY: HENNING KRISTIANSEN / EDITOR: FINN HENRIKSEN / CAST: STEPHANE AUDRAN, BODIL KJER, BRIGITTE FEDERSPIEL / MUSIC: PER NØRGAARD / PRODUCTION COMPANIES: PANORAMA FILM A/S, DET DANSKE FILMINSTITUT, NORDISK FILM, RUNGSTEDLUNDFONDEN / PRINT SOURCE/RIGHTS: ASTRABLU MEDIA INC.
Babette’s Feast 1987, set in nineteenth-century Denmark, tells the story of Babette, a Parisenne who fled political persecution 14 years earlier. Sheltered by kind, aging Christian sisters Martine and Filippa in a remote coastal village, Babette works as their cook and housekeeper. When she comes into some money, Babette proposes to make a celebratory feast, unlike any meal they’ve eaten before, for the sisters, their church-going friends, and for Martine’s former suitor, who is now a general. Initially scandalised by such extravagance but not wanting to offend, the sisters accept Babette’s offerings but pre-emptively seek forgiveness from their righteous friends, in case the meal becomes a “witches’ Sabbath” of indulgence. They resolve to eat without tasting, in silence and internal prayer, but over the course of the meal the diners relax their asceticism and begin to repair the damage of past frictions, renewing friendships and expressing love and care for one another. Director Gabriel Axel elevates Babette’s conscientious cooking to a masterpiece of artistic creation: the physical enjoyment of taste becomes a spiritual experience of meaningful self-expression, through the creative act of cooking as well as the kinship felt around the dinner table. ‘…Oscar-winning Babette’s Feast is a deeply beloved treasure of cinema. [The film] combines earthiness and reverence in an indescribably moving depiction of sensual pleasure that goes to your head like fine champagne.’ The Criterion Collection
Fri 15 Aug 6.00pm (remind me) and Wed 20 Aug 6.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 120 MINUTES, FRANCE/UK, ENGLISH, DIRECTOR/SCRIPT: PETER GREENAWAY / PRODUCERS: PASCALE DAUMAN, KEES KASANDER, DANIEL TOSCAN DU PLANTIER, DENIS WIGMAN / CINEMATOGRAPHY: SACHA VIERNY / EDITOR: JOHN WILSON / CAST: RICHARD BOHRINGER, HELEN MIRREN, MICHAEL GAMBON, ALAN HOWARD / MUSIC: MICHAEL NYMAN / PRODUCTION COMPANIES: ALLARTS COOK, ELSEVIRA, ERATO FILMS, ERBOGRAPH CO, FILMS INC, VENDEX / PRINT SOURCE/RIGHTS: UNIVERSAL FILMS
The Cook, the Thief, His Wife and Her Lover is a cruel, dark and opulent study of lust, greed and vengeance. Albert Spica (Michael Gambon) is a vulgar thief who presides over an elegant London restaurant with his entourage of cronies and his beaten and degraded wife Georgina (Helen Mirren). Each night the head chef prepares a lavish menu to be consumed by the barbaric and gluttonous mobster. When Georgina makes eye contact with the gentle Michael (Alan Howard) at an adjacent table, it’s not long before both begin meeting secretly in the bathroom and kitchen. When Albert discovers his wife’s infidelity he carries out a violent retribution on her lover that triggers a more savage retaliation from Georgina and the restaurant’s staff. Part black comedy, Jacobean tragedy and political satire, Peter Greenaway’s restaurant can be read as microcosm for the excesses of modern society — what Oscar Wilde characterised as “a man who knows the price of everything and the value of nothing” —and draws upon Antonin Artaud’s concept of the theatre of cruelty to echo the angry reality of living in Britain in the 1980s under Margaret Thatcher.
Fri 12 Sep 6.00pm (remind me) and Wed 17 Sep 8.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 99 MINUTES, FRANCE, FRENCH (ENGLISH SUBTITLES) / DIRECTORS: JEAN-PIERRE JEUNET, MARC CARO / SCRIPT: GILLES ADRIEN, MARC CARO, JEAN-PIERRE JEUNET / CINEMATOGRAPHER: DARIUS KHONDJI / EDITOR: HERVE SCHNEID / MUSIC: CARLOS D'ALESSIO / PRINT SOURCE/RIGHTS: TAMASA DISTRIBUTION
‘The story is centered on a microcosm of a post-apocalyptic society where food is so rare it's invaluable and is used as currency. The story centres on an apartment building with a delicatessen on the ground floor. The owner of the eatery also owns the apartment building and he is in need of a new maintenance man since the original "mysteriously" disappeared. A former clown applies for the job and the butcher's intent is to have him work for a little while and then serve him to quirky tenants who pay the butcher in, of course, grain. The clown and butcher's daughter fall in love and she tries to foil her father's plans by contacting the "troglodytes", a grain eating sub-group of society who live entirely underground. The "trogs" are possibly the most sensible of the lot, as they see food as food and not money.’ Prince Charles Cinema
Fri 18 Jul 6.00pm (remind me) and Sun 27 Jul 1.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 105 MINUTES, MEXICO, SPANISH/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: ALFONSO ARAU / PRODUCERS: ALFONSO ARAU, EMILIA ARAU, ÓSCAR CASTILLO / SCRIPT: LAURA ESQUIVEL (BASED ON THE NOVEL OF THE SAME NAME BY LAURA ESQUIVEL) / CINEMATOGRAPHY: STEVEN BERNSTEIN, EMMANUEL LUBEZKI / EDITOR: CARLOS BOLADO, FRANCISCO CHIU / CAST: MARCO LEONARDI, LUMI CAVAZOS, REGINA TORNE / MUSIC: LEO BROUWER / PRODUCTION COMPANIES: ARAU FILMS INTERNACIONAL, AVIACSA, CINEVISTA, FONATUR, FONDO DE FOMENTO A LA CALIDAD CINEMATOGRÁFIA (IMCINE), SECRETARIA DE TURISMO / PRINT SOURCE/RIGHTS: ARAU FILMS INTERNATIONAL
‘A movie not to be seen on an empty stomach, or an empty heart. Transubstantiation-food as a host for passion-is the source of the film's magic realism. From the first chop of the onion the viewer is initiated into this belief system, a beautiful realization of secret (imagined) ancient arts of women. Tita-as the youngest daughter, condemned to spend her days caring for her aging mother rather than marry-feeds her desire to her lover, her brother-in-law, with every mouth-watering dish. The charmed food has a different effect on each family member, depending on his or her nature-an unstated quality of food, and film.’ Pacific Film Archive
Fri 22 Aug 6.00pm (remind me) and Sun 24 Aug 3.00pm (remind me) / Cinema A
35MM, COLOUR, MONO, 104 MINUTES, FRANCE, VIETNAMESE (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: TRAN ANH HUNG / PRODUCER: CHRISTOPHE ROSSIGNON / CINEMATOGRAPHER: BENOÎT DELHOMME / EDITOR: NICOLE DEDIEU, JEAN-PIERRE ROQUES / CAST: TRAN NU YÊN-KHÊ, MAN SAN LU, THI LOC TRUONG / MUSIC: TÔN-THÂT TIÊT / PRODUCTION COMPANIES: LAZENNEC FILMS / PRINT SOURCE/RIGHTS: LE PACTE
‘An Academy Award nominee for Best Foreign Language Film, Tran Anh Hung's "luxuriant, visually seductive debut" (New York Times) recreates antebellum Vietnam through both the wide eyes of childhood and the deep blush of first love. In 1951 Saigon, 10 year old Mui (Lu Man San) enters household service for an affluent but troubled Vietnamese family. Despite her servile role, Mui discovers beauty and epiphany in the lush physical details that envelope her, while earning the fragile affection of the household's grieving matriarch. As she comes of age, the now grown Mui (Tran Nu Yen-Khe) finds her relationship with a handsome pianist she has admired since childhood growing in depth and complexity. Though steeped in writer-director Tran Anh Hung's southeast Asian heritage, The Scent of Green Papaya was realised entirely within a Parisian soundstage. The film's heady, scrupulously detailed and wholly authentic depiction of a society in decline, a family in quiet turmoil, and lovers on the threshold of romance earned the Camera D'Or at the Cannes Film Festival. A timeless evocation of life's universal enchantment and a powerful portrait of a vanished world, The Scent of Green Papaya is "a film to cherish." (Roger Ebert)’ Kino International
Please note: This 35mm print will be presented with French and English subtitles.
Fri 11 Jul 6.00pm (remind me) and Sun 20 Jul 3.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 123 MINUTES, TAIWAN/USA, MANDARIN (ENGLISH SUBTITLES), DIRECTOR: ANG LEE / PRODUCER: HSU LI KONG / SCRIPT: ANG LEE, JAMES SCHAMUS, HUI-LING WANG / CINEMATOGRAPHY: JONG LIN / EDITOR: TIM SQUYRES / CAST: SIHUNG LUNG, YU-WEN WANG, CHIEN-LIEN WU / MUSIC: MADER / PRODUCTION COMPANIES: ANG LEE PRODUCTIONS, CENTRAL MOTION PICTURES, GOOD MACHINE / PRINT SOURCE: CHINESE TAIPEI FILM ARCHIVE / RIGHTS: CENTRAL MOTION PICTURE CORPORATION
In Eat, Drink, Man, Woman 1994, director Ang Lee follows the day-to-day experiences of a contemporary Taiwanese family. Master chef Mr Chu prepares a banquet for his daughters every Sunday, and across elaborately prepared dishes, they discuss their lives in stilted conversation. Lee emphasises the theatre of the dinner table by portraying the pinnacle of each character’s story off screen. The individual narratives are later recounted at the table, and only then are their personal transitions revealed. An uneasy dynamic plays out between the family members as each daughter announces a significant change in their life but it’s Mr Chu that ultimately has the most surprising revelation.
Fri 01 Aug 6.00pm (remind me) and Wed 06 Aug 6.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY, 107 MINUTES, USA, ENGLISH, ITALIAN (ENGLISH SUBTITLES), DIRECTORS: CAMPBELL SCOTT, STANLEY TUCCI / PRODUCERS: JONATHAN FILLEY, CAMPBELL SCOTT / SCRIPT: JOSEPH TROPIANO, STANLEY TUCCI / CINEMATOGRAPHY: KEN KELSCH / EDITOR: SUZY ELMIGER / CAST: TONY SHALHOUB, MARC ANTHONY, STANLEY TUCCI, MINNIE DRIVER, ISABELLA ROSSELLINI / MUSIC: GARY DEMICHELE / PRODUCTION COMPANIES: RYSHER ENTERTAINMENT, TIMPANO PRODUCTIONS / PRINT SOURCE/RIGHTS: PARAMOUNT PICTURES
‘Much like a small, inexpensive trattoria that leaves you feeling as if you've feasted like a king, this is a rare treat of a film, which with very little budget, manages to combine the finest acting, writing and direction to excellent effects. Set in New Jersey of the 1950s, two Italian-immigrant brothers spend their last pennies on opening a restaurant, The Paradise, a venture which promises to be their ticket to success - if only they could see eye to eye. You see, Primo and Secondo couldn't be more different. Whilst Primo is a purist (risotto and a side order of pasta?!), Secondo thinks chequered tablecloths and breadsticks are punter pleasers they can't do without. When a famous musician Louis Prima and his entourage are set to dine at The Paradise, the two brothers must work together to pull out all the stops, creating a feast that's to die for (and spending the last of their money in process). But will Louis Prima even come, when rival restaurant owner, Pascal, has arranged the dinner date? With a stellar cast including Stanley Tucci (who co-directs with childhood pal Campbell Scott), Marc Anthony, Tony Shalhoub, Minnie Driver, Isabella Rossellini and Alison Janney, this is a feast of a film, where the art of cooking and living to cook is appetizingly debated, discussed and divulged - and all with a good helping of humour.’ Watershed, Bristol
Wed 23 Jul 6.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 115 MINUTES, USA, ENGLISH, DIRECTOR/SCRIPT: GEORGE TILLMAN JR. / PRODUCER: ROBERT TEITEL, TRACEY EDMONDS / CINEMATOGRAPHY: PAUL ELLIOT / EDITOR: JOHN CARTER / CAST: VANESSA WILLIAMS, VIVICA A. FOX, NIA LONG, BRANDON HAMMOND, IRMA P. HALL / MUSIC: LISA COLEMAN, WENDY MELVOIN / PRODUCTION COMPANIES: FOX 2000 PICTURES, EDMONDS ENTERTAINMENT GROUP (EEG) / PRINT SOURCE/RIGHTS: TWENTIETH CENTURY FOX
‘Sunday lunches are…communal nourishment prepared the traditional way, back home under the aegis of Mother Joe (Hall). The film is set in modern-day Chicago, among Mother Joe's three daughters, their spouses and offspring. The eldest, Teri (Williams), a professional success, but hard and embittered, rubs against her sisters and even her husband Miles (Beach); Maxine (Fox) lives more easily with Kenny (Sams) and their two young children; and newlywed Bird (Long) finds life with Lem (Phifer) is loving but uncertain. It's Maxine's eldest, Ahmad (Hammond), who assumes Mother Joe's burden when she's hospitalised, and narrates the story which, as he says, is about the things that brought the family together and the things that tried to pull it apart.’ Time Out
Sat 12 Jul 1.00pm (remind me) and Sun 20 Jul 1.00pm (remind me) / Cinema A
SD VIDEO, COLOUR, DOLBY, 105 MINUTES, DENMARK/SWEDEN, DANISH/GERMAN/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: THOMAS VINTERBERG / PRODUCER: BRIGITTE HALD / SCRIPT: THOMAS VINTERBERG, MOGENS RUKOV / CINEMATOGRAPHER: ANTHONY DOD MANTLE / EDITOR: VALDÍS ÓSKARSDÓTTIR / CAST: ULRICH THOMSEN, HENNING MORITZEN THOMAS BO LARSEN, PAPRIKA STEEN, BIRTHE NEUMANN / MUSIC: LARS BO JENSEN / PRODUCTION COMPANIES: NIMBUS FILM PRODUCTIONS, DANMARKS RADIO, NORDISK FILM & TV-FOND, SVT DRAMA / PRINT SOURCE/ RIGHTS: UMBRELLA ENTERTAINMENT
A movie that unravels over the dinner table or behind the scenes in the kitchen, Festen (The Celebration) is a family drama, the first to be shot in the style of the Dogme 95 movement. ‘The Celebration is a family drama with a motto: Every family has its secret. It is summertime in the Danish countryside. A family celebration is about to begin in one of the splendorous houses. Helge Klingenfeldt, the patriarch and lord of the manor, is turning sixty. Invitations have been issued, the seating plan drawn up, and now the guests' cars are pulling into the residential driveway: friends, relatives, and of course the patriarch's next of kin - his wonderful wife Elsa, and their three adult children, Christian, Michael, and Helene. The head of the family is to be feted in a way nobody will ever forget. And though it is not to be a surprise party, a lot of surprises are in store.’ Warsaw Film Festival
Sun 29 Jun 3.00pm (remind me) and Wed 02 Jul 6.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 121 MINUTES, UK/USA/FRANCE, ENGLISH/FRENCH (ENGLISH SUBTITLES), DIRECTOR: LASSE HALLSTRÖM / PRODUCERS: LESLIE HOLLERAN, KIT GOLDEN, DAVID BROWN / SCRIPT: ROBERT NELSON JACOBS / CINEMATOGRAPHY: ROGER PRATT / EDITOR: ANDREW MONDSHEIN / CAST: JULLIETTE BINOCHE, JOHNNY DEPP, JUDI DENCH, ALFRED MOLINA / MUSIC: RACHEL PORTMAN / PRODUCTION COMPANIES: MIRAMAX FILMS, DAVID BROWN PRODUCTIONS / PRINT SOURCE/RIGHTS: ROADSHOW ENTERTAINMENT
‘Juliette Binoche stars as Vianne Rosher, a chocolate shop owner who not only gets people to talk about their forbidden fruits, but also has the ability to make people happily indulge in them. She, along with her daughter, Anouk (Victoire Thivisol), moves into a quiet French village during Lent and opens her chocolate shop. This comic fable is about how just one taste of life's pleasures can change a person, a relationship and a town. This is a tale of temptation, repression and the liberating powers of the senses - the comedic story of an escalating small-town war and fears aroused by the arrival of a mysterious chocolate shop.’ American Cinémathèque
Sat 05 Jul 1.00pm (remind me) and Wed 09 Jul 6.00pm (remind me) / Cinema A
SD VIDEO, COLOUR, DOLBY DIGITAL, 82 MINUTES, FRANCE, FRENCH (ENGLISH SUBTITLES), DIRECTOR/SCRIPT/PRODUCER: AGNÉS VARDA / CINEMATOGRAPHY: DIDIER DOUSSIN, STÉPHANE KRAUSZ, DIDIER ROUGET, PASCAL SAUTELET, AGNÉS VARDA / EDITOR: LAURENT PINEAU, AGNÉS VARDA / CAST: BODAN LITNANSKI, FRANÇOIS WERTHEIMER / MUSIC: JOANNA BRUZDOWICZ, ISABELLE OLIVIER / PRODUCTION COMPANY: CINÉ TAMARIS / PRINT SOURCE/RIGHTS: POTENTIAL FILMS
‘The Gleaners and I is an intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnès Varda. Varda's aesthetic, political, and finally moral focus is on gleaners, those individuals who pick at already-reaped fields for the odd potato or the leftover turnip, and who in previous generations were immortalized by the likes of the great painters Millet and Van Gogh. Varda investigates the reasons, ranging from economic desperation to quixotic impulse, that lead both the anonymous and the celebrated (including a famous chef) to sift through society's detritus. Along her journey, Varda constructs a portrait of France that is every bit as modern as the digital camera with which she gleans her images, and in the process comes up with her finest, most effective work since Vagabond.’ New York Film Festival
Sun 07 Sep 3.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 109 MINUTES, GERMANY, GERMAN/ITALIAN (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: SANDRA NETTELBECK / PRODUCER: KARL BAUMGARTNER, CHRISTINE BERG, CHRISTOPH FRIEDEL / CINEMATOGRAPHY: MICHAEL BERTL / EDITOR: MONA BRÄUER / CAST: MARTINA GEDECK, MAXIME FOERSTE, SERGIO CASTELLITTO / MUSIC: MANFRED EICHER / PRODUCTION COMPANY: BAVARIA FILM / PRINT SOURCE/RIGHTS: PARAMOUNT PICTURES
‘Whilst she orders her life with the same regulation as she orders her kitchen, renowned chef Martha is not above bawling out a customer who thinks her foie gras overcooked. Equally passionate and a good cook, her boss cuts her slack. Martha's tidy world is rocked when tragedy befalls her and she takes in her eight year-old niece Lina, a girl as resolute and socially maladroit as her aunt. A second shockwave comes when her boss hires Mario, an Italian chef who charms the other kitchen staff. Meanwhile, Lina makes Martha frantic with her grumpiness and refusal to eat her food. At a crucial junction in her life, Martha must decide if she's willing to let her heart be warmed.
With Moslty Martha, writer-director Sandra Nettelbeck has managed the rare feat of merging melancholy with joie de vivre. The film's low-key comic elements lend themselves to subtle characterisations - complemented by understated performances all round - producing a remarkably complete portrait of Martha's character from every angle. An audience favourite at Toronto and Locarno Film Festivals, Mostly Martha is a romantic comedy with main course substance.’ Melbourne International Film Festival
Sun 13 Jul 3.00pm (remind me) / Cinema A (screens with The Smokehouse 2013)
MINI DV, COLOUR, STEREO, 52 MINUTES, AUSTRALIA, ENGLISH, DIRECTOR: CARLO BURALLI / PRODUCER: CARMELO MUSCA / SCRIPT: GABRIELLA PIGNATELLI / CINEMATOGRAPHY: TIMOTHY LAFFEY / EDITOR: PETER PRICHARD / MUSIC: CHRIS NORMAN / PRODUCTION COMPANY: A FILM AUSTRALIA NATIONAL INTEREST PROGRAM IN ASSOCIATION WITH CM PRODUCTIONS / PRINT SOURCE/RIGHTS: NATIONAL FILM AND SOUND ARCHIVE, AUSTRALIA
Slow Food Revolution documents the global movement of Slow Food – a group committed to protecting traditional cultures, the environment and biodiversity by encouraging regional food production. Interviewing a diverse range of participants, including indigenous farming communities in Mexico and Italian townships legislating against fast food outlets, Slow Food Revolution is an epicurean take on environmentalism.
Sat 06 Sep 1.00pm (remind me) and Sat 13 Sep 3.00pm (remind me) / Cinema A
VIDEO/DVCAM, COLOUR, DOLBY SR, 100 MINUTES, USA, ENGLISH, DIRECTOR/SCRIPT/PRODUCER: MORGAN SPURLOCK / CINEMATOGRAPHY: SCOTT AMBROZY / EDITOR: STELA GEORGIEVA, JULIE BOB LOMBARDI / CAST: MORGAN SPURLOCK, ALEXANDRA JAMIESON / MUSIC: STEVE HOROWITZ, MICHAEL PARRISH, DOUG RAY / PRODUCTION COMPANIES: KATHBUR PICTURES, STUDIO ON HUDSON, THE CON / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION
‘What would happen if you ate nothing but fast food for an entire month? In Super Size Me, a scathingly tongue-in-cheek documentary of epic "portions," filmmaker Morgan Spurlock does just that and embarks on the most perilous journey of his life. The rules? For 30 days he can't eat or drink anything that isn't on McDonald's menu; he must wolf three squares a day; he must consume everything on the menu at least once and supersize his meal if asked. Spurlock treks across the country interviewing a host of experts on fast food and an equal number of regular folk while chowing down at the Golden Arches. This enthralling film reveals that McDonald's spends 1.4 billion dollars a year on advertising, insidiously luring children in with playgrounds and happy meals. What they don't do is return calls from pestering filmmakers. Spurlock's grueling drive-through diet spirals him into a physical and emotional metamorphosis that is downright harrowing and will make you think twice about picking up another Big Mac. A fascinating and truly alarming film, peppered with irreverent music and hilarious graphics, Super Size Me chomps into the legal, financial, and physical costs of America's hunger for fast food.’ Sundance Film Festival
Sun 31 Aug 1.00pm (remind me) / Cinema A
SD VIDEO, COLOUR, DOLBY DIGITAL, 111 MINUTES, TANZANIA/AUSTRIA, ENGLISH/SWAHILI/RUSSIAN, DIRECTOR/SCRIPT/CINEMATOGRAPHER: HUBERT SAUPER / PRODUCER: HUBERT SAUPER, BARBARA ALBERT, MARTIN GSCHLACHT, EDOUARD MAURIAT, ANTONIN SVOBODA, HUBERT TOINT / EDITOR: DENISE VINDEVOGEL / CAST: ELIZABETH MAGANGA NSESE, DIMOND REMTULIA, MARCUS NYONI / MUSIC: COSMAS ANTONIADIS, VERONIKA HLAWATSCH / PRODUCTION COMPANIES: MILLE ET UNE PRODUCTIONS, COOP 99, SAGA FILM / PRINT SOURCE/RIGHTS: POTENTIAL FILMS
‘In the 1960s, Nile perch was introduced into Lake Victoria in Tanzania; rapacious and predatory, it led to the endangerment or extinction of native fish, and soon the very life of the lake was threatened. While this was an apt metaphor and cautionary tale for the unforeseen consequences of human actions, the story is complicated by the fact of the fishing industries that arose on the shores of the lake. Each day tons of perch are filleted and shipped to European and Japanese markets; Russian pilots, East Asian businessmen, and local fishermen and prostitutes all have their interests in the ongoing presence of the catastrophic Nile perch. For this prize-winning film, Hubert Sauper and his collaborator Sandor Rieder interviewed people from all facets of the local economy. One factory owner shows the filmmaker his toy fish that sings "Don't worry, be happy," but a dissonant note is hit. As planes filled with fish fly overhead, famine abounds in Tanzania, and residents stave off hunger by feeding on discarded fish carcasses—another tragically apt metaphor.’ Kathy Geritz, Pacific Film Archive
Wed 16 Jul 6.00pm (remind me) and Sat 19 Jul 3.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 126 MINUTES, USA, ENGLISH, DIRECTOR: ALEXANDER PAYNE / PRODUCER: MICHAEL LONDON / SCRIPT: ALEXANDER PAYNE, JIM TAYLOR / CINEMATOGRAPHY: PHEDON PAPAMICHAEL / EDITOR: KEVIN TENT / CAST: PAUL GIAMATTI, THOMAS HADEN CHURCH, VIRGINIA MADSEN, SANDRA OH / MUSIC: ROLFE KENT / PRODUCTION COMPANIES: FOX SEARCHLIGHT PICTURES, MICHAEL LONDON PRODUCTIONS, SIDEWAYS PRODUCTIONS INC. / PRINT SOURCE: NATIONAL FILM AND SOUND ARCHIVE, AUSTRALIA / RIGHTS: TWENTIETH CENTURY FOX
‘Alexander Payne's fourth feature, the first not set in his homeland of Nebraska, is funny and cruel, slightly absurd and melancholy at the same time. Paul Giamatti, who shone in American Splendor 2003, also steals the show in this film, now in his role as the divorced, depressed teacher Miles, a would-be romantic and wine connoisseur in his spare time. There are some days when he doesn't just taste the wine... Miles goes off to spend a week with his old college friend Jack in the Californian wine district. He hopes to play some golf and to drink a lot of wine, but Jack (a TV actor with a rectangular jaw) is mainly interested in sex with other women in the week before his wedding. It turns into a week full of adventures that largely involve romantic complications with Stephanie (Sandra Oh) and Maya (Virginia Madsen), who both work as waitresses. Eye to eye with these charming women, both 40-year-old men make a real mess of their midlife crises in their very own ways. Sideways is a unique film within contemporary American cinema and its qualities are only striking when you consider just how self-evident they are: a film with a big heart and a sharp eye for human - male - shortcomings, well written, excellently acted, about ordinary people with all their pleasant and especially their unpleasant characteristics.’ International Film Festival Rotterdam
The archival 35mm print for this screening is courtesy of the National Film and Sound Archive Australia.
Sat 26 Jul 1.00pm (remind me) / Cinema A
DVCAM, COLOUR/BLACK AND WHITE, DOLBY DIGITAL, 82 MINUTES, USA, ENGLISH, DIRECTOR: TAGGART SIEGEL / PRODUCER: TAGGART SIEGEL, TERI LANG / CINEMATOGRAPHY: TAGGART SIEGEL / EDITOR: GREG SNIDER / CAST: JOHN PETERSON, ANNA NIELSEN, JOHN EDWARDS, LESTER PETERSON / MUSIC: MARK ORTON, DIRTY THREE / PRODUCTION COMPANY: COLLECTIVE EYE / PRINT SOURCE/RIGHTS: ANTIDOTE FILMS
‘The Real Dirt on Farmer John is a personal documentary about John Peterson, a farmer, artist, and eccentric/innovative thinker cast in rural Illinois. Filmmaker Taggart Siegel has documented John's struggle to redefine his family farm for over twenty years, witnessing the colourful drama of John's life. With the death of his father during the late 60's John turns his traditional family farm into an experiment of art and culture, making it a haven for hippies, radicals and artists. The Real Dirt on Farmer John charts the end of this idealistic era as the farm debt crisis of the 1980s brings about the tragic collapse of the farm. As the intricate weave of rural America unravels, vicious local rumours turn John into a scapegoat, condemning him as a Satan-worshipping drug-dealer. Threatened with murder, his home burned to the ground, John defies all odds to transform his land into a revolutionary farming community. At the film's close, the Peterson family farm is one of the largest Community Supported Agriculture (CSA) farms in the United States. Out of the ruins of single-crop agriculture, John creates an extended farm village where people and art can thrive alongside agriculture.’ Brooklyn Film Festival
Wed 27 Aug 6.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 108 MINUTES, USA, ENGLISH, DIRECTOR/SCRIPT: ADRIENNE SHELLY / PRODUCER: TODD KING, JEFF ROSE, MICHAEL ROIFF / CINEMATOGRAPHY: MATTHEW IRVING / EDITOR: ANNETTE DAVEY / CAST: KERI RUSSELL, NATHAN FILLION, CHERYL HINES, JEREMY SISTO, ANDY GRIFFITH / MUSIC: ANDREW HOLLANDER / PRODUCTION COMPANY: NIGHT AND DAY PICTURES / PRINT SOURCE/RIGHTS: TWENTIETH CENTURY FOX
‘Stories about poor women struggling to survive often make use of a rugged vérité aesthetic, but director Adrienne Shelly boldly defies convention with her radiant and gorgeously stylized feature film, Waitress. Jenna (Keri Russell) is a poor southern woman stuck in a bad marriage to her jealous jerk of a husband, Earl (Jeremy Sisto). Jenna works at Joe's Pie Diner, where every day she creates amazing pies that she titles after whatever's going on in her life. One day, she discovers she is pregnant and makes "I Don't Want Earl's Baby" pie. Jenna dreams of running away, but she is trapped inside her miserable life by poverty and her inability to access her own personal strength. Then she meets Dr. Pomatter, the handsome new gynecologist in town. When a friend encourages her to write a letter to her unwanted baby, an unexpected love story develops that changes Jenna's life. Russell delivers a wonderful, complex performance as Jenna, a repressed woman reaching for happiness, while Shelly infuses the film with a luminous magical sensibility and an endearing sense of humor. Confident and clear in vision, Waitress makes delicious upside-down cake of the Cinderella myth.’ Shari Frilot, Sundance Film Festival
Wed 10 Sep 6.00pm (remind me) and Fri 19 Sep 8.00pm (remind me) / Cinema A
HDCAM, COLOUR, DOLBY DIGITAL, 151 MINUTES, FRANCE, FRENCH/ARABIC (ENGLISH SUBTITLES), DIRECTOR: ABDELLATIF KECHICHE / PRODUCER: BENOÎT PILOT / SCRIPT: ABDELLATIF KECHICHE, GHALIA LACROIX / CINEMATOGRAPHY: LUBOMIR BAKCHEV / EDITOR: CAMILLE TOUKIS. GHALIA LACROIX / CAST: HABIB BOUFARES, HAFSIA HERZI / MUSIC: RABAH KHALFA, SALAH ELDIN MOHAMED, EZZEDINE BOUZID, IDWAR ISKANDAR / PRODUCTION COMPANIES: PATHÉ RENN PRODUCTIONS, HIRSCH, FRANCE 2 CINÉMA / PRINT SOURCE/RIGHTS: PALACE FILMS / SCERENING FORMAT: E-CINEMA
The Secret of the Grain 2007 focuses on Slimane, the patriarch of a Franco-Tunisian family whose position as head of the family has long since dissipated, following the breakdown of his marriage. Nearing retirement age, Slimane loses his job. With little hope of employment, he plans to open a restaurant that will serve authentic Tunisian cuisine. Through his food culture, he means to re-establish his connection with family tradition and to prove his worth, to his family as well as his adopted homeland of France.
Sat 09 Aug 1.00pm (remind me) and Sun 17 Aug 3.00pm (remind me) / Cinema A
HDCAM, COLOUR, STEREO, 88 MINUTES, USA, ENGLISH, DIRECTOR/PRODUCER: AARON WOOLF / SCRIPT: AARON WOOLF, JEFFREY K. MILLER, CURTIS ELLIS, IAN CHENEY / CINEMATOGRAPHY: IAN CHENEY, SAM CULLMAN, AARON WOOLF / EDITOR: JEFFREY K. MILLER / CAST: IAN CHENEY, CURTIS ELLIS, MICHAEL POLLAN, STEPHEN MACKO, EARL BUTZ / MUSIC: SIMON BEINS. JOHNNY DYDO, SAM GROSSMAN / PRODUCTION COMPANIES: ITVS, MOSAIC FILMS / PRINT SOURCE/RIGHTS: CARGO FILM & RELEASING
The 2007 documentary King Corn, directed and produced by Aaron Woolf, follows friends Ian Cheney and Curt Ellis who grow an acre of corn over the course of a year. Neither have farming experience: as they learn about the process of growing corn, the acre serves as an entry point into stories of food politics, corporate agriculture systems and the health implications of their crop. The film begins with the discovery that, due to surplus production, corn has become a pervasive presence in a multitude of products, from soft drinks to beef to beer. The narrative takes the two on a journey through their compliance with, and the discouragement of being involved in, contemporary food production. Despite the crop’s successes, King Corn highlights the obstacles and difficulties faced by modern farmers.
Sat 23 Aug 1.00pm (remind me) / Cinema A
HDCAM, COLOUR, STEREO, 99 MINUTES, USA, ENGLISH, DIRECTOR: MARK BECKER, JENNIFER GRAUSMAN / PRODUCER: JENNIFER GRAUSMAN / CINEMATOGRAPHY: MARK BECKER, LEIGH IACOBUCCI, JUSTIN SCHEIN / EDITOR: MARK BECKER / CAST: WILMA STEPHENSON, ERICA GAITHER, FATOUMATA DEMBELE, TYREE DUDLEY / MUSIC: PRINCE PAUL / PRODUCTION COMPANIES: NON SEQUITUR PRODUCTIONS, PARTICIPANT PRODUCTIONS / PRINT SOURCE/RIGHTS: JENNIFER GRAUSMAN
‘Three seniors at Philadelphia’s Frankford High School find an unlikely champion in the kitchen of Wilma Stephenson. A legend in the school system, Mrs. Stephenson’s hilariously blunt boot-camp method of teaching Culinary Arts is validated by years of scholarship success. Against the backdrop of the row homes of working-class Philadelphia, she has helped countless students reach the top culinary schools in the country. And under her fierce direction, the usual distractions of high school are swept aside as Erica, Dudley and Fatoumata prepare to achieve beyond what anyone else expects from them.’ IFFCenter “Gripping, funny and ultimately touching throughout, a feel-good story without the sticky, saccharine residue.” Movieline.com
Sat 05 Jul 3.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 96 MINUTES, UK/IRELAND, ENGLISH/IRISH, DIRECTOR: STEVE MCQUEEN / PRODUCER: LAURA HASTINGS-SMITH, ROBIN GUTCH / SCRIPT: ENDA WALSH, STEVE MCQUEEN / CINEMATOGRAPHY: SEAN BOBBITT / EDITOR: JOE WALKER / CAST: MICHAEL FASSBENDER, LIAM CUNNINGHAM / MUSIC: DAVID HOLMES, LEO ABRAHAMS / PRODUCTION COMPANIES: FILM4 PRODUCTIONS, CHANNEL 4, NORTHERN IRELAND SCREEN, BROADCASTING COMMISSION OF IRELAND, WALES CREATIVE IP FUND / PRINT SOURCE/RIGHTS: ICON FILM DISTRIBUTION
‘In his debut feature film, Turner-prize winning artist-turned-director Steve McQueen creates an even-handed take on the final days of IRA prisoner Bobby Sands, who led a group of Irish Republican prisoners in a mass hunger strike during the spring of 1981. Hunger recreates with raw authenticity, the wretched conditions faced by the prisoners incarcerated in the infamous Long Kesh — HMP Maze — prison. Dirty protests were commonplace, and the mental and physical brutality exercised by the 'screws' is portrayed with stark grimness. And at the centre of the story is the increasingly emaciated figure of Sands, portrayed here in an extraordinary performance by Michael Fassbender. McQueen's film is a steady, measured affair that nevertheless is harrowing and at times, difficult to watch. It is testament to his intuitive handling of an impassioned script and some extraordinary performances that Hunger succeeds in presenting profound perspectives on this painful chapter in British history.’ Dubai International Film Festival
Sat 28 Jun 2.00pm (remind me) and Sun 06 Jul 1.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 94 MINUTES, USA, ENGLISH, DIRECTOR: ROBERT KENNER / PRODUCER: ROBERT KENNER, ELISE PEARLSTEIN / SCRIPT: ROBERT KENNER, ELISE PEARLSTEIN, KIM ROBERTS / CINEMATOGRAPHY: RICHARD PEARCE / EDITOR: KIM ROBERTS / CAST: ERIC SCHLOSSER, MICHAEL POLLAN / MUSIC: MARK ADLER / PRODUCTION COMPANIES: PARTICIPANT MEDIA, DOGWOOF FILMS, RIVER ROAD ENTERTAINMENT / PRINT SOURCE/RIGHTS: ROADSHOW ENTERTAINMENT
‘What do we know about the food we eat every day? Too little, thought Robert Kenner who, together with best-selling authors Eric Schlosser (‘Fast Food Nation’) and Michael Pollan (‘The Omnivore’s Dilemma’) decided to expose the food industry’s irresponsible methods of production. This is an industry which, in order to preserve its own profits, is not merely content to endanger the livelihood of so many farmers and countless farm workers; in addition, the hard-nosed economic concerns that govern large food companies also threaten the well-being of consumers. To make matters worse, the machinations of such companies are, as a rule, covered up by their governments. Genetically manipulated grain, animal feed pumped full of medicines, fed cattle treated with hormones, and residual toxins in almost all products – the list of horrors grows every day and there isn’t a single area of agriculture that hasn’t been affected by some food scandal or other. Eric Schlosser: “The industry doesn’t want you to know the truth about what you’re eating because if you knew you might not want to eat it. You look at the labels and you see farmer this, farmer that. It’s really just three or four companies that are controlling the meat. We’ve never had food companies this big and this powerful in our history.”’ Berlin International Film Festival
Sun 17 Aug 1.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, STEREO, 80 MINUTES, AUSTRALIA, ENGLISH, DIRECTOR: JAMES COLQUHOUN, CARLO LEDESMA / PRODUCER: JAMES COLQUHOUN, LAURENTINE TEN BOSCH, ENZO TEDESCHI / SCRIPT: JAMES COLQUHOUN, LAURENTINE TEN BOSCH / EDITOR: ENZO TEDESCHI / PRODUCTION COMPANY: PERMACOLOGY PRODUCTIONS / PRINT SOURCE/RIGHTS: FOOD MATTERS.TV
Former nutrition consultants James Colquhoun and Laurentine ten Bosch became filmmakers with the documentary Food Matters after an illness in their family motivated them to collect interviews with some of the world’s leading experts on treating illness through diet. Food Matters examines the impact of food choices on health and advocates that food is an essential element of the healing process.
Sat 12 Jul 3.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 99 MINUTES, GERMANY, GERMAN (ENGLISH SUBTITLES), DIRECTOR: FATIH AKIN / PRODUCERS: ANN-KRISTIN HOMANN, FABIENNE VONIER, ALBERTO FANNI, PAOLO COLOMBO, KLAUS MAECK, FATIH AKIN, JEANETTE WÜRL, FLAMINIO ZADRA / SCRIPT: FATIH AKIN, ADAM BOUSDOUKOS / CINEMATOGRAPHY: RAINER KLAUSMANN / EDITOR: ANDREW BIRD / CAST: ADAM BOUSDOUKOS, BIROL ÜNEL, MORITZ BLEIBTREU, ANNA BEDERKE / MUSIC: PIA HOFFMANN / PRODUCTION COMPANIES: CORAZÓN INTERNATIONAL, DORJE FILM, NORDDEUTSCHER RUNDFUNK, PYRAMIDE PRODUCTIONS / PRINT SOURCE/RIGHTS: SHARMILL FILMS
‘A delicious, free-spirited story of food, friends, and rock & roll, Soul Kitchen won the Special Jury Prize and the Young Cinema Award for Best Film at the Venice Film Festival and made a smash with audiences at the Toronto and Tribeca film festivals. The story centres on a likable but hopelessly disorganized restaurateur named Zinos, whose café is second home to a motley crew of lovable eccentrics. When his girlfriend, Nadine, up and moves to Shanghai, a love-sick Zinos decides to fly after her, leaving his restaurant in the hands of his unreliable ex-con brother Illias (Moritz Bleibtreu from Run Lola Run and Munich). Both decisions turn out disastrously: Illias gambles away the restaurant to a shady real estate agent, and Zinos finds Nadine with a new lover. If the brothers can stop arguing and get it together, the Soul Kitchen might still have one last chance at staying in business. The mayhem that follows is a hilariously entertaining story of self-realization, set to an irresistibly soulful soundtrack’ Wexner Arts Center
Sat 02 Aug 1.00pm (remind me) / Cinema A
DVCAM, COLOUR, STEREO, 84 MINUTES, USA/FRANCE, ENGLISH/FRENCH (ENGLISH SUBTITLES), DIRECTORS/CINEMATOGRAPHY/EDITORS: CHRIS HEGEDUS, D.A. PENNEBAKER / PRODUCER: FRAZER PENNEBAKER, FLORA LAZAR / CAST: JACQUY PFEIFFER, SEBASTIEN CANONNE, PHILIPPE RIGOLLOT, REGIS LAZARD, NICOLAS SARKOZY / MUSIC: ALEX TOLEDANO, SEBASTIEN GINEAUX / PRODUCTION COMPANY: PENNEBAKER HEGEDUS FILMS / PRINT SOURCE/RIGHTS: JANE BALFOUR
‘Who would have ever thought that a bit of sugar glass and a delicious macaron could bring grown men so close to the brink of a total meltdown? France’s highest culinary honour since 1924, the Meilleur Ouvrier de France (poetically translated as “Best Craftsman of France”) is the most sought-after distinction for the world’s pastry chefs. Using their classic vérité style, Oscar-nominated documentarians D. A. Pennebaker and Chris Hegedus ('The War Room') shadow Jacquy Pfeiffer, founder of The French Pastry School in Chicago, as he goes head-to-head with 15 other hopefuls in a pastry battle unmatched by anything you’ve ever seen on the Food Network. For some, the emotionally and physically taxing competition pushes them to greatness; for others, it brings them to their knees.’ Calgary International Film Festival
Sun 31 Aug 3.00pm (remind me) / Cinema A
HDCAM, COLOUR, STEREO, 85 MINUTES, UK, ENGLISH, DIRECTOR: RUPERT MURRAY / PRODUCER: GEORGE DUFFIELD, CLAIRE LEWIS / SCRIPT: CHARLES CLOVER, RUPERT MURRAY (BASED ON THE BASED ON THE NOVEL OF THE SAME NAME BY CHARLES CLOVER) / CINEMATOGRAPHY: DAVID GROUNDWATER / EDITOR: CLAIRE FERGUSON / CAST: CHARLES CLOVER, BEN BRADSHAW, ROBERTO MIELGO BRAGAZZI / MUSIC: SRDJAN KURPJEL, MARIOS TAKOUSHIS / PRODUCTION COMPANIES: ARCANE PICTURES, CLAM PRODUCTIONS, DARTMOUTH FILMS, THE FISH FILM / PRINT SOURCE/RIGHTS: OVATION MEDIA
‘Sound the global alarm. Scientists predict that if we continue fishing at the current rate, the planet will run out of seafood by 2048 with catastrophic consequences. Based on the book by Charles Clover, The End of the Line explores the devastating effect that overfishing is having on fish stocks and the health of our oceans. With Clover as his guide, Sundance veteran Rupert Murray (Unknown White Male) crisscrosses the globe, examining what is causing the dilemma and what can be done to solve it. Industrial fishing began in the 1950s. High-tech fisheries now trawl the oceans with nets the size of football fields. Species cannot survive at the rate they are being removed from the sea. Add in cofactors of decades of bad science, corporate greed, small-minded governments, and escalating consumer demand, and we’re left with a crisis of epic proportions. Ninety percent of the big fish in our oceans are now gone. Murray interweaves glorious footage from both underwater and above with shocking scientific testimony to paint a vivid and alarming profile of the state of the sea. The ultimate power of The End of the Line is that it moves beyond doomsday rhetoric to proffer real solutions. Chillingly topical, The End of the Line drives home the message: the clock is ticking, and the time to act is now.’ Sundance Film Festival
Fri 12 Sep 8.00pm (remind me) and Sun 21 Sep 1.00pm (remind me) / Cinema A
35MM, COLOUR, DOLBY DIGITAL, 88 MINUTES, ITALY/GERMANY/SWITZERLAND, ITALIAN (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: MICHELANGELO FRAMMARTINO / PRODUCERS: PHILIPPE BOBER, MARTA DONZELLI, ELDA GUIDINETTI, GABRIELLA MANFRÉ, SUSANNE MARIAN, GREGORIO PAONESSA, ANDRES PFÄFFLI / CINEMATOGRAPHER: ANDREA LOCATELLI / EDITOR: BENNI ATRIA MAURIZIO GRILLO / CAST: GIUSEPPE FUDA, BRUNO TIMPANO, NAZARENO TIMPANO, ARTEMIO VELLONE / MUSIC: PAOLO BENVENUTI / PRODUCTION COMPANIES: INVISIBILE FILM, VENTURA FILM, VIVO FILM, ESSENTIAL FILMPRODUKTION GMBH / PRINT SOURCE/RIGHTS: POTENTIAL FILMS
‘Poetic, philosophical, and purely cinematic, Michelangelo Frammartino's film gazes near-wordlessly upon only a few subjects: an elderly shepherd, a kid goat, a tall fir tree, a charcoal oven. From these simple components of life in Calabria unfurls a story of startling depth, a transcendent meditation on the rhythms of life, growth, change, and death in the natural world. Straightforward, sometimes funny, sometimes dark and poignant, the scenes are imbued with a certain lightness of being as if Frammartino is asking the audience to gently conspire with him, to breathe together, to take each scene as it comes – whether it be a nearly abstracted image of a burning charcoal heap, or a wry visual comedy set-piece involving a dog, a truck, and a Passion Play.’ Harvard Film Archive
Sun 29 Jun 1.00pm (remind me) and Sun 06 Jul 3.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, DOLBY DIGITAL, 108 MINUTES, GERMANY/SPAIN, CATALAN/FRENCH/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: GEREON WETZEL / PRODUCERS: PETRA FELBER, INGO FLIESS, JUTTA KRUG / CINEMATOGRAPHY: JOSEF MAYERHOFER / EDITOR: ANJA POHL / CAST: FERRAN ADRIÀ, ORIOL CASTRO, EDUARD XATRUCH, EUGENI DE DIEGO, AITOR LOZANO / MUSIC: STEPHAN DIETHELM / PRODUCTION COMPANIES: IF… PRODUCTIONS, BAYERISCHER RUNDFUNK, WESTDEUTSCHER RUNDFUNK / PRINT SOURCE/RIGHTS: MADMAN ENTERTAINMENT
‘El Bulli built a reputation as one of Spain’s most acclaimed restaurants, and its success earned chef Ferran Adrià a reputation as one of the best, most innovative and craziest chefs in the world. Currently undergoing a two-year retooling with plans to re-emerge in 2014 as the el Bulli Foundation, the restaurant is no stranger to creative shifts. Even in its prime, El Bulli closed for six months at a time to allow Adrià and his team to retire to his Barcelona cooking laboratory to create the new menu for the coming season. Director Gereon Wetzel takes a uniquely quiet stylistic approach to his documentary, creating a natural birds-eye view of the chef’s process as the taste and texture of proposed dishes are systematically analyzed. His camera watches as the cooks experiment, shop, discuss, sample and ultimately design the new menu for the next rotation. Taking the idea of a cooking show to an entirely new level, El Bulli encourages the audience to sit back, relax and enjoy every minute of these chefs’ conversations, artistic discussions, methodology and scientific approach to recipes and menu creation.’ Calgary International Film Festival
Sun 10 Aug 3.00pm (remind me) / Cinema A
HDCAM, COLOUR, STEREO, 88 MINUTES, INDIA/USA, HINDI/ENGLISH (ENGLISH SUBTITLES) DIRECTOR/PRODUCER/SCRIPT: MICHA X PELED / CINEMATOGRAPHY: DEVENDRA GOLTKAR / EDITOR: LEONARD FEINSTEIN / CAST: VANDANA SHIVA, RAM KRISHNA, KISHOR TIWARI, GYANENDRA SHUKLA, / MUSIC: HAIM FRANK ILMAN / PRODUCTION COMPANY/PRINT SOURCE/RIGHTS: TEDDY BEAR FILMS
‘Bitter Seeds …is a vibrant investigation of the predicament of Indian cotton farmers caught up in biotech broker Monsanto's genetically modified seed program. Refused loans by legitimate banks, the farmers borrow from illegal moneylenders at seven-percent interest per month and inevitably fall into irredeemable debt, further aggravated by low yields and a need for more fertilizer and water. Out of shame, some commit suicide by drinking Monsanto’s pesticide—such deaths now number over 200,000. The tiny miracle in this seemingly hopeless globalization tragedy is the daughter of one such farmer, a council head who was the first in his village to kill himself. Eighteen-year-old Manjusha yearns to be a journalist to expose the reasons for the suicides, but she has no mentor and certainly no encouragement. [Director] Peled’s latest heroine fights on the frontline of this global human and environmental crisis, driven by a desire to voice the perspective and preserve the dignity of the powerless.’ Pacific Film Archive
Fri 19 Sep 6.00pm and Sun 21 Sep 3.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, DOLBY DIGITAL, 81 MINUTES, USA/JAPAN, JAPANESE (ENGLISH SUBTITLES), DIRECTOR/CINEMATOGRAPHY: DAVID GELB / PRODUCER: KEVIN IWASHINA, TOM PELLEGRINI / EDITOR: BRANDON DRISCOLL-LUTTRINGER / CAST: JIRO ONO, YOSHIKAZU ONO, MASUHIRO YAMAMOTO, DAISUKE NAKAZAMA / MUSIC: JEFF FOXWORTH, THE ONTIC, RYE RANDA / PRODUCTION COMPANIES: PREFERRED CONTENT, SUNDIAL PICTURES / PRINT SOURCE/RIGHTS: CURIOUS FILMS
‘An appetizing documentary in every sense, Jiro Dreams of Sushi follows 85-year-old master sushi chef Jiro Ono, owner of the esteemed 10-seat, $300-a-plate Sukiyabashi Jiro restraurant in Tokyo. From the ins and outs of the tuna auction to the proper way to massage an octopus, director David Gelb dynamically profiles all aspects of the craft in mouthwatering style and detail, paying lushly photographed homage to the process of preparing the artisan sushi that earned Jiro an elite three Michelin stars. Beyond its cinematic celebration of the art of sushi, Jiro is also a film fundamentally about family, tradition, and the value of hard work. The complicated relationship between the master and Yoshikazu, his son and heir apparent, is a story of legacy, succession, and intergenerational tension—universal themes that transcend the specificity of their epicurean world. This emotionally resonant study of a son living in his father's shadow is couched in an operatic spectacle of some of the world's preeminent chefs at work, making Jiro a tasty treat that will satisfy all viewers' cinematic cravings.’ Tribeca Film Festival
Sun 27 Jul 3.00pm (remind me) and Wed 30 Jul 6.00pm (remind me) / Cinema A
DCP, COLOUR, STEREO, 93 MINUTES, USA, ENGLISH, DIRECTOR/SCRIPT/EDITOR: JOSEPH LEVY / PRODUCER: MIRANDA BAILEY, JACQUELINE LESKO, MATTHEW LEUTWYLER, JOSEPH LEVY / CINEMATOGRAPHY: ERIN HARVEY / CAST: GRANT ACHATZ, FRANCISCO MARTINEZ, MIKE BREITBACH, THOMAS KELLER / MUSIC: ED SHEARMUR / PRODUCTION COMPANIES: CHAOS THEORY ENTERTAINMENT, AMBUSH ENTERTAINMENT / PRINT SOURCE/RIGHTS: RIALTO ENTERTAINMENT
Spinning Plates examines with great warmth and humanity the passion, motivation and trials of three diverse restaurants. Michelin-starred Alinea in Chicago is headed by chef Grant Achatz, who is battling tongue cancer; Breitbach’s Country Dining, a diner famous for its fried chicken, and which has overcome adversity due to unshakable community support; and newly opened and struggling small business La Cocina de Gabby, which serves authentic Mexican cuisine, made from recipes handed down to chef Gabby by her grandmother.
‘These unforgettable stories of family, legacy, and passion come together to reveal how meaningful food can be, and the power it has to connect us to one another.’ TIFF Cinémathèque
Sun 24 Aug 1.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, STEREO, 86 MINUTES, FRANCE, FRENCH (ENGLISH SUBTITLES), DIRECTOR: PAUL LACOSTE / PRODUCER: GAËLLE BAYSSIÈRE, DIDIER CRESTE / CINEMATOGRAPHY: YVAN QUEHEC / EDITOR: ANTHONY BRINIG / CAST: MICHEL BRAS, SÉBASTIAN BRAS / MUSIC: KAROL BEFFA / PRODUCTION COMPANY: EVERYBODY ON THE DECK, LE-LOKAL PRODUCTION, JOUR2FÊTE, HÉRODIADE / PRINT SOURCE/RIGHTS: CURIOUS FILMS
‘“Time flies,” muses Michel Bras, peeling photographs off a bulletin board. The hawkeyed master chef is retiring from the day-to-day operation of the Michelin-recognized restaurant he built on a hill in the L’Aubrac region, 465 kilometers from Paris. This watershed event has been in the works for a while, and Bras is ready to pass the keys to his diligent and talented son, Sébastien. Letting go is never easy, though, and Michel can’t help but hover as the congenial Séba sets about making his mark. Paul Lacoste’s contemplative and sublime study of artistry and family is calibrated to the turning of the seasons, evoking the connection to the earth’s bounty that shapes the restaurant’s ever-changing menu but also the circle of life and the transition of generations. Keeping the focus on the artists rather than the patrons, Lacoste revels in the Bras’s innovative experiments in the kitchen. The extended sequence of Séba reimagining a trademark recipe with local ingredients at the Bras restaurant in Japan, then accepting Michel’s considered reaction and bite-by-bite critique, is an especially delicate, delicious, and touching scene. Notwithstanding the chefs’ gorgeous presentations, in particular their signature salad, this lovely, unhurried film has no interest in fetishizing food. Its real, all-natural subject has to do with claiming one’s place and acknowledging one’s roots.’ Michael Fox, Pacific Film Archive
Fri 05 Sep 8.00pm (remind me) and Sat 20 Sep 1.00pm (remind me) / Cinema A
DCP, COLOUR, DOLBY DIGITAL, 95 MINUTES, FRANCE, FRENCH/ENGLISH (ENGLISH SUBTITLES), DIRECTOR: CHRISTIAN VINCENT / PRODUCERS: ETIENNE COMAR, PHILIPPE ROUSSELET / SCRIPT: CHRISTIAN VINCENT, ETIENNE COMAR / CINEMATOGRAPHER: LAURENT DAILLAND / EDITOR: MONICA COLEMAN / CAST: CATHERINE FROT, ARTHUR DUPONT, JEAN D’ORMESSON / MUSIC: GABRIEL YARED / PRODUCTION COMPANIES: VENDÔME PRODUCTION, FRANCE 2 CINÉMA, WILD BUNCH, ARMADA FILMS / PRINT SOURCE/RIGHTS: PARAMOUNT PICTURES
‘As the chef-owner of a modestly successful provincial restaurant, the last thing Hortense Laborie expected was to be called on by the president of France himself to act as his personal chef. Soon after taking the job at the Élysée Palace in Paris, she discovers that navigating the protocols imposed by the kitchen’s snobbish all-male old guard is even more challenging than catering to the president’s culinary whims. As the battle for influence over the head of state wages on among the kitchen staff, Hortense sets out to prove that she can take the heat. Based on the real-life story of the personal chef to former French president François Mitterrand, Haute Cuisine uses the politically charged kitchen and corridors of the Élysée Palace as an exquisite backdrop to a nonstop parade of mouthwatering dishes in the tradition of classic French cuisine. French favorite Catherine Frot gives a spirited performance alongside newcomer Jean d’Ormesson—an accomplished writer making his screen debut at age eighty-seven—in this deliciously French comedy.’ Ian Hollander, Tribeca Film Festival
Sat 13 Sep 1.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, STEREO, 84 MINUTES, USA, ENGLISH, DIRECTOR: KRISTI JACOBSON, LORI SILVERBUSH / PRODUCER: JULIE GOLDMAN, LORI SILVERBUSH, KRISTI JACOBSON, RYAN HARRINGTON / CINEMATOGRAPHY: DANIEL B. GOLD, KRISTEN JOHNSON / EDITOR: MADELEINE GAVIN, ANDREA SCOTT, JEAN TSIEN / CAST: JEFF BRIDGES, RAJ PATEL, TOM COLICCHIO / MUSIC: THE CIVIL WARS, T BONE BURNETT / PRODUCTION COMPANY: PARTICIPANT MEDIA / PRINT SOURCE/RIGHTS: CINEPHIL
Kristi Jacobson and Lori Silverbush’s documentary A Place at the Table 2012 connect the two apparently opposite states of hunger and obesity by asserting that both stem from a reduced capacity to make positive food choices due to financial limitations. By highlighting the increasing number of North Americans reliant on charitable food programs as well as the obesity ‘epidemic’, A Place at the Table considers the social and psychological outcomes of both conditions. Individual stories of hunger or health problems offer a way for audiences to connect to seemingly abstract political policies, such as agricultural subsidies and minimum wage regulation.
Sun 14 Sep 1.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, STEREO, 50 MINUTES, PALESTINE/ISRAEL, ARABIC/HEBREW/ENGLISH (ENGLISH SUBTITLES), DIRECTOR/PRODUCER/SCRIPT: ARI A. COHEN / PRODUCTION COMPANY: ARAB FILM / PRINT SOURCE/RIGHTS: ROTATING PLANET PRODUCTIONS INC.
‘Falafelism follows the iconic Palestinian croquette made from ground chickpeas and fava beans as it rolls its way through world history, cultural identity, class struggle, and international politics. There is no doubt that the world enjoys this humble sandwich as a Middle Eastern food favorite but some Israelis now claim it as their own. What is the origin of this dish? What is the difference between the Egyptian Tamieh and the Palestinian Falafel? Who is winning the Falafel wars? Can this delicious yet humble sandwich bring people together or is it yet another example of Israeli appropriation of Palestinian food and culture? Filmed in North America, Europe and the Middle East, with leading scholars, restaurateurs, and everyday people, Falefelism tries to answer all these questions and more as filmmaker Ari Cohen gains 20 pounds in search of cultural coexistence between Israel and Palestine, Jews and Arabs.’ Arab Film
Fri 05 Sep 6.00pm (remind me) and Sat 20 Sep 3.00pm / Cinema A
DCP, COLOUR, DOLBY DIGITAL, 104 MINUTES, INDIA, HINDI/ENGLISH (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: RITESH BATRA / PRODUCERS: ARUN RANGGACHARI, ANURAG KASHYAP, GUNEET MONGA / CINEMATOGRAPHY: MICHAEL SIMMONDS / EDITOR: JOHN F. LYONS / CAST: IRRFAN KHAN, NIMRAT KAUR, NAWAZUDDIN SIDDIQUI / MUSIC: MAX RICHTER / PRODUCTION COMPANIES: DAR MOTION PICTURES, SIKHYA ENTERTAINMENT, NFDC, ROH FILMS, ASAP FILMS, CINE MOSAIC / PRINT SOURCE/RIGHTS: MADMAN ENTERTAINMENT
In the hectic metropolis of Mumbai, the unique dabbawalla lunchbox delivery system collects home-cooked meals from private residences every day and delivers them to recipients in their workplaces. Attempting to revitalise her marriage, Ila sends her husband a carefully prepared meal, but the lunchbox is mistakenly delivered to lonely accountant Saajan (Irrfan Kahn of Life of Pi, Slumdog Millionaire), who is on the verge of retirement. After Ila’s husband incorrectly names the dish in her lunchbox, her curiosity is piqued and she leaves a note with the next delivery. What follows is a burgeoning correspondence between Ila and Saajan, which coaxes out a thoughtful, gentle romance between them.
Sat 19 Jul 1.00pm (remind me) and Sat 26 Jul 3.00pm (remind me) / Cinema A
DCP, COLOUR, STEREO, 75 MINUTES, AUSTRALIA/CHINA/FRANCE, ENGLISH/MANDARIN (ENGLISH SUBTITLES), DIRECTOR/SCRIPT: DAVID ROACH, WARWICK ROSS / PRODUCER: WARWICK ROSS / CINEMATOGRAPHY: STEVE ARNOLD, LEE PULBROOK / EDITOR: PAUL MURPHY / CAST: SARA EISEN, DEBRA MEIBURG / MUSIC: BURKHARD DALLWITZ, AMANDA BROWN / PRODUCTION COMPANY: LION ROCK FILMS / PRINT SOURCE/RIGHTS: ROADSHOW ENTERTAINMENT
‘Within the first minutes of Red Obsession we are inducted into the subtle complexities of this world of fine manners, prestige, tradition and great riches. We are introduced to a cast of vintners, who all seemed charmed, with a smiley disposition and the kind of French-accented English that curls and snuggles comfortably in the ear. Everyone seems oh so sweet. But we learn here the stakes are gigantic and the business is brutal. Critics and marketing help set prices. A change in the weather alters the science of the winemaking; all of this is the difference between a good season and a bad one. Francis Ford Coppola – himself a notable vintner of the Napa region in California – explains that, for him, wine is not just a matter of taste, it’s euphoric, a thing that adds magic to a meal. Coppola, a famed raconteur, muses that what makes a bottle of 'collectible’ wine notable, its value, lay in its story; he once tasted a Bordeaux bottled only four years after the French Revolution and wonders on camera whether Jefferson had managed a tipple from the same batch. This is not a trivial point. Ross and Roach are out to make a case about the difference between an Old Tradition and the growth of a New Age in business.’ SBS
Sun 07 Sep 1.00pm (remind me) / Cinema A
HD VIDEO, COLOUR, STEREO, 90 MINUTES, AUSTRALIA, ENGLISH/ITALIAN (ENGLISH SUBTITLES), DIRECTOR: ANGELO PRICOLO, SHANNON SWAN / PRODUCER: ANGELO PRICOLO, SHANNON SWAN, JASON MCFADYEN / CINEMATOGRAPHY: JASON MCFADYEN, KATIE MILWRIGHT / EDITOR: SHANNON SWAN / CAST: ALDO TASCA, GIANCARLO GUISTI, MARIO MACCIONE, RALPH BERNARDI, SALVATORE DELLA BRUNA / MUSIC: ASHER POPE / PRODUCTION COMPANY: TWO TAPS PRODUCTIONS, RESOLUTION MEDIA / PRINT SOURCE/RIGHTS: RESOLUTION MEDIA
The 2013 Australian documentary Lygon Street: Si Parla Italiano underlines the importance of sharing food traditions. The role of food — particularly in closing the cultural gaps between Italian migrants and the conservative culinary tastes of 1950s Australia — is illustrated through a series of interviews with restaurateurs and cafe owners in Melbourne’s well-known inner-city dining precinct. ‘Narrated by Anthony La Paglia with a big grin in his voice, is stylish, witty, full of fascinating factoids and gripping historical detail. Like a good sauce, it's rich and complex; here is the story of the impact of Euro cuisine on Australian palettes (and business). But it's also a tale of Melbourne (and Australian) urban life of the last 50 years; it's a story of hardship and intolerance, stoic entrepreneurs, tin-shed migrant dorms, back-room card games, police harassment and Australia's first espresso machine.
Part group memoir, part celebration, and part virtual walking tour, Lygon St: Si Parla Italiano uses animation, a gallery of talking heads and some truly remarkable archival material (much of it from private collections and unseen till now) to tell its story of post-World War II Italian migration to Australia and its impact on the country's cultural life.’ SBS
Sun 13 Jul 3.00pm (remind me) / Cinema A (screens with Slow Food Revolution 2003)
HD VIDEO, COLOUR, STEREO, 5 MINUTES, AUSTRALIA, ENGLISH / DIRECTORS: MARK WELKER, AARON CUTHBERT / CINEMATOGRAPHERS: AARON CUTHBERT, GEORGE HUSBAND, MARK WELKER, MONIQUE WELKER/ EDITOR: MARK WELKER / CAST: ROHAN ANDERSON (WHOLE LARDER LOVE) / MUSIC: NATHAN HOLLYWOOD / PRODUCTION COMPANY: COMMONER / PRINT SOURCE/RIGHTS: SMITH JOURNAL
‘A collaboration between Smith, Rohan Anderson of Whole Larder Love and Melbourne-based filmmakers Commoner, "The Smokehouse" marks the first of what is hopefully a series of short films that give insight into the life and motivation of interesting people featured in Smith Journal. The process of constructing a pioneer-style cold smokehouse was a bit of an experiment for everyone involved. Most of the labour and shooting took place on Anderson's place outside of Ballarat in Victoria, but the trees were felled from a nearby pine infestation taking over native bush land on a friend's property. As Anderson explains in the video, the project was pretty ambitious. There was lots to be learnt during the process, but the final result speaks for itself... and we're all looking forward to the first batch of smoked bacon.’ Smith Journal