A Day in the Country
"My judgment that Jean Renoir is the greatest filmmaker in the world is not based on a public opinion poll, but purely on my own feelings. It's a feeling, I might add, that is shared by many other filmmakers. And after all, Renoir is the quintessential movie-maker of the personal. . . A Day in the Country is a film of pure sensation; each blade of grass tickles our face. Adapted from a story by Guy de Maupassant, it is the only true cinematic equivalent of the art of the short story." - Francois Truffaut, 1967

In the pantheon of the truly great, director Jean Renoir holds special place of honor for his stunning body of work, which has enriched film history and influenced countless filmmakers over the years. With A Day in the Country, this feature film director set out with a specific intent: to make a short film based on a short story. The result is an enduring classic of uncommon gentleness and poetic beauty. This 19th century tale of love and sensuality focuses on a bourgeois Parisian family who makes a rare Sunday excursion to the country. In the course of a summer's day, both mother and daughter are expertly seduced at the river's edge by two young holidaymakers while their menfolk nap and fish. While the sense of an idyll is lovingly captured, Renoir also creates a sense of ironic counterpoint: for one couple, the afternoon is a spirited romp in the hay; for the other, there remains the bittersweet aftertaste of love enjoyed and lost. Son of the great Impressionist painter, Jean Renoir returns to the landscapes and people of his childhood in this serenely nostalgic tale. (France, made in 1936; released in 1946, 40 min. Special thanks to Kino International.)

Always
Though he's been happily married forever, Frederich is finding himself a bit out of sorts and craving some space. Attuned to his moods as only a friend of 40 years can be, Gertrude is ready to give him freedom. But first, she has a request: one more dance. (Germany, 1999, 15 min. Directed by Jophi Ries.)

The Boy Who Saw the Iceberg
Paul Driessen (The End of the World in Four Seasons, SF96) returns with a new animated tale of an imaginative lad who lives in two parallel worlds. (Canada, 2000, 9 min. Directed by Paul Driessen.)


Close to the Soil
A serene portrait of one man's propensity for tradition. When the tractor revolutionized Swedish agriculture, Farmer Thure Anderson chose not to modernize, preferring the company of his horses and the feel for the land that they allowed him. (Sweden, 2000, 10 min. Directed by China Ahlander.)

Nine Lives (The Eternal Moment of Now)
Jay Rosenblatt (Human Remains, SF98) returns with this psychological mini-drama starring Pinky, the ultimate "cat napper". Don't blink and don't yawn. (USA, 2001, 1 min. Directed by Jay Rosenblatt.)

Pieces of My Wife
When a man unbendingly applies the common-sense axiom "leave the past behind" to his situation, logic and grief become poignantly intertwined. (France, 2000, 10 min. Directed by Frederic Pelle.)

Red BMW
Winning a shiny new car leaves one of the unemployed denizens of a Sao Paolo shantytown less than thrilled. Dream come true? How can it be when he can't afford the insurance or taxes, or even the gas. But he and his family prove imaginatively resourceful in this humorous, lollipop-hued economic fairytale where one man's status symbol becomes another man's trophy home. (Brazil, 2000, 20 min. Directed by Reinaldo Pinheiro & Edœ Ramos.)

Rubber Gloves
In this riotous display of multi-tasking, an overworked housewife juggles personal and professional commitments on the hottest day of the year. Something is bound to snap. (Australia, 2000, 13 min. Directed by Anthony Mullins.)

Sweet
A young man and woman, each dreaming of the other, awake in separate beds. Sensual daydreams provide the escape hatch from their daily routines. But who is the dreamer and who the dream? (USA, 2000, 5 min. Directed by Elyse Couvillion.)

A Zen Tale
Night has fallen. A stranger knocks at the monastery's door. A challenge is issued. Based on an ancient Buddhist tale of perceived reality, this amusing allegory illustrates just how far seeing is from believing. (USA, 2000, 11 min. Directed by Magdalena Sole.)

Love and the New Wave
When the directors of the New Wave (those original movie brats) emerged in the late 50s and early 60s, they rapidly achieved notoriety and fame. Many of the names now synonymous with French cinema at its most vibrant were film critics just itching to make movies. Where did they start? With shorts. This trio of early works by two leading figures of the New Wave – François Truffaut (400 Blows, Jules and Jim, The Last Metro) and Jean-Luc Godard (Breathless, Contempt, Weekend) – anticipates some of the themes (young love, desire, growing up, city life) and breezy visual stylistics which became their signatures. Charming and audacious, this lively triptych offers a fresh glimpse into a history-making chapter where the filmmaking was “of the moment” and not yet a movement.

Truffaut’s first short, Les Mistons (The Mischief Makers) concerns a group of adolescent boys who spy on a young woman with whom they are infatuated, pestering her and her boyfriend as the two try to enjoy some romantic time alone. That same year Godard made his third short, All the Boys Are Called Patrick which charts the adventures of an energetically on-the-make fellow whose efforts to be everywhere at once finally catch up with him. In Antoine and Colette, his contribution to the Love at Twenty omnibus film, Truffaut reintroduces Antoine Doinel, the young protagonist of 400 Blows. Now 18 and living on his own in Paris, Antoine falls in love with an older student who does not share his feelings. To enhance your viewing experience, this screening will include a brief introduction to the New Wave movement and the making of these films. (All the Boys Are Called Patrick France, 1957, 17 min. Special thanks to Laurence Braunberger and Steffen Pierce. Archival print courtesy of Harvard Film Archive. Antoine and Colette France, 1962, 29 min. Print from WinStar Cinema. Les Mistons France, 1957, 17 min. Print from WinStar Cinema.)

Always Forever
A documentary about the bitter-sweet sensation of being fifteen – bedrooms, moms, cigarettes, Catholic school, teen icons, and most especially, best friends forever. (USA, 2000, 10 min. Directed by Deena Lombardi.)

By Courier
When two articulate and intelligent lovers reach a communication impasse, it takes the “poetic” license of a kid from the wrong side of the tracks to bridge the gap. For his directorial debut, actor Peter Riegert turns to O. Henry’s delightful short story about the language of love as a parsing art. (USA, 2000, 13 min. Directed by Peter Riegert.)

Details
Coffee, egg, sugar, paper – all the elements and rituals of an ordinary breakfast seemingly intact. Or are they? Flavio Frederico (Day to Day, SF 99) takes a closer look to reveal something else. (Brazil, 2000, 5 min. Directed by Flavio Frederico.)

Football
From the time he was just a wee babe, our young hero knew what he wanted to be. Though statistics, and an outrageous harridan of a mother (Helena Bonham Carter) are stacked against him, he keeps his eye – and a nimble foot – on the ball. (England, 2000, 8 min. Directed by Gaby Dellal.)

Furniture Poetry
Apples, teapots, chairs, and shoes are just a few of the objects put through rigorous balletic paces in this whimsical contribution to the philosophical debate about what happens to objects when no one is looking at them. (England, 1999, 6 min. Directed by Paul Bush.)

Gate
Over their morning smoke and tea, Gus, David and Willi take in the great expanse of Australian bush. According to Willi, someone left the gate open last night and 800 sheep escaped. Gus suspects Dave to be the culprit. A unique course of interrogation sets this droll whodunnit into deadpan motion. (Australia, 2000, 16 min. Directed by Peter Carstairs.)

Gulp
From Jason Reitman and Dan Dubiecki (In God We Trust, SF00) comes another hi-speed comic adventure. This time the clock is ticking for the intrepid Francis, a fish named Gerard, and their quest for salt. (USA, 2000, 8 min. Directed by Jason Reitman.)

Motorcycle
This exquisite drama set in a remote village in northern Thailand centers on an unexpected phone call that alters a family’s life. (USA/Thailand, 2000, 14 min. Directed by Aditya Assarat.)

Ordinary Love
Groehnke really loves his wife and his work as a police detective. But things suddenly grow more complicated on the day of his seventh wedding anniversary when marital problems and criminal solutions begin to seriously overlap. (Germany, 2000, 13 min. Directed by Oliver Dieckmann.)

Bullet in the Brain
Based on a Tobias Wolff short story, this narrative exploration of the interplay between memory and life follows Anders (Tom Noonan), a writing teacher whose passion for words proves his fatal flaw... and provides his final recollection. (USA, 2000, 14 min. Directed by David von Ancken.)

Chicken
Barry Dignam (Dream Kitchen, SF00) returns with this micro-drama of two boys hanging out on the beach at dusk. A game of dare tests the limits of their trust and redefines the limits of their relationship. (Ireland, 2001, 3 min. Directed by Barry Dignam.)

Collision Course
What do a marble-playing street urchin, a homeward-bound worker and a bold jewel thief have in common? A shared skill in navigating the labyrinthine byways of their city, an all-too-human response to temptation, and common destiny are all cleverly revealed in this fast-paced urban tale. (Brazil, 1999, 12 min. Directed by Roberval Duarte.)

Ernst Goes Swimming
In this charming animated vignette, Ernst is towed off for an afternoon at the pool. It’s a case of sensory overload for poor Ernst until he catches sight of a pretty girl. His mother is determined he will learn to swim. Ernst is determined to meet the girl. (Denmark, 2000, 7 min. Directed by Alice de Champfleury.)

Infection
A mutant hero, a virtual bank heist, and a debilitating digital virus propel this exhilarating computer animation, giving a surreal twist to the usual action-thriller. (New Zealand, 2000, 9 min. Directed by James Cunningham.)

Jigsaw Venus
Love may, after all, be a small piece in life’s puzzle, but to Madeline, the picture without its contribution looks awkwardly fragmented, incredibly suspended, and ready to collapse. This desired little piece seems to pass her right by until one magical night when she realizes that it was near her all the time. (USA, 2000, 11 min. Directed by Dean Kapsalis.)

No Mess
Pam and Marilyn have a matter-of-fact professional manner but operate an extraordinary business. Their forensic cleaning service takes up where human tragedy leaves off. With delicate discretion, this documentary offers a testimony to the importance of human dignity as practiced by two ladies. (Australia, 2000, 14 min. Directed by Anne Delaney & Brett Evans.)

Zen and the Art of Landscaping
Zen may know a thing or two about shrubs and weed whackers. But he’s hardly prepared for the seductive plotting of a vengeful wife and the hilarious domestic crossfire that ensues. Here the comic device of “topping the topper” puts the fun back in family dysfunction. (USA, 2000, 17 min. Directed by David Kartch.)

Fatmans
As generously-spirited as its subject, this documentary seeks the secret ingredient to the success of Fatmans, a thriving café in an otherwise fading North Carolina small town. For over 40 years, owner Mary ‘Mom’ Pratt and side-kick Sam Davis have been servin’ up more than home cookin’ to their “family” of customers. (USA, 2000, 16 min. Directed by Jeff Bens.)

4 p.m.
Belinda, a career woman with a taste for danger meets Jenna, an adventurous free spirit. As Jenna follows the loose strings of a one-night stand gone hilariously wrong, she unravels more than her new friend’s cloak of anonymity. (England, 2000, 15 min. Directed by Samantha Bakhurst & Lea Morement.)

The Man with the Empty Room
From Todd Korgan (Johnny Bagpipes, SF99; Have You Seen Patsy Wayne, SF98) comes this droll yet winsome tale of a generic man with a worrisome quandary – what to do with that empty room. (USA, 2001, 20 min. Directed by Todd Korgan.)

405
A cool dude with a shiny SUV and an open road. What could possibly spoil his day??? (USA, 2000, 3 min. Directed by Bruce Branit & Jeremy Hunt.)

Father and Daughter
Standing beside a waterway, a father says goodbye to his young daughter. As the wide Dutch landscapes live through their seasons, she awaits his return. In this beautifully drawn animation, the entrancing play of fluid lines and raking shadows speak more eloquently than words. (Netherlands, 2000, 9 min. Directed by Michael Dudok de Wit.) Cock Fight Rushing to market in his dilapidated chicken coop on wheels, an Israeli poultry breeder is brought to a halt at an isolated Palestinian road-block. As the heat and tension build, Marziano, his Romanian farmhand, and the Palestinian guards confront each other at history’s checkpoint. (Israel, 2000, 14 min. Directed by Sigalit Liphshitz.)

Metropopular
Regional rivalry comes to life in this comedic animated tale of image, popularity, and power as the major municipalities of the U.S. jockey for the title, “America’s Favorite City.” (USA, 2000, 7 min. Directed by Jonah Hall.)

Because of Mama
Caught between cello lessons and hockey practice, Mama and Papa, the old ways and the new, young Slava tries to chart his course in life and please both his parents. He’s a contemporary child – juggling schedules, expectations, and dreams. Now if he could just find the right note. (Russia/USA, 2000, 18 min. Directed by Serguei Bassine.)

My Job II
Work at home! Following his study of an oven-flying pilot (My Job SF00), Joern Utkilen continues his uniquely low-tech assessment of domestic career opportunities. (Scotland/England, 2000, 3 min. Directed by Joern Utkilen.)

Listen...
Yiannis and Sofia appear to enjoy a happy and affectionate life together. Then one day the water heater in their Athenian flat goes on the blink, and the fireworks begin. A delightful and refreshing spin on being human, foibles and all. (Greece, 2000, 26 min. Directed by Katerina Filiotou.)

Pillowfight
An affectionate look at that stage in a couple’s relationship when “sleeping together” actually means sleeping together. (USA, 2000, 4 min. Directed by Scott Rice.)

The Big House
Director/actress Rachel Ward (Blindman’s Bluff, SF00) delivers another dramatic tale of the emotional connections people can make in unexpected places. Within the concrete confines of a life sentence, one man rediscovers his capacity for love. (Australia, 2000, 24 min. Directed by Rachel Ward.)

Helgoland
Filmmaker Karin Westerlund offers an unusual, personal tour of her favorite getaway. In this evocative Dogma documentary of sorts, we experience extreme relaxation. (Denmark, 2000, 12 min. Directed by Karin Westerlund.)

Döppelganger
Brian runs a successful business, lives in an amazing penthouse, and dates a beautiful model. But his dreams have been getting oh-so-strange. From the filmmakers of last year’s whimsical This Guy is Falling comes a moody thriller of identity, for better or worse. (USA, 2001, 14 min. Directed by Michael Horowitz & Gareth Smith.)

Ellie Parker
Hustling across Hollywood from audition to audition, Ellie Parker takes us on the wild ride of an aspiring actress. (USA, 2000, 15 min. Directed by Scott Coffey.)

The Child
A novel race against time in a city whose traffic is legendary. (England, 2000, 3 min. Directed by Antoine Bardou-Jacquet.)

80 Degrees East of Birdland
Music proves to be the universal language in this gentle story of a touring jazz band that loses its way in rural Norway and ends up at an elderly man’s farm. Their request for a map leads to a charming conclusion. (Norway, 2000, 6 min. Directed by Sølvi A. Lindseth.)

Gina An Actress, Age 29
A budding actress in Knoxville, Tennessee, Gina lands her first paying role. When it turns out to have an unexpected catch, she finds herself practicing her thespian craft for more than just the applause of a full house. (USA, 2001, 20 min. Directed by Paul Harrill.)

The Man with the Beautiful Eyes
With a visual style as beautifully nuanced as the vibrant language of the Charles Bukowski poem, this animated adaptation charts the rich terrain of childhood, romanticism, and memory. (England, 1999, 6 min. Directed by Jonathan Hodgson.)

Erè Mèla Mèla
Where dance and stop-action animation converge, a mesmerizing pas de deux of humor, grace, and sensuality ensues. (France, 2001, 6 min. Directed by Daniel Wiroth.)

I Want to Be...
With hope and determination, two resourceful orphans forage for scraps and sing for change on Mexico City’s teeming streets. Every night they stash away peso by hard-won peso, inching ever closer to their dream of a better future. Then one night the older one briefly decides to live for the moment... Germany/Mexico, 1999, 34 min. Directed by Florian Gallenberger.)

For the Birds
Animation house Pixar (Geri’s Game, SF98) brings us this delectable cautionary fable of birds on a wire. (USA, 2000, 3 min. Directed by Ralph Eggleston.)

Eyes
They say eyes are the window to the soul. In this tender documentary, sixty pairs of eyes share the secrets of several lifetimes. (Canada, 1999, 8 min. Directed by David Ostry.)

Talk to You Later
When your relationship’s in crisis, who ya gonna call? Two message-buster friends, of course! In this comedy of modern-day manners, an answering machine, a bottle of wine, and three tightly-wound young women with finely-honed interpretive skills are deployed to hilarious effect. (USA, 2000, 10 min. Directed by Steven Hentges.)

Hospital Food
40 years, 3 generations, 5 phone calls, 1 story. In this thoughtful drama, a series of hospital-corridor phone calls bulletin a family history, giving glimpses into those defining moments that shape our lives. (England, 2000, 7 min. Directed by Joe Tunmer.)

The Heist
A dark night. Four men supercharged with caper-in-progress electricity. A getaway car…and a passing train. (Denmark, 2000, 7 min. Directed by Dennis Petersen & Frederik Meldal.)

A Telephone Call for Genevieve Snow
Harkening back to an earlier era when telephones were too big for pockets, tea was taken in the parlor, and stories were told in black-and-white, a prank by a bored girl’s-school doyenne sends music teacher Genevieve Snow down a seemingly sinister path…. (Australia, 2000, 21 min. Directed by Peter Long.)

Blue Haven
A classic love story with a kick like Run Lola Run meets Dog Day Afternoon, kinetic Blue Haven chases after two SoCal skateboarders on a strange journey towards two very different Holy Grails. (USA, 2001, 17 min. Directed by Julian Cautherley.)

Joy
It’s Thursday night. Window shopping for more than clothes and accessories, Joy is craving something more real than the canned brands, labels, and marketed images of adolescence. From the director of Flowergirl (SF00) comes this whiff of teen spirit. (Australia, 2000, 10 min. Directed by Cate Shortland.)

Delusions in Modern Primitivism
Meet Jerome: tortured artiste, connoisseur, and canvas all in one. On a trek across Dallas, he regales us with his quest for meaning, identity, artistic self-expression, and a possible modeling gig for GQ. (USA, 2000, 17 min. Directed by Daniel Loflin.)

Hourglass
"The sands of time" – a metaphor brought to poetic life in this lyrical animation. (England, 2000, 5 min. Directed by Matthew Hood.)

The Heart of the World Brace yourself!
With enough plot twists for an entire season of soaps, an epic visual style as expressive as Fritz Lang’s Metropolis, and more cross-cutting than a Keystone Kops chase scene – filmmaker Guy Maddin (Odilon Redon, SF96) is about to fling the world’s first “subliminal melodrama” on to our screen. (Canada, 2000, 6 min. Directed by Guy Maddin.)