The First Grader - Film Review

Telluride Film Festival

By Stephen Farber - The Hollywood Reporter

TELLURIDE, Colo. Stories about inspiring teachers have tantalized moviemakers and movie audiences since the era of Mr. Chips and Miss Dove. The latest incarnation, “The First Grader,” proved to be one of the biggest crowd-pleasers at this year’s Telluride Film Festival. Although the arc of the story might be familiar, the setting and characters are fresh. Art house audiences are likely to discover and embrace the film.

“The First Grader” is set in Kenya and recounts the true story of an 84-year-old farmer and former Mau Mau tribesman who decided to go to school when the country introduced universal education. Screenwriter Ann Peacock introduces Maruge (Oliver Litondo), an old man with a walking stick, as he approaches the new school in his village and asks to enroll. The school authorities are reluctant to admit an octogenarian alongside 6-year-olds, and we gradually learn there are tribal rivalries that also contribute to their suspicion of Maruge. Teacher Jane Obinchu (Naomie Harris) is equally skeptical, but when she observes Maruge’s unyielding determination to learn to read, she becomes his ally, even as she alienates her husband and government authorities who are just as bureaucratically rigid in Kenya as in so many other societies.

The film paints a vivid picture of rural and urban Kenya - Maruge eventually travels to Nairobi to plead his case - and it also sketches some of the forgotten history of the country.

Flashbacks reveal that Maruge suffered in a British prison camp and even lost his family at the hands of the British occupying forces. His past makes it painfully ironic that he faces so much discrimination at the hands of his own countrymen.

Director Justin Chadwick - best known for his superb BBC miniseries adapted from Dickens’ “Bleak House” - insisted on filming on location, and he enlisted locals for most of the roles in the film. Working with cinematographer Rob Hardy, he brings the countryside alive and also provides fascinating insights into a forgotten chapter of British colonial history.

Scenes in the classroom are entertainingly vital, aided by the natural performances of the Kenyan children. But the film shares the failing of many other films about inspiring teachers: It asserts that Jane is a marvelous influence on her students but doesn’t succeed in dramatizing revelatory moments in the classroom that might change the course of a young person’s life.

Because the writing falls down in some of these scenes, it helps that Harris - a veteran of small British movies as well as the gargantuan “Pirates of the Caribbean” franchise - brings so much passion to her performance. She conveys Jane’s utter dedication while always leavening her performance with convincing moments of doubt and vulnerability. Litondo’s innate dignity is another major asset to the production. Chadwick strikes a perfect balance between humor and tragic gravity, and the result is that an unknown story seems certain to stir the hearts of audiences worldwide.

Venue : Telluride Film Festival

Cast : Naomie Harris, Oliver Litondo, Tony Kgoroge, Shoki Mokgapa, Alfred Munyua, Vusi Kunene
Director : Justin Chadwick
Screenwriter : Ann Peacock
Producers : Sam Feuer, Richard Harding, David M. Thompson
Executive producers : Norman Merry, Joe Oppenheimer, Anant Singh, Helena Spring
Director of photography : Rob Hardy
Production designer : Vittoria Sogno
Music : Alex Heffes
Costume designer: Sophie Oprisano
Editor : Paul Knight

No rating, 105 minutes


The First Grader scores at Telluride

Telluride Film Festival

By John Horn - Los Angeles Times

Reporting from Telluride, Colo. - Truth can certainly be stranger than fiction. If you look toward the Telluride Film Festival, it might also be stronger.

While the rest of Hollywood turns to far-fetched fantasies of flying superheroes, impossible romances and talking toys, the filmmakers behind the standout movies at the Colorado festival are finding that some of the year’s most powerful stories can be found in real-life events.

While that’s obviously the case with Telluride’s esteemed documentaries, three of the most enthusiastically received dramatic features at the just-concluded festival - the world premieres “The King’s Speech,” “127 Hours” and “The First Grader” - are based on the extraordinary accomplishments of actual people. A number of the festival’s other prominent new features, including “The Way Back,” “Of Gods and Men,” “Carlos” and “Incendies,” also have historical events undergirding their foundation.

The narrative allure of such stories is easy. When moviegoers see the words “Based on a true story” just as a film commences, they might grant a movie prospective empathy - the audience is more willing to welcome, both intellectually and emotionally, what it is about to see. That connection was a powerful wave pushing last year’s “The Blind Side.”

Yet any director or writer who strays too far from the factual path can be condemned for fast-and-loose filmmaking. “A Beautiful Mind” was nearly derailed when its makers sanded off several rough patches in mathematician John Nash’s personal life, and “The Hurricane” was knocked out for its liberties with boxer Rubin Carter.

“I remember thinking after ‘3000 Degrees’ that I’ll never do another real-life story, the director and co-writer of “127 Hours,” says of a proposed movie about a Massachusetts firefighting tragedy that fell apart on the eve of production over life-rights issues. “It’s just too complicated. You don’t have control over the material.”

Yet when that true-life material is irresistible, filmmakers can find a way to make a film that is both creatively inventive and factually honest.

The people at the center of “The King’s Speech,” “127 Hours” and “The First Grader” could barely be more disparate. The first film, directed by Tom Hooper (“The Damned United”), focuses on King George VI, the monarch who struggled to overcome a crippling speech impediment. The new movie from Boyle, who premiered in Telluride two years ago, recounts the harrowing wilderness experience of Aron Ralston, who amputated his own hand and forearm when pinned by a falling boulder. And “The First Grader,” from director Justin Chadwick, profiles an illiterate 84-year-old Kenyan villager who, after the government promised free education for all, hobbled into an elementary school and wouldn’t leave until he could learn to read.

As unalike (and, outside of Ralston, as potentially unfamiliar) as their stories might be, the characters share an against-all-odds quest that ultimately unites the cheering spectator with the journey. In a way, these are all versions of inspirational tales as recognizable as “Rocky,” “The Karate Kid” or even “The Bad News Bears.” Yet precisely because they are in large part true, “The King’s Speech,” “127 Hours” and “The First Grader” are more affecting.

“The main thing was that it was uplifting,” Chadwick says of his interest in telling the story of “The First Grader’s” Nganga Maruge, a tale that came to filmmakers’ attention in a Los Angeles Times article. “You have to make something that is relevant these days, and it was a really good story.”

Chadwick shot his film, which stars the African actor Oliver Litondo as Maruge and Naomie Harris as his determined teacher, Jane Obinchu, in a remote Kenyan village with no electricity or running water and populated the cast with 200 local schoolchildren, most of whom had never seen a movie or TV show. While Chadwick and screenwriter Ann Peacock (“A Lesson Before Dying”) made several changes to the story (Obinchu in the movie is younger than in real life, there’s a radio announcer adding jokes and exposition), the movie endeavored to get geographic and historical details as accurate as possible.

The scars that Maruge bears on his back as a result of torture under Britain’s colonial rule are replicated in the film on Litondo’s body, and the songs the young students sing throughout the movie are their own creation. “The movie also celebrates the children, and the healing power of children, no matter what terrible things have happened in your life,” Chadwick says.

Boyle says that while it’s easy to look at Ralston’s story as an unimaginable demonstration of superhumanism, he believes that we are all capable of doing the same thing if the situation demanded it. So at many turns throughout “127 Hours,” he and screenwriter Simon Beaufoy (“Slumdog Millionaire”) excised scenes that created barriers between Ralston and the audience, meanwhile adding sequences that connected the trapped hiker to the rest of the world, crowd scenes and memories of an old girlfriend designed to be a magnet helping pull him free. “It may not be factual,” Boyle says of some of the added sequences, “but it’s truthful.”

The film preserves verbatim some of what Ralston says into his video camera during the ordeal, including a disorderly farewell to his parents, because it gives “127 Hours” a verisimilitude that polished scripting might lack. “It’s so slightly awkwardly written - a proper dramatist would never write the speech that way,” Boyle says. “But it felt very natural to leave it like that.”

Were Boyle making a purely fictional film, moviegoers, critics and studio executives would likely dismiss as preposterous some of the small bits in “127 Hours,” particularly a scene where Ralston, once freed and ready to try to be rescued, stops to take a photograph of his severed hand. “If it were in a script, they would say, ‘It’s just obscene. Throw it out.’ But because it really happened, it allows you to do it. And you can see the audience thinking, It must be true.”

As a young English child with a terrible stammer, David Seidler would listen to radio broadcasts of King George VI, who also had an almost incapacitating speech impediment. The King’s World War II addresses reminded Seidler that if the monarch could overcome stuttering, so could he: The king was his elocutionary inspiration.

Seidler grew up to become a screenwriter, writing “Tucker: The Man and his Dream” and numerous television programs, but he never forgot what he heard over the wireless so many decades earlier. He eventually adapted the story of the king and his relationship with his unconventional speech therapist, Lionel Logue, into a play, and the play has now become the movie “The King’s Speech.”

Even though the movie directed by Hooper is about the royal family and unfolds around Buckingham Palace and Westminster Abbey, “The King’s Speech” follows common themes of friendship, perseverance and trust. Logue was a talented language pathologist (the film was shaped by a trove of his unpublished papers, records and diary entries), but his true gift was companionship. Like any good shrink or comrade, the therapist was able to reveal and manage some of the things - an oppressive childhood, chiefly - that twisted the king’s tongue in knots.

“What I felt the film was really about was that he was saved by friendship,” Hooper says. “Yes, it’s about a man with a stammer. But we all face blocks to becoming our better selves.”

The film is stuffed with period detail - “I’m obsessive about historical accuracy,” says Hooper, who also directed the miniseries John Adams.” One of the film’s most memorable lines comes not from biography, but from something Hooper’s father told the director. Educated in a heartless boarding school, the filmmaker’s dad suffered some of the same confidence-killing treatment as did King George VI.

So when Hooper told his father he was stuck on one scene, his father told him some of the best advice he ever heard was this: “You don’t need to be afraid of the things you were afraid of when you were 5.” It’s Logue’s line to the king now, and it’s part of what makes “The King’s Speech” feel so real.


Toronto Film Festival's Hottest Tickets

Toronto International Film Festival

By Bruce Kirkland - The Toronto Sun

The Toronto International Film Festival turns 35 on Thursday. With 2010 as a transition year, this is a milestone birthday that marks a new era.

An extra day has been added to the traditional schedule, turning the 10 days into 11 that co-directors Piers Handling and Cameron Bailey hope will again shake the world of cinema. More than 300 films have been selected by a stellar team of 19 programmers, including prime-time entries launching their Oscar campaigns. The guest list is the envy of every other filmfest. Plus TIFF opens its swanky if risky new home, the Bell Lightbox, which fronts King Street in the Entertainment District. Bailey jokes that it is about time that the adult-aged TIFF moved out of its parents’ basement into its own house. There is a downtown shift out of Yorkville and the festival is looking to become a 365-day player in the Toronto arts and culture scene.

But the core festival remains the showpiece event on the calendar. Line-ups for tickets stretched two blocks in the sweltering sun on Peter Street this week. Patrons are still looking for the breakout titles. So we offer our annual Hot Tips selection, gleaned from personal experience and insider information. At least one essential film is named from each program, from the mainstream to the esoteric. Enjoy.


Score: A Hockey Musical: Foster Hewitt might be spinning and grinning in his grave. Michael McGowan’s playful, populist movie turns Canadian junior hockey into a musical extravaganza for Opening Night.

Black Swan: American Darren Aronofsky shifts from the ring (The Wrestler) to the classic ballet stage, cranking up the psychological tension like an early Polanski. Natalie Portman co-stars.

The Housemaid: Hyped as “elegant, sexy and dangerous,” this is South Korean filmmaker Im Sang-soo’s controversial re-make of a 1960 erotic thriller, with the victimizer of the original turned into the victim for the inverted contemporary version. It is rife with socio-political overtones.


Biutiful: As one of the finest from the Cannes’ contenders, Alejandro Gonzalez Inarritu’s harrowing film chronicles a marginalized Spaniard, played by the brilliant Javier Bardem. He shows how even a petty criminal can find moral redemption.

Another Year: This is another stunner from Cannes. Mike Leigh intimately explores a group of Britons in the twilight of their complicated lives.

The Trip: Switching genres and tones again, prolific British filmmaker Michael Winterbottom takes Steve Coogan and Rob Brydon on a giddy English road trip as themselves, sort of.

Mumbai Diaries: Bollywood superstar Aamir Khan, under the direction of his wife Kiran Rao, opens a new chapter in his career with an acclaimed slice-of-life drama. No music, no dancing!

Blue Valentine: Meticulously crafted and brutally honest, Derek Cianfrance’s film is a study of a broken marriage. Both Ryan Gosling and Michelle Williams are brilliant in their portrayals.

Other titles to consider in this rich program: Milcho Manchevski’s Mothers; Julian Schnabel’s Miral; Sturla Gunnarsson’s Force of Nature: The David Suzuki Movie; Richard Ayoade’s Submarine; Ryan Fleck and Anna Boden’s It’s Kind of a Funny Story; Tran Anh Hung’s Norwegian Wood; Stephen Frears’ Tamara Drewe; Nigel Cole’s Made in Dagenham; Denis Villeneuve’s Incendies; Danny Boyle’s 127 Hours; Sylvain Chomet’s The Illusionist.


The Sleeping Beauty: France’s Catherine Breillat, a true poet of cinema, re-invents and modernizes the familiar fairytale.

Essential Killing: Poland’s Jerzy Skolimowski challenges viewers with a mysterious, nearly silent film tale of a Middle Eastern terrorist (Vincent Gallo) who is captured and taken from desert to a snowbound landscape. When he escapes he becomes the one seeking real freedom.


Girlfriend: Justin Lerner’s first feature is a discovery, in style and content. Lerner explores an unlikely, maybe impossible relationship between a young man with Down Syndrome and a single mom and renegade whom he has loved since early childhood. Money figures into their lives.


Cave of Forgotten Dreams: Werner Herzog plumbs the depths of prehistoric cave art in France, giving TIFF its first 3D documentary.

Pink Saris: Briton Kim Longinotto again explores the world of women, this time finding an activist who specializes in empowering females from India’s Untouchables class.


Our Day Will Come: Romain Gavras, Paris-based son of legendary Greek filmmaker Costa-Gavras, emerges as a vibrant filmmaker himself. This unique tale - an alternative reality in today’s messed-up world - slyly positions redheads enemies of the state, the “them” who must be persecuted.


Little Sister: American Richard Bowen works in China to re-tell the original Cinderella story, which originated centuries ago in that culture. Bowen, a cinematographer as well as director, gives TIFF one of its most visually splendid films and provides older children with an elegant tale in Mandarin and English.


Bruce Springsteen and Edward Norton: In a rare public appearance off the concert stage, The Boss will be interviewed by actor pal Norton in TIFF’s newly expanded Mavericks program. This could be a singular highlight of the 2010 filmfest. The session is a spin-off from the world premiere of the Springsteen doc, The Promise: The Making of Darkness on the Edge of Town (playing as a Gala).


Turkey’s Reha Erdem perfectly captures the pulse of his city, Istanbul, which is the focus of this year’s City to City. The film is positioned as “a mix of hard truths and stark poetry” as it balances the forces of ancient Istanbul with the modern.


Aftershock: Chinese director Feng Xiaogang’s drama covers three decades, beginning and ending with devastating earthquakes. It is already a mega-hit of the Chinese cinema, one of its most successful homegrown films ever.

The First Grader: Englishman Justin Chadwick found an inspirational true story in Kenya. It is the saga of an 84-year-old man who goes to class for the first time when the country offers free primary schooling for all.

Detective Dee and the Mystery of the Phantom Flame: With Saigon-born director Tsui Hark in charge, Hong Kong cinema fully integrates with mainland Chinese culture, bringing kinetic energy and sophistication to the old ways of the mainland.

Of Gods and Men: Frenchman Xavier Beauvois’ period film is stark, contemplative, haunting and perfectly timely because it explores how religion, race and colonialism collide - with tragedy looming.


Daydream Nation: While Denis Villeneuve’s Incendies (from Special Presentations) is the must-see Canadian film of the featival, Mike Goldbach’s quirky drama is the class of the Canada First! program (part of the Canadian Programming section). Kat Dennings is a teen facing her worst nightmare: Dad is moving her to a tiny nowhere town. The horror!


Promises Written in Water: American actor-filmmaker Vincent Gallo is a certified cinema eccentric, and not just for the transgressive effort, The Brown Bunny. He won’t even let TIFF publish a photo in the program book for this new opus, his third feature. And he will deliver the screening print himself, then shuffle off to Buffalo with it afterwards. Makes you curious.


Ruhr: American James Benning turns his rigorously artful camera on Germany’s industrialized Ruhr Valley for an arresting visual portrait of a man-made landscape. There is beauty in the beast.


The Butcher, the Chef and the Swordsman: Let programmer Colin Geddes describe one-named filmmaker Wuershan’s martial arts whimsy: “A tale of revenge, honour and greed, lightly tossed with scallions and sesame oil and served on a tender bed of steamed pea shoots.” The witching hour is tasty this year.

Other titles to consider: James Gunn’s SUPER with Ellen Page.


Heartfelt Standing Ovation at Telluride

Telluride Film Festval

Sam Feuer tweets from the Telluride Film Festival :

“THE FIRST GRADER receives a heartfelt standing ovation at Telluride…”


Telluride Film Festival Announces Lineup

‘Never Let Me Go,’ ‘Biutiful,’ join Scorsese doc set at fest’

Dave McNary - Variety

Mixing prestige with offbeat titles, the 37th Telluride Film Festival will offer its usual low-key glimpse at an eclectic array of potential awards contenders over Labor Day weekend.

Lineup, unveiled Thursday, features several pics that will head to the Toronto Film Festival afterward, including Mike Leigh’s “Another Year,” Alejandro Gonzalez Inarritu’s “Biutiful,” Tom Hooper’s “The King’s Speech,” Xavier Beauvois’ “Of Gods and Men,” Charles Ferguson’s docu “Inside Job,” Errol Morris’ “Tabloid” and Stephen Frears’ “Tamara Drewe.”

In all, the Telluride program contains 24 feature films along with six programs by guest director, novelist Michael Ondaatje, 25 short films and 13 documentaries screening in the fest’s Backlot program.

Tributes are set for actress Claudia Cardinale; director Peter Weir as part of the world premiere screening of prison-escape drama “The Way Back”; and thesp Colin Firth, who will be feted along with the premiere of “The King’s Speech.”

Other high-profile titles include Mark Romanek’s “Never Let Me Go” and Romanian drama “If I Want to Whistle, I Whistle,” which won the Silver Bear at Berlin. Besides “Inside Job” and “Tabloid,” notable documentary titles include Martin Scorsese’s “A Letter to Elia,” Werner Herzog’s “Happy People: A Year in the Taiga” and Ken Burns’ “The Tenth Inning,” a four-hour addition to his 1994 PBS series “Baseball.”

Programmers drew heavily on Cannes titles, including grand jury prize winner “Of Gods and Men,” along with “Another Year,” “Biutiful,” Olivier Assayas’ “Carlos,” docu “Inside Job,” Michelangelo Frammartino’s “Le quattro volte,” Justin Chadwick’s “The First Grader,” South Korean drama “Poetry,” Sylvain Chomet’s animated “The Illusionist,” Bertrand Tavernier’s period drama “The Princess of Montpensier” and Frears’ “Tamara Drewe.”

“We felt that the Cannes films were particularly strong this year,” said co-director Gary Meyer. “There were about a dozen knockouts.”

Telluride’s drawn an impressive list of awards contenders in recent years, serving as the launching pad for “Slumdog Millionaire,” “Juno,” “Brokeback Mountain,” “Capote” and “The Last King of Scotland.”

Unlike the Venice and Toronto fests, however, Telluride continues to opt for a straightforward presentation over the Friday-Monday period - without red carpets or awards competitions. Org, which relies on about 700 local residents to run the fest, refuses to tout any title as a “premiere.”

“We are always just looking for the most interesting films out there,” Meyer told Daily Variety. He estimated that Telluride has an acceptance rate of about 95% for the films it invites.The initial Telluride lineup did not include a pair of Fox Searchlight titles - Danny Boyle’s “127 Hours” and Darren Aronofsky’s “Black Swan” - though it was rumored that the two pics would be last-minute additions. Jason Reitman’s “Up in the Air” was added to the program last year after the first official announcement.

Meyer warned against such speculation. “We always have a big laugh over the films that are going to come here that don’t,” he said.

First up on Friday will be “Carlos,” the six-hour biopic about the legendary terrorist. “We fell in love with ‘Carlos’ when we saw it in January,” Meyer recalled. “If it had been in competition at Cannes, it would have won.”

Meyer was particularly enthused over “If I Want to Whistle, I Whistle,” which he saw with Telluride co-directors Julie Huntsinger and Tom Luddy at Berlin. “We saw a lot of Romanian films but this one was head and shoulders above the rest,” he added.

Meyer’s also a champion for two relatively unknown titles - Lavinia Currier’s African rain - forest tale “Oka! Amerikee” and Spanish animated entry “Chico and Rita.” “We checked with people at the other festivals, and they didn’t even know about these two,” he added.

Meyer noted that on “The Way Back,” the organizers needed to contact 23 different producers. “We saw it in June, and it seemed just right to us to bring here, because no one’s ever really done a tribute to Peter Weir,” he added. Festival has issued 2,400 passes, and there will probably be about 6,000 visitors in town.

The 2010 Telluride lineup :


  • “A Letter to Elia” (Martin Scorsese and Kent Jones, U.S., 2010)
  • “Another Year” (Mike Leigh, U.K., 2010)
  • “Biutiful” (Alejandro González Iñárritu, Mexico, 2010)
  • “Carlos”(Olivier Assayas, France, 2010)
  • “Chico and Rita” (Fernando Trueba, Javier Mariscal Spain-Cuba, 2010)
  • “The First Grader” (Justin Chadwick, U.K., 2010)
  • “The First Movie” (Mark Cousins, U.K., 2009)
  • “Happy People: A Year in The Taiga” (Dmitry Vasyukov with Werner Herzog, Germany, 2010)
  • “If I Want to Whistle, I Whistle” (Florin Serban, Romania, 2010)
  • “The Illusionist” (Sylvain Chomet, U.K., France, 2010)
  • “Incendies” (Denis Villeneuve, Canada, 2010)
  • “Inside Job” (Charles Ferguson, U.S., 2010)
  • “The Kings Speech” (Tom Hooper, U.K., 2010)
  • “Le Quattro Volte” (Michelangelo Frammartino, Italy, 2010)
  • “Never Let Me Go” (Mark Romanek, U.K./U.S., 2010)
  • “Of Gods and Men” (Xavier Beauvois, France, 2010)
  • “Oka! Amerikee” (Lavinia Currier, U.S.-Central African Republic, 2010)
  • “Poetry” (Lee Chang-Dong, Korea, 2010)
  • “Precious Life” (Shlomi Eldar, Israel, 2010)
  • “The Princess Of Montpensier” (Bertrand Tavernier, France, 2010)
  • “Tabloid” (Errol Morris, U.S., 2010)
  • “Tamara Drewe” (Stephen Frears, U.K., 2010)
  • “The Tenth Inning” (Ken Burns, Lynn Novick, U.S., 2010)
  • “The Way Back” (Peter Weir, U.K., 2010)


  • Claudia Cardinale - Italian film star Claudia Cardinale (8 ½, THE LEOPARD, THE PINK PANTHER) will receive the Silver Medallion followed by an onstage interview conducted by Hilton Als (Saturday) and Davia Nelson (Sunday). The program will include a screening of Valerio Zurlini’s “Girl with A Suitcase” (Italy, 1961).
  • Colin Firth – Telluride audiences will be the first to see British actor Colin Firth’s performance in “The Kings Speech.” The film will be preceded by a survey of Firth’s career (“Pride and Prejudice,” “Girl with a Pearl Earring,” “A Single Man”), the presentation of the Silver Medallion and an onstage interview with Davia Nelson (Sunday) and Todd Mccarthy (Monday). 
  • Peter Weir – Filmmaker Peter Weir (Witness, The Truman Show, Master and Commander) will be presented with the Silver Medallion followed by an onstage interview with Leonard Maltin (Friday) and Scott Foundas (Saturday). A screening of Weir’s lost classic “The Plumber” (Australia, 1976) and his latest film, “The Way Back,” will screen during the Festival.


  • “The Ascent” (Larisa Shepitko, U.S.S.R., 1977, Archive Print) 
  • “Confidence” (István Szabó, Hungary, 1980, Archive Print)
  • “Fat City” (John Huston, U.S., 1972, Archive Print) Followed By An Interview with Author Leonard Gardner
  • “Here’s Your Life” (Jan Troell, Sweden, 1966, Restoration Print from the Swedish Institute)
  • “The Hustler” (Robert Rossen, U.S., 1961, Archive Print)
  • “Mother Dao, The Turtlelike” (Vincent Monnikendam, Netherlands, 1995, Archive Print)


  • “Rotaie” (Mario Camerini, Italy, 1930) – Pordenone Presents with Live Music Performance By Judith Rosenberg.
  • “Moana: A Story of the South Seas” (Robert Flaherty, U.S., 1926) - with The 1970S Soundtrack Flaherty’S Daughter Monica Created to Honor Her Father’S Original Intentions and A Restored Print By His Great-Grandson Sami Van Ingen. with Special Guest Documentarian Richard Leacock Who Worked with Flaherty.


  • “Bergman: Featuring Two Films By Stig Björkman …But Film Is My Mistress” (Sweden, 2010) and Images from the Playground (Sweden, 2009)
  • “Cameraman: The Life and Work Of Jack Cardiff” (Craig Mccall, U.K., 2010)
  • “Chekhov For Children” (Sasha Waters Freyer, U.S., 2010)
  • “Daniel Schmid: Le Chat Qui Pense” (Pascal Hoffmann, Benny Jaberg, Germany, 2010)
  • “Documentarist” (Harutyun Khachatryan, Armenia, 2003)
  • “Hurricane Kalatozov” (Patrick Cazals, France, 2010)
  • “The Magnificent Tati” (Michael House, U.K.-U.S.-France, 2009)
  • “Moguls and Movie Stars” (D.Jon Wilkman, U.S., 2010, Two Episodes, Tcm Television Documentary Series)
  • “Music Makers of the Blue Ridge” (David Hoffman, U.S., 1965)
  • “On “Being There” with Richard Leacock” (Jane Weiner, U.S., 2010)
  • “Pygmies in Paris” (Mark Kidel, U.K., 1992)
  • “The World According to Ion B.” (Alexander Nanau, Romania, 2010)
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