"In rural Slovenia, Pero (Gregor Bakovic) is a sensitive intelligent man in his mid-thirties who lives close to death. He works writing and giving the speeches of the town?s funerals. These are not mere eulogies for the deceased, since Pero consciously or unconsciously entwines his own perception of the course of events and his life philosophy into them.

Pero lives with his father, Dedo, and his two sisters Ida, who is deaf and dumb, and Vilma who has a son. Pero?s neighbour, Shooki , is also his best friend and a very close member to Pero?s family. Gravehopping is a film about the ups and downs of our protagonists' destinies and about their search for warmth and love in the absurd chaos that is life.

The story of the film and its essence establishes itself through the prism of their interpersonal relationships. While Ida (Pero?s younger sister) falls for Shooki, Vilma tries to cope with a no-good husband. Meanwhile Pero seeks to win the heart of local girl Renata, whereas the solitude and sadness Dedo feels since he widowed are the cause of his frequent by but farcically inept, suicide attempts. The film focuses on the basic force of human existence; Fear. Out of fear from death stems the craving for eternity, while out of fear from life stems the desire for security, warmth and love.

Love is the only drug powerful enough to overcome death. The story of the film and its essence establishes itself through the prism of the interpersonal relationships of this small community. Although the film sets off with a comical tone it leads up to a tragic finale that leaves both Pero, and the viewer, literally speechless.

"

"Born in 1966, Slovenia, Jan studied archaeology, receiving his degree in 1999.

Since 1998 he has written the screenplays for shorts, feature films and TV series. His first written work was for the award winning short ?Robbery of the Century? (Rop stoletja) . Thereafter, Jan played the leading role as well as co-writing with director Janez Burger the award-winning film Idle Running (V leru) in 1999.

His 2001 first feature film debut Bread and Milk ( Kruh in Mleko ) won the Golden Lion of the Future Best First Film at Venice Film Festival . "

Santiago has never been the main character of anything... neither of theatre nor of cinema... not even of his own life. But Santiago had never thought that to lodge his thirtyish son Guillermo in his house for some days would change his life so much?.

"Vete de mi" is a "familiar" mask dance, a dance of encounters and mix-ups between two congenital selfish men: a compulsive liar that is able to alter the emotional state of relatives surrounding him, and a supporting actor who has not been successful in his working life and who discovers that his whole life is a lye .., it is a satiric and bitter comedy about how to arrive to our fifties, lose our job and find our son, but desire just the opposite.

V?ctor Garc?a Le?n

He was born in 1976, and although he has a journalistic education, V?ctor Garc?a Le?n has participated like an actor, production assistant, script and camera apprentice in many filming.

He directed the short ?El Gilipollas? (awarded in various festivals). In the year 2001 he directed his first film, called ?M?s Pena que Gloria?, where he was also co-scriptwriter with Jon?s Trueba. This film has participated in many festivals (Chicago, Los Angeles, Toulouse, San Sebastian, Malaga, etc.) obtaining the Best Actor Award in the Malaga Festival

Man was made to be happy for simple reasons and unhappy for even simpler ones ? just as he is born for simple reasons and dies for even simpler ones... Isa and Bahar are two lonely figures dragged through the ever-changing climate of their inner selves in pursuit of a happiness that no longer belongs to them.

Born in Istanbul in 1959. After graduating from Bosphorus University, he studied filmmaking for two years at the Mimar Sinan University of Istanbul. In 1995 he directed the short film Koza which was in competition at the Festival de Cannes. His feature film debut, Kasaba, won the Caligari Prize at the Berlin Film Festival in 1998. He also directed Mayis Sikintisi (Clouds of May) which was shown in competition at the Berlin Film Festival in 2000. In 2003 his film Uzak (Distant) was awarded the Grand Prix and Best Actor prize at Cannes.

Pod is a migrant worker from up-country who drifts from job to job: chopping his finger off in a sardine factory, becoming a security guard and eventually a taxi driver. He meets Jin, a maid who has her nose perpetually buried in a mysterious white book written in a foreign language that she dreams of someday understanding. Pod is smitten. But the Jin becomes obsessed with a hippie westerner and the environmental movement. Somehow, Pod becomes a celebrity because he is the only guy in Bangkok without a tail. If he grows one, he?ll just be one of the crowd, a ?Citizen Dog? alluded to in the title.

After training at Silpakorn University, Bangkok's most important art school, Wisit Sasanatieng worked as a commercials' director. He wrote scripts for his friend and colleague Nonzee Nimibutr, including for Nang nak (1999). ?Tears of the Black Tiger (2000)?, his directing d?but, is the first Thai film ever selected officially for the Cannes Film Festival, where it was bought for many countries.

"Mah nakorn (2004) aka Citizen Dog

Fah talai jone (2000) aka Tears of the Black Tiger "

In Thailand, karaoke is a favourite recreational pass-time, and innumerable karaoke video-clips use the sea as decorative background. Santi Taepanich watches one of these karaoke clips being shot: in front of a giant poster, a young model lolls around: but, much to the photographer's fury, she refuses to spread her legs. The next model is a transsexual who talks about the loneliness brought about by his operation. In the background, we see a white, softly shining sandy beach dotted with palm trees. On the glossy paper and beneath the spotlight, its beauty is similar to that of the model: artificial, yet convincing. Under the surfae, both conceil their wounded and sad stories.

Young Jean Berlot?s mother has died in the lunatic asylum at Charenton. On his way home from the funeral he spends a night at a roadside inn. There he has a vivid dream ? the same dream he always has in times of stress, in which two hospital orderlies in white coats try to force him into a straitjacket. After a violent struggle, Berlot always wakes up to find that the room has been completely demolished. Another guest at the inn, the Marquis, witnesses the nightmare and its results. He pays for the damage and invites Berlot to his castle. On the way he hears Berlot?s story: when his father died his mother, who was much younger, went mad with grief. Since then Jean, who takes after her, has been haunted by the idea that he too will end up in an asylum ? hence the nightmares.

For the screenplay of ?Lunacy? I have borrowed ideas from two stories by Edgar Allan Poe, The Premature Burial and The System of Dr. Tarr and Professor Fether. These ideas are incorporated into a plot which otherwise owes nothing to Poe. One of the main characters, the Marquis, was inspired by the Marquis de Sade, from whose writings I have lifted several passages . ?Lunacy? will be a live action feature film; animation will be used only sparingly, chiefly in the dream and surreal sequences. Although the story appears to be set in early 19th C France, the film contains many deliberate anachronisms which remind us that this is an allegory of the modern world. And what better setting for this world than a lunatic asylum? If I had to attach a genre label to the film, it would be ?philosophical horror?. Its theme is absolute freedom, civilizational repression and manipulation.

"Born on September 4th, 1934

His studies at the College of Applied Arts in Prague in the Stage Design Department and at the Prague Academy of Performing Arts in the Department of Puppetry (directing and stage design) largely predetermined his own creative development.

In the Laterna Magica Theatre he experimented with some film procedures, including special effects, for the first time. He made his first film in 1964 at the Kr?tk? film Studio in Prague. The creative diversity of Jan ?vankmajer, however, exceeds the limits of film. The artist is active in autonomous visual expression, which he has practised since the end of the 1950s. His literary expression consists mainly of scenarios and tactile poems, while his theoretical activity has focused on research into the nature of tactile phenomena and the imagination. A considerable part of the imaginative strength of Jan ?vankmajer consists of blasphemous black humour and a playful viewpoint which, together with an extraordinary sensibility and a penetrating critical intellect, form the determining facets of his creative personality. His work, whether film, visual, or literary, is connected with the collective activities of the Group of Czech and Slovak Surrealists. "

"The Last Trick

Posledn? trik pana Schwarcewalldea a pana Edgara

Czechoslovakia, 1964, colour, 12 mins

Kr?tk? Film (Prague)

J.S.Bach - Fantasy in G Minor

J.S.Bach - fantasia g-moll

Czechoslovakia, 1965, black and white, Cinemascope, 10 mins

Kr?tk? Film (Prague)

A Game with Stones

Spiel mit Steinen

Hra s kameny

Austria, 1965, colour, 8 mins

Studio A (Linz)"

?A Snake?s Tail,? written, acted and directed by Bijan Daneshmand is a film about the quest of a successful Iranian businessman for his roots, his friendship with a Mullah, his addiction to opium and his eventual spiritual awakening. The film is set in London and is about the relationship between Kami, a forty year old businessman whose father has just passed away, and Agha, the Mullah or Priest who conducts the burial ceremony. The story shows how Agha, an opium addict with a penchant for Persian Sufi poetry, takes Kami, who is distraught by the death of his father, under his wings. During their weekly meetings Agha not only exposes Kami to the beautiful poetry of Rumi and Hafiz but to the euphoric pleasures of opium, the preferred drug of Iranians since time immemorial.

Bijan Daneshmand Writer, Director, Actor. Lives in London, England. Trained at the London Centre of Theatre Studies 2001, and commenced his artistic career in 2001 as an actor. As Producer and as Director: 2004- Produced and acted in 20 Fingers This film won the Best Film Digitale at the Venice Film Festival 2004, The Spirit of Freedom Prize at the Bahamas International Film Festival 2004, and Best Film at Barcelona Di, screened at over 30 festivals worldwide. 2005- Wrote and directed debut feature A Snake?s Tail

?Cinema is the ultimate pervert art. It doesn?t give you what you desire - it tells you how to desire? - Slavoj Zizek

THE PERVERT'S GUIDE TO CINEMA takes the viewer on an exhilarating ride through some of the greatest movies ever made. Serving as presenter and guide is the charismatic Slavoj Zizek, the Slovenian philosopher and psychoanalyst. With his engaging and passionate approach to thinking, Zizek delves into the hidden language of cinema, uncovering what movies can tell us about ourselves.

THE PERVERT'S GUIDE TO CINEMA offers an introduction into some of Zizek's most exciting ideas on fantasy, reality, sexuality, subjectivity, desire, materiality and cinematic form. Whether he is untangling the famously baffling films of David Lynch, or overturning everything you thought you knew about Hitchcock, Zizek illuminates the screen with his passion, intellect, and unfailing sense of humour. THE PERVERT'S GUIDE TO CINEMA applies Zizek's ideas to the cinematic canon, in what The Times calls 'an extraordinary reassessment of cinema.'

The film cuts its cloth from the very world of the movies it discusses; by shooting at original locations and on replica sets, it creates the uncanny illusion that Zizek is speaking from within the films themselves. Described by The Times as 'the woman helming this Freudian inquest,' director Sophie Fiennes' collaboration with Slavoj Zizek illustrates the immediacy with which film and television can communicate genuinely complex ideas. Says Zizek: "My big obsession is to make things clear. I can really explain a line of thought if I can somehow illustrate it in a scene from a film. THE PERVERT'S GUIDE TO CINEMA is really about what psychoanalysis can tell us about cinema."

THE PERVERT'S GUIDE TO CINEMA is constructed in three parts. Says Fiennes: 'The form of the Guide is a deliberately open one. There are three parts, but there could be more. Zizek's method of thinking is exciting because it?s always building. Things relate forwards and backwards and interconnect into a mind-altering network of ideas. The film?s title is something of a McGuffin ? just a way to get you into this network.?

Sophie Fiennes received no formal education. She worked as an apprentice to film director Peter Greenaway from 1987 - 1992, managed the Michael Clark dance company from 1992-1994 and began making films in 1999. Fiennes' films play with notions of performance and identity. She is widely acclaimed for her unique observational eye as well as her strong sense of cinematic form. Films include Lars From 1-10 (1999) The Late Michael Clark (2000) Because I Sing ( 2001) and Hoover Street Revival ( which was released theatrically in the UK 2003 by Metro Tartan and Tartan USA ). She received a NESTA fellowship and The Pervert's Guide To Cinema was born out of research during this fellowship period.

For a number of years last decade, a British conman, Alan Conway, lived fairly large: ambling around London society pretending to be the great Stanley Kubrick. He was aided in no small part by the filmmaker's legendary reclusiveness, which ensured that few ordinary mortals knew what he looked or sounded like. Played here by John Malkovich, Conway is a compelling rogue, so confident in his deception that he barely bothered to learn his own supposed filmography (or even see Kubrick's films in the first place) - and his exploits are detailed with a cool, picaresque delight: not for nothing is this subtitled 'A true ... ish story.' Packed with insider film references, from the visuals to the score (both the screenwriter and director worked for some time with the real Stanley K), this is a study

of celebrity, deception and good old-fashioned grifting

BRIAN COOK (Director / Producer), after a distinguished career as an assistant director and producer, is making his directorial debut. His thirty-year working relationship with Stanley Kubrick made Colour Me Kubrick the perfect choice?Cook worked as first assistant director on Barry Lyndon (1975), The Shining (1980), and Eyes Wide Shut (1996); he was also co-producer on Eyes Wide Shut. He worked as first assistant director on five Michael Cimino films, including Heaven?s Gate (1980), Year of the Dragon (1985), and Desperate Hours (1990); Mel Brooks? History of the World Part I (1981); Casualties of War, the 1989 Brian de Palma film; Robert Benton?s Billy Bathgate (1991); and two films directed by Sean Penn?The Crossing Guard (1995) and The Pledge (2001 Cook also worked as production supervisor on Ridley Scott?s Academy Award-winner Gladiator (2000).

"The wind that Shakes the Barley", winner of the Palme d' Or of this year's Cannes Film Festival, tells the story of Damien, whose young career as a doctor turns into the fervid and impeteous life of a revolutionist. He joins the allies of his brother Teddy who start campaigning against the British Crown after the Irish Easter Rising and the globally ignored independence of Ireland. Being armed but nevertheless defenceless, numerous but nevertheless too few, passionate but nevertheless vulnerable, they force their only chance - the guerilla war against a world power - right into the inferno. But the weapons that hit their targets yesterday, will be exhausted by the next day. The questionable peace treaty with the British disrupts not only the resistance movement, but also breaks up the brothers Damien and Teddy. Far too late they understand that their adversary has quickly realized how to benefit from the individual interests of the insurrectionists. Radical confrontation vanishes into inner and outer disruption; Damien and Teddy find themselves opposed to each other as deadly enemies in the following civil war. Only Damien's love for Sinead seems to have lost nothing of it's purity. Ken Loach created a visually exceeding movie full of emotional intensity. Aesthetically located between poetic transfiguration and realistic severity he presents human tragedies resulting from resistance and overthrow in a time where revolt and independence appear to be impossible.

Born on June 17th, 1936 in Nuneaton (UK).

1965 : Up the Junction (Tv)

1966 : Cathy Come Home (Tv)

1968 : Poor Cow

1970 : Kes

1972 : Family Life

1974/76 : Days of Hope

1978 : Black Jack

1980 : Looks and Smiles

1985 : Fatherland

1990 : Hidden Agenda

1991 : Riff-Raff

1993 : Raining Stones

1994 : Ladybird Ladybird

1995 : Land and Freedom

1996 : Carla's Song

1998 : My Name is Joe

2000 : Bread & Roses

2001 : The Navigators

2002 : SWEET SIXTEEN

2002 : 11'09'01 (CM/S)

2003 : AE FOND KISS (JUST A KISS)

2004 : TICKETS