One day I was suddenly told that my mother had one or two years to live.

In the third years of her illness, I bought a small video camera innocently believing that she would recover.I dreamed of recording her TV or movie-like "miracle" recovery. but the reality of everyday life was nothing more than ordinary routine. All that my small camera recorded were the same things contained in ordinary home videos of ordinary families. On the contrary,as my mother's condition worsened and her suffering and sorrow increased,all I could do was watch over her closely.I didn't have the courage to level my camera at her. When pain and sorrow really started to take hold on my mother,and when she started to die,I was not able to record even a single shot.

It was only after her death that I first found the determination to begin filming.I realized that people left behind by death have to keep crawling forward even as they cry like babies.I also could not accept my mother's death unless I could find something comforting and meaningful in this pain and loss.

All those sad things I couldn't film might have been, in a way, things I didn't need to film, because even now the pain allows me to remember them clearly. More than that, the memories that I hold dear now probably would have slipped away if I hadn't recorded them on video-those monotonous, repetitive, but painful hours with my mother that video had transformed into sweet, gentle, ordinary happiness.

Born in 1966,Kato Haruyo graduated from the Department of Art Science in the Faculty of Art and Design at Tama Art University,and worked as the assistant of a still photographer.After two years with the Black Tent Theater company, her mother's illness brought her back to her hometown.She now lives in Gunma Prefecture.

When award-winning Korean-American filmmaker Grace Lee was growing

up in Missouri, she was the only Grace Lee she knew. But when

she later moved to New York and California, everyone she met seemed to

know "another Grace Lee." But why did they assume that all Grace Lees

were nice, dutiful, piano-playing bookworms? Pursuing the moving target of

Asian American female identity, the filmmaker plunges into a clever, highly

unscientific investigation into all those Grace Lees who break the mold -

from a fiery social activist to a rebel who tried to burn down her high school!

With wit and charm, THE GRACE LEE PROJECT puts a hilarious spin on

the eternal question "What's in a name?"

Grace Lee is an award-winning writer/director whose short films have screened at festivals all

over the world including Berlin, Tribeca, Pusan and Los Angeles. Named one of Filmmaker

Magazine's ?25 New Faces of Independent Film,? Grace received her MFA from UCLA Film

School in 2002. Her thesis film, BARRIER DEVICE, starring Sandra Oh, won a 2002 Student

Academy Award, a Directors Guild of America Student Award, LA Asian/Pacific Film Festival?s

Golden Reel Award and Urbanworld?s Grand Jury Prize, and was broadcast on the Sundance

Channel. She also directed BEST OF THE WURST, a documentary essay about Berlin today,

which has been showcased at festivals worldwide and was funded by the Medienboard Berlin

Brandenburg.

24 hours: One day ? one night. One fight. At Mark?s farewell party everything collides: aspirations, fears, desperation, sex, intoxication and reality. The film depicts a group of teenagers in a desolate American suburb striving for acknowledgment, love and security. Each day they have to struggle for their future in a world that doesn?t grant them a chance. In the course of the next 24 hours everything is going to change for some of them. An up-and-coming film by two-time German Film Prize nominee Holger Ernst.

"A meditation on the US/Mexico border in an age of homeland insecurity. A 2000 mile journey along the US/Mexico border reveals a geography of aspiration and insecurity. Brown considers the border as a landscape, at once physical, historical, and political.

"

"?To describe myself as documentary filmmaker is to own up to a troubled profession, what with its unfortunate aspiring to Truth and Objectivity. I?ve tried to cope with this by personalizing my films, insinuating my own voice and disavowing any pose of authority or conclusiveness. More than that, I?m interested in moving the documentary toward something like a metaphysics of fact, where fact materializes for a moment, only to dissolve into daydreams and melancholy and goosebumps. I find myself drawn again and again to the same spaces: those wide open, inbetween spaces; landscapes of abandoned things; border zones and landscapes of transition, whether on the far edges of Las Vegas suburban sprawl, or along the fence line of abandoned missile silos in North Dakota. I?m drawn to the drama of transits and transitions played out on landscapes like these. I find myself drawn to the uncanny, too: UFOs and crop circles and ghost stories. The uncanny short-circuits the conclusiveness of our daily lives, which is something I like about it. I?m not sure if the uncanny has some special access to truth, but the uncanny and the true both are spooky. Both haunt us, hovering close by but just out of reach.?

Bill Brown"

"Bill Brown is a filmmaker from the ?Paris of the Plains,? Lubbock, Texas. He has made several short experimental documentaries about the dusty corners of the North American landscape. Along with filmmaker Tom Comerford, Brown created the Lo Fi Landscapes tour, traveling across country in 2002 and 2005 with a program of short films concerned with history and place.

Currently, Brown lives in Detroit."

?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.

1961 wurde S?dkoreas Regierung durch einen von General Park Chung Hee gef?hrten Milit?rputsch entmachtet. Danach f?hrte Park das Land 18 Jahre mit eiserner Hand und war wegbereitend f?r Koreas Aufstieg zum modernen Industrieland. Im Oktober 1979 wurde er ermordet. Am fraglichen Tag, machte Park sich einen sch?nen Abend mit Wein, Weib und japanischen Gesang. Mit am Tisch, der Chef des Koreanischen Geheimdienstes Kim, Chefsekret?r Yang und der dicke Bodyguard Cha. Einer davon sollte sich im Verlaufe des Abends dazu entscheiden, den Pr?sidenten zu erschie?en. Sang-Soo Ims Politthriller, hat in S?dkorea heftige Diskussion ausgel?st. Es mussten schlie?lich auf Befehl des Obersten Gerichtshofs insgesamt vier Minuten Archivmaterial am Anfang und Ende des Films entfernt werden. Trotzdem ist der Thriller, teils schwarze Kom?die, ein bis in die Nebenrollen bestens besetztes, hochunterhaltsames St?ck Politfiktion.

Born in 1962 in Seoul, he studied Sociology at Yonsei University. His father was a leading film critic in the 1980s and in 1989 he went on to study film for one year at the Korean film Academy. That same year he worked as assistant director for Park Jongwon's KURO ARIRANG (1989). He then worked as assistant director to the great Korean director Im Kwontaek (Cannes best director CHIHWASEON) for THE GENERAL'S SON I & II.

He made his feature-debut as writer-director in 1998 with GIRLS NIGHT OUT, the story of 3 single women and their active sex lives. His next film, TEARS, which he also wrote, told the hard story of misfit and wayward Korean youth. His third film, A GOOD LAWYER?S WIFE which threw a punch at Korean society with its biting depiction of a disintegrating upper middle class family was not only embraced by the Korean public but also earned the film international acclaim especially through its selection in competition for the Venice Film Festival in 2003.

His forthright critique of Korea?s mainstream society and its rules and values has truly established him as perhaps the most controversial Korean filmmaker who challenges the norm. In his most recent feature project, THE PRESIDENT?S LAST BANG, he succeeds in giving a cinematically outstanding and mature approach to one of the most shocking incidents in modern Korean history.

"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

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.

An apathetic young boy is honored at a festival. In the meantime, his sister wallows in ecstasy with her fianc?e and decides to start an entirely new life against her family?s wishes. But then both siblings receive a gift that bears sinister consequences for the rest of their lives? ?Tradition? is a gripping nine-minute film about courage and convention.

Zingarina arrives in Transylvania, in the heart of Romania, looking for the man she loves. She had met him in France, but one day he left without a word of explanation. With her friend Marie, who jealously watches over her, Zingarina throws her body and soul into a romantic quest and gets caught up in a fascinating land. But when she finds her former lover in the midst of a pagan festival, he brutally rejects her. Mad with anguish, she then flees Marie, who reminds her too much of her past, to fully merge into this new land, Transylvania, where she meets Tchangalo, a loner, a man like her, without borders, without ties.

Born in 1948, French film-maker, born in Algiers, Algeria. Of Gypsy and Algerian descent, his films are concerned with the situation of both these groups and their relations with mainstream society, such as Les Princes (1982) and Gadjo Dilo (1998), portrayed with unflinching honesty and without sentimentality.

2006 TRANSYLVANIA

2004 EXILS

VISIONS D?EUROPE ? Paris by night ? (S?rie Arte)

2002 SWING

2000 VENGO

1999 JE SUIS N? D?UNE CIGOGNE

1998 GADJO DILO

1996 MONDO

1995 LUCUMI, L?ENFANT RUMBEIRO DE CUBA

1993 LATCHO DROM

1990 GASPARD ET ROBINSON

1989 PLEURE PAS MY LOVE

1985 RUE DU D?PART

1983 LES PRINCES

CANTA GITANO (c.m.)

1982 CORRE GITANO (in?dit)

1978 LA TERRE AU VENTRE

1975 LA T?TE EN RUINES

1973 MAX L?INDIEN (c.m.)