Les Passages

A film by Donna Vermeer

A year after a turbulent break-up gamine filmmaker Catherine flees New York for Paris, the city of her teenage dreams, remembering it as super-cool like 60s genre movies or mysterious and tragic like 19th century French novels. Hoping to lose herself in the anonymity of another city, she convinces her crew and her photographer daughter Claire to help her shoot her very American movie in Paris, because "Paris suburbs remind me of New Jersey". Upon arrival she sets out to invent both the New Jersey landscape of her childhood and the Paris (long out of fashion and memory) of the boulevards and snack bars and arcades, with poets in Montparnasse cafés and card games in the wooden galleries of the Palais-Royal. Throwing herself into the production of her movie by day and wandering the streets flâneur-like by night, she is determined to forget the past. But a chance meeting in the flea market at Clignancourt with the beautiful Anna, the actress playing her mother in her movie, sets her life, and heart, on another course.

As Catherine struggles with the ending of her film and Claire's increasing independence, Claire begins her own love affair – with Mathieu, the first Frenchman to pull up on a motorcycle and deconstruct the camera obscura. The film plays with time: the present, in which the story follows these three women as they form a complex love triangle; the past, through the window of childhood memory; history, always with us, always present; and the love story, which is out of time and which follows a path that is always possible to interpret according to a causality or a finality. Les passages allows us to enter two worlds – the one before us and the one that has vanished. Less concerned with plot than mood and emotion, this fragile story starts with a jolt, and ends with an affirmation.

Les Passages is about memory, and dreams, and false starts. It is inspired by Walter Benjamin's The Arcades Project, a collection of fragments about the 19th century Paris passages couverts and what he called "the fate of art".

Silent Light

Stellet Licht
a film by Carlos Reygadas

Set in Chihuahua in northern Mexico within the Mennonite community, a strict Christian sect of European descent who speak Plautdietsch, a German-Dutch dialect. Johan, the father of five children and a deeply religious man, has fallen in love with another woman, Marianne. Although he is honest about the affair with his wife Esther, openly confessing his adulterous behaviour, he is full of remorse and uncertainty, knowing that he has broken God's laws as he entertains thoughts of abandoning his family. We watch the family in silent prayer, seated at the kitchen table before breakfast. Following their meal, Esther and the children leave the house to begin their day's work in the fields but Johan remains alone at the empty table and in emotional turmoil, his tears begin to flow.

Despite the suffering this love triangle has already wrought on those involved, Johan is unable to put an end to it. His love for Marianne draws him back to her again and again and he is powerless to end the affair. When he drives to the local garage to collect a part for his tractor, he discusses his affair with his friend Zacarías who, whilst philosophical and supportive in a remote sort of way, is unable to accept the burden of problems that Johan has brought upon himself. Suddenly, as a familiar song plays on the radio, Johan gleefully sings along while driving his truck around the yard in circles, clearing his mind of the problems he has been dwelling upon.

Later, he stops at his parents' farm to tell his father about the affair, explaining that he has told Esther about Marianne. His father, a preacher, hints that the devil may be responsible for what has happened, but admits that he also once had an affair with another woman, although he made the choice to bring it to an end.

Johan and Esther take the children bathing in a nearby pool, a gesture of love that makes his infidelity all the harder for Esther to bear. When they are driving alone in a ferocious rainstorm, she begins to speak of her regrets for the happiness they have lost, becoming very upset. She then complains of chest pains and pleads with Johan to stop the car. When he does, Esther runs from the roadside to a neaby tree where she sobs uncontrollably and then collapses.

The film begins in starlight, slowly giving way to the light of the rising sun at the beginning of a new day. Only the ambient sounds of crickets, lowing cattle and the occasional bird cry can be heard, enhancing the perception of serenity and tranquility. At the end of the film the sun is setting and we watch the deepening colours of the sky as the light slowly fades and one by one the stars appear, returning again to the state of tranquility.

An enlightening and engaging exploration of moral and spiritual crises, touching on some profound themes but keeping its emotional distance. While religion is very much a part of the lives of the characters, it is present only in the background of the story. The remarkable cinematography, with the film's unhurried pace and inspired imagery, make it a profoundly spiritual and very moving meditation on love and betrayal.

The Scent of Green Papaya

Mùi đu đủ xanh
a film by Tràn Anh Hung

Saigon in 1951, and ten-year-old Mùi takes up her new position as a servant in the beautiful house of a well-to-do Vietnamese merchant family. Mùi accepts her place with patience, serving the meals, preparing the vegetables, scrubbing the floors, and polishing the shoes. She performs her duties with great diligence and always with a positive attitude, while carefully observing and taking great pleasure in the smallest details of life around her. With grace and innocence the young girl observes the wonders of the world in everything she sees, loving and caring for all living creatures including insects and frogs.

She is also quietly tolerant of the boorish behaviour and torments of the younger son Tin. Living completely in the here and now, she just observes, judges not, and says nothing. The mother, still mourning the death of her young daughter Tô seven years before, looks upon Mùi as her replacement, a surrogate daughter. Every day Mùi quietly continues her ordinary life, giving every moment all her attention and invisibly enriching the lives of all those around her. One day when preparing a meal for the family, she cuts open the remains of a green papaya to discover the immature seeds inside, representing the potential of the little girl.

Ten years pass and the family fall on hard times as a result of the father who has again left the home, taking with him the family's money. Mùi is sent away to become the housekeeper for Khuyên, a young classical pianist and composer, a family friend for whom Mùi has always held a secret love. Her leaving triggers in the mother a profound sense of loss for her 'daughter' and a sense that the old way of life in her country is coming to a permanent end.

In her new house, Mùi must contend with the musician's Westernised fiancée who personifies the artificiality of modern society. Ever more discontented with the insensitivity of his fiancée, Khuyên sees Mùi with fresh eyes and becomes aware of how much she embodies the traditional values that are missing in his life. As he picks up a bust of Buddha, he realises that the face and the smile of the Buddha are something he has been seeing every day in Mùi. This sudden recognition of her Buddha-nature transforms both their lives.

As she prepares a meal for them both, again we see Mùi cut open a green papaya to reveal inside the immature seeds and we are reminded of the potential of the little girl. Now together, Khuyên teaches Mùi to read and write, which she does diligently, while carefully observing and taking great pleasure in the smallest details of life around her – ever true to both herself and the Buddhist ideal of being in the present moment.

This visually exquisite film with its strong Buddhist theme is itself a meditation. Its rich imagery, symbolism and subtle observations draw us deep within ourselves and remain with us long afterwards. Tràn Anh Hung's debut feature was winner of the Caméra d'Or when it premiered in competition at Festival de Cannes 1993.

Out of Africa

A film by Sydney Pollack

Out of Africa follows the life story of Karen Blixen, an amazingly strong-willed woman who moves from Denmark to run a coffee plantation with her philandering husband in Kenya around 1914. To her astonishment she soon discovers herself falling in love with the land, its people and a mysterious British adventurer and idealist.

Karen Blixen is the daughter of a wealthy Danish family. When Hans, the man she expects to marry is no longer interested in her, she proposes to his twin brother Bror, both for his friendship and for the title of Baroness, and since she has money he agrees. It is decided they will buy land in Kenya and start a dairy farm. Karen follows Bror out to Kenya where they marry and take up residence but she then finds that her husband has decided on his own to grow coffee instead, even though the land they have purchased is considered too high to support this crop.

When the First World War breaks out and most of the men go south to Lake Natron, Karen leads a long and dangerous supply run to them herself. Learning much about survival, resourcefulness and leadership, she also gains the respect of the men. Her marriage, considered merely one of convenience by Bror, is put to the test when he has other relationships, eventually transmitting syphilis to Karen. After the diagnosis she leaves for Denmark, returning to the farm after a successful though lengthy period of treatment. She decides that Bror must move out for good, which he does, returning only to solicit one last sum of money from her.

Karen continues to develop the coffee plantation, enlisting the local Kukuyu to work on the farm. Eventually much of the tribe is employed by her and she provides them with some of the uncultivated land on which to live. She also builds a school and hires a missionary teacher to educate the children, despite the disapproval of both the tribal chief and many of the English settlers. As a result, she gains a greater understanding of African culture which brings a mutual respect and affection.

Eventually Bror wants to remarry and Karen consents to a divorce. Her long friendship with Denys Finch Hatton, a free-spirited big game hunter, begins to blossom as they are drawn to each other and Karen falls in love with him. He is honest and loyal but lives an independent life of adventure in the wilderness and while Karen wishes for the security of marriage, Denys tells her that he can never give up his freedom – she feels herself to be the one who must pay the price for his freedom.

The coffee plantation is still only barely surviving as she is forced to mortgage it further, but just as success is within her grasp with a first bumper crop, a fire devastates the processing buildings and the entire crop is lost. Having no insurance Karen faces bankrupcy, loses her home and land to the bank, and is forced to sell her remaining personal possessions.

A few days before she is due to leave, Denys appears and offers to fly her in his plane to Mombassa from where she will sail to Denmark. Before he returns for her he is tragically killed when the plane crashes and catches fire. She buries his body on the eastern slopes of the hills overlooking the Great Rift Valley. Her home and lover gone, her life in Africa is over and she leaves, never to return. "I once had a farm in Africa, at the foot of the Ngong Hills."

Karen Blixen returned to Denmark and went on to write a number of books about her adventures in Africa under the pseudonym Izak Dineson.

Gosford Park

A film by Robert Altman

It is November 1932. Gosford Park is the magnificent country estate to which Sir William McCordle and his wife, Lady Sylvia, gather relations and friends for a weekend shooting party. They have invited an eclectic group. As the guests assemble in the gilded drawing rooms above, their personal maids and valets swell the ranks of the house servants in the teeming kitchens and corridors below-stairs. But all is not as it seems – neither amongst the bejewelled guests lunching and dining at their enormous leisure, nor in the attic bedrooms and stark work stations where the servants labour for the comfort of their employers. Part comedy of manners and part mystery, the film is finally a moving portrait of events that bridge generations, class, sex, tragic personal history – and culminate in a murder. Or is it two murders...?

Less concerned with the murder mystery, the story is more a brilliant and complex observation of the English aristocracy and their servants in social interaction. Both above and below stairs, many subtle and unsubtle rituals are played out among groups of people who clearly dislike each other but are forced through circumstance, need or employment to observe the fundamental social practices required. At a time of great social change, the wealth and power of the old English ruling classes is slowly disintegrating and this entire family is now wholly reliant upon the wealth of one particularly reluctant patron. A bright new social era is rapidly evolving, one in which new money, represented by Hollywood and popular culture, is making its first advances into their world, now undeniably in terminal decline.

A subtle, sophisticated and very amusing film with impeccable acting, directing and design.

Les destinées sentimentales

A film by Olivier Assayas, adapted from the novel by Jacques Chardonne.

Jean Barnery is a young Protestant pastor living in Barbazac in the Cognac region of France at the beginning of the 20th century. When he learns of his wife Nathalie's infidelity he separates from her, sending her and their young daughter Aline away. At the same time, 20-year-old Pauline Pommerel returns to the village after the death of her father. Jean and Pauline, the independently minded niece of a Cognac distiller, are almost immediately attracted to each other when they first meet at a ball.

Jean divorces the severe and obsessive Nathalie after falling in love with Pauline. He settles his shares in the family's porcelain business in Limoges on Nathalie and their daughter, installing them in an apartment in Paris. He then resigns the ministry and flees a disapproving conservative community.

Bedridden in a Parisian hotel with tuberculosis, Jean is visited during his illness by Pauline. Following his recovery, they marry and establish a new and tranquil life in Switzerland. There, in idyllic surroundings, their love prospers and they start a family of their own. But they have no idea what they must endure in order to stay together for the rest of their lives.

On the death of his father, Jean's family requests he takes over the floundering porcelain business. He feels compelled to accept, ignoring Pauline's wishes and despite predicting the struggle ahead and the strain it will put on their life together. Jean's new responsibilities, their service in the Great War, family rivalry, and modern industrialism are all obstacles that will impact their lives and will determine whether their love is destined to survive the ultimate test of time.

La cérémonie

A film by Claude Chabrol, adapted from the novel A Judgement in Stone by Ruth Rendell.

Georges and Catherine Lelièvre, their daughter Melinda and son Gilles, are a wealthy upper-class family who live in a large, isolated country house in Bretagne. Catherine desperately needs a new housekeeper and takes on Sophie, who seems very suitable, as their live-in maid. The family are all caring people, if a little condescending towards Sophie, who hides behind a cold and unemotional exterior. Within the household she performs her duties very efficiently and is willing to do more than is asked of her, yet in a strangely detached way.

Sophie is quietly independent, spending her free time alone in her room watching television but is uncommunicative and resistant to offers of help from the family members. They become gradually aware of certain difficulties Sophie has in learning anything new, like taking driving lessons, operating machines and reading written instructions; things that Sophie does her best to ignore and to hide from others. Melinda looks upon Sophie as somebody who helps around the house rather than being a domestic servant, telling her that she should not let her father walk over her.

Jeanne works as a clerk in the local post office, an unpleasant and disturbed misfit who hates the Lelièvres and everyone with money. Jeanne befriends the lonely Sophie and begins to bring her out of her shell but in a decidedly negative way, encouraging her to stand up against her bourgeois employers. As the pair begin to bond the family grow increasingly concerned. Sophie becomes insolent towards them as she gains in self-confidence from Jeanne's influence.

Sophie eavesdrops on a telephone conversation Melinda has with Jérémie, her boyfriend, when she tells him that she may be pregnant. Melinda then discovers Sophie's illiteracy and offers to help her learn to read but Sophie responds by threatening to reveal Melinda's pregnancy to the family. However, Melinda, deeply hurt by such unkindness in her present emotional state, decides to tell her parents about the pregnancy herself, and also about Sophie's blackmail threat. As a result Georges convinces Catherine that Sophie must go and so gives her notice.

Jeanne invites Sophie to move into her flat until she finds somewhere else. On their return one evening to the Lelièvres' house to collect Sophie's things, a spiteful game of revenge commences and the already simmering class conflict boils over into unleashed anger with shocking consequences for all. In the final scene we discover how some unforeseen incriminating evidence will eventually lead to Sophie's downfall, but judgement of her is left for us to decide.

A powerful portrait of hatred, manipulation and mistrust – a devastating thriller with a shattering conclusion.

The Last Wave

A film by Peter Weir

The film begins at an Australian school in the desert. Even though there are no clouds in the sky, the children hear thunder and a storm soon breaks out. In quick succession, a pounding rain, followed by grapefruit-sized hail, assail the schoolhouse. All while the sun is shining.

David Burton, a corporate tax lawyer in Sydney, is asked to defend five Aboriginals accused of murdering one of their group. During the interviews that follow they remain uncooperative but he begins to suspect they are tribal Aboriginals living in the city, even though nobody believes him and the accused deny this, refusing to disclose the true events surrounding the murder. If the murder could be proved to have been a tribal killing then it would be subject to tribal law.

Burton, who is plagued by recurring dream premonitions, also suspects that his dreams are related to the case, and that the unusual weather being experienced in the city is somehow linked too. After Chris Lee, one of the suspects, starts to appear in his dreams, Burton is convinced that the murder victim was killed in a tribal ritual because "he saw too much", though Chris refuses to acknowledge this in court. As the lawyer delves deeper, his dreams intensify, his obsession with the murder case overcomes his life, and the increasingly strange weather phenomena, with black rain and mud falling from the sky, begin to bode of a coming apocalypse.

A cross-cultural link is identified by an Aboriginal elder between his people and Burton's great-grandfather; a link also recognised in Burton's ability to predict the future from his dreams. Chris does his best to guide Burton through the realm of Dreamtime, and Burton is drawn deeper and deeper into a strange web of visions and symbols where the line between the two realities evaporates. The Aboriginal leads the lawyer into the tribal underground caves beneath the city to a confrontation with the tribe's shaman. In a final vision, as he emerges from the subterranean tunnels on to a beach, Burton understands the nature of the apocalypse that is about to strike the land – the Last Wave.

Rabbit-Proof Fence

A film by Phillip Noyce

A true story of hope and survival, based on the book Follow the Rabbit-Proof Fence by Doris Pilkington Garimara. It is the story of the author's mother and two other young mixed-race Aboriginal girls who ran away from the Moore River Native Settlement, north of Perth, in order to return to their Aboriginal families, after being placed there in 1931. The film follows the girls as they trek for nine weeks along 2,400 kilometres of the Australian rabbit-proof fence to return to their community at Jigalong in the north-west, while being followed by the regional constabulary and a native tracker.

At this time it was Australian government policy to train Aboriginal children as domestic workers and integrate them into white society. Part of what would become known as Australia's "Stolen Generations", 14-year-old Molly Craig leads her little sister and cousin in a daring escape from their confinement in a government camp. Molly, Daisy, and Grace must then evade the authorities on a dangerous journey in the vast and lonely outback, walking north along the rabbit-proof fence that bisects the continent and will lead them home. Their universally touching plight and unparalleled courage are a beautiful testament to the undying strength of the human spirit.

The performances by the amateur child actors are both authentic and heartbreakingly affecting. In the documentary of the making of the film, we see the difficulties faced in working with young and inexperienced kids and how with great skill and patience the director and crew were able to bring out the natural abilities of these young actresses. The shooting of the abduction scene, especially, is as moving in the documentary as in the film itself, perhaps more so.

An honest and unsentimental film with magnificent photography capturing the stunning Australian landscape and a haunting, mystical score by Peter Gabriel.

Paris, je t'aime

A film produced by Claudie Ossard and Emmanuel Benbihy from an original idea by Tristan Carné.

A declaration of love to the City of Love. Eighteen renowned filmmakers have created their own vignette, each based in one of the arrondissements of Paris, to form a collection of short films embracing a love of the world's most romantic city. Each brings their individual vision, underlining the wide variety of styles, genres, encounters and the various atmospheres and lifestyles that prevail in the neighbourhoods of Paris. "Paris is known as the 'City of Lights'... a city of culture... of fine dining and magnificent architecture. Paris is a city for lovers: lovers of art, lovers of history, lovers of food, and lovers of... love."

The assortment of celebrated international directors contributing to this collection includes Gurinder Chadha, Sylvain Chomet, Joel and Ethan Coen, Wes Craven, Alfonso Cuarón, Nobuhiro Suwa, Alexander Payne, Tom Tykwer, Walter Salles and Gus Van Sant. Starring in the films are some of the finest actors and actresses with Natalie Portman, Juliette Binoche, Steve Buscemi, Bob Hoskins, Nick Nolte, Elijah Wood and Maggie Gyllenhaal among many others.

Montmartre
Bruno Podalydès
A lonely and frustrated man helps a woman with hypoglycemia when she faints by his parked car, initiating a relationship with her.

Quais de Seine
Gurinder Chadha
A young man with two friends are taunting women who walk by. When a young Muslim girl, Zarka, stumbles and falls on a pavement, François goes to her aid. They feel an attraction for each other and he is left wondering whether she is the girl of his dreams.

Le Marais
Gus Van Sant
A man and woman visit a printer. While she discusses the work in hand, he finds himself attracted to a young employee, trying to explain that he believes the man to be his soulmate, not realising that he speaks little French.

Tuileries
Joel & Ethan Coen
An American tourist waiting for a train in the métro becomes involved in the conflict between two young lovers.

Loin du 16e
Walter Salles & Daniela Thomas
A poor young woman leaves her son in a crèche and travels across Paris to work, caring for the child of a bourgeois mother.

Porte de Choisy
Christopher Doyle
Absurd tale of a beauty products salesman visiting a Chinatown salon run by a woman who proves to be a tough customer.

Bastille
Isabel Coixet
A husband planning to leave his wife for a much younger woman meets her in a restaurant when she tells him that she has terminal leukemia. For her sake he hides his feelings and shows compassion, and in doing so falls in love with her again.

Place des Victoires
Nobuhiro Suwa
A woman who has lost her beloved little boy and unable to resolve her grief is comforted by a magical cowboy.

Tour Eiffel
Sylvain Chomet
A boy tells the story of how his mime artist parents met in prison and fell in love.

Parc Monceau
Alfonso Cuarón
An older man and younger woman meet for an arrangement that a third person, Gaspard, who is close to the woman, may not approve of. Later it is revealed that the young woman is his daughter, and Gaspard is her baby.

Quartier des Enfants Rouges
Olivier Assayas
An American actress acquiring and using drugs while awaiting a shoot of a movie. She is disappointed when the drug dealer sends someone else to deliver her deal.

Place des fêtes
Oliver Schmitz
A young man and young woman meet for the second time in one day when Sophie, a paramedic, helps him as he is dying of a stab wound.

Pigalle
Richard LaGravenese
An older couple, Bob and Fanny, meet in a bar and act out a fantasy argument to rediscover some lost sensations in their relationship.

Quartier de la Madeleine
Vincenzo Natali
A gothic story in which a young backpacker tourist encounters a vampire attacking a victim whilst crossing a bridge, and falls in love with her.

Père-Lachaise
Wes Craven
A young woman breaks up with her fiancé while visiting the Père-Lachaise Cemetery. The young man redeems himself with the aid of good advice from the ghost of Oscar Wilde.

Faubourg Saint-Denis
Tom Tykwer
After mistakenly believing that his girlfriend, a struggling actress, has broken up with him, a young blind man laments on the growth and seeming decline of their once joyful relationship.

Quartier Latin
Frédéric Auburtin & Gérard Depardieu
A wealthy man and his estranged wife meet in a restaurant for one last drink and to discuss terms for an amicable divorce.

14e arrondissement
Alexander Payne
Carol, a lonely American tourist from Denver, on her first European holiday and struggling with the French language, finds peace within herself through her love of Paris.

Picnic at Hanging Rock

A film by Peter Weir

On Valentine's Day, 14 February 1900, a party of schoolgirls from Appleyard College took a trip to Hanging Rock near Mount Macedon in the state of Victoria. During that idyllic sun-drenched afternoon some of the party left the rest of the group and having climbed higher, stopped to rest and fell asleep. They awoke as though still in a dream and silently ventured further through a passage in the imposing rock face. Some of the girls were never seen again.

Adapted from the novel by Joan Lindsay, the story centres around Miranda, a young student whose beauty is compared to one of Botticelli's angels by Mlle de Poitiers who teaches French and deportment. Her circle of friends includes Irma, Marion, Rosamund and the waifish Sara, an orphan, who is not allowed to go on the outing. Miranda has a premonition that she will not return from the picnic and tells Sara, who has a crush on her, that she must find someone else to love.

During the picnic, four of the girls, Miranda, Irma, Marion and Edith, decide to explore the rock in direct defiance of the headmistress, Mrs Appleyard. After following a labyrinth of paths, the girls are drawn to a plateau where they fall asleep. On waking, they get up, and seemingly under a spell, advance as one towards an inner recess, witnessed by Edith, who cries out to them not to go. It is as though they are compelled to enter and the rock swallows them. One of the teachers, Miss McCraw, goes up to see what has happened. By sunset, only Edith has returned, hysterical and unable to explain what has transpired – only that she saw Miss McCraw heading up towards the plateau without her skirt.

The police investigation by Sgt Bumpher and Constable Jones leads them to a young Englishman, Michael Fitzhubert who was lunching at the rock with his family. Michael, with Albert Crundall, the party's young local Australian valet, spent part of the lunch watching the girls' picnic, but offer no clues in the investigation. Search parties are organised, an Aboriginal tracker is brought in and finally, a bloodhound. Michael cannot forget his vision of Miranda and organises his own search. He spends the night on the rock and is found in a terrible state clutching a piece of lace which leads to the discovery of Irma, though she has no memory of what happened on the rock, or of the fate of her companions.

The school feels the effects of the tragedy and the town of Woodend quickly becomes restless as news of the disappearance spreads. An increasingly dishevelled Mrs Appleyard informs Sara that her fees have not been paid and that she will have to return to the orphanage. The next day Mrs Appleyard informs a teacher that Sara has been picked up by her guardian. The girls leave for their summer holidays under the impression that they will not return. Sara is then found in the greenhouse into which she has fallen from her window. The film ends with the information that Mrs Appleyard was found dead from a fall from the cliffs at Hanging Rock the same year.

Famed for its dreamlike aura and unresolved story, the film, released in 1975, established Peter Weir as a major filmmaker and is a critically acclaimed classic of Australian cinema. With award-winning photography and a memorably haunting score, it remains one of the most chillingly atmospheric and beautifully enigmatic films ever made.

Chocolat

A film by Lasse Hallström

When Vianne Rocher and her six-year-old daughter, Anouk, drift into a small tranquil town in rural France and open a very unusual chocolate shop during Lent, they are met with outrage and disapproval from the old-fashioned and very conservative inhabitants.

But as Vianne sets to work producing mouth-watering confections that are made with secret ingredients, and based on age-old recipes handed down to her, gradually the strait-laced inhabitants are almost magically inspired to abandon themselves to temptation and happiness. As their trust grows, her advice and practical help are sought by many of the locals and before long their hearts are won over. Only the authoritative town maire, Comte Paul de Reynaud, remains resistant and is determined to close her down.

When a group of river drifters, led by Roux, arrive in the town they are treated with contempt by everybody except Vianne and Anouk. Having now become accepted and trusted herself by the townsfolk, it falls to Vianne – as she begins to fall for the enchanting Roux – to teach the townspeople something about tolerance, acceptance and compassion.

A beautiful and captivating comedy based on the novel by Joanne Harris.

Jindabyne

A film by Ray Lawrence

While on his annual fishing expedition in isolated high country with friends, Stewart Kane discovers the body of a 19-year-old girl in a river. Deciding that there's nothing they can do to help her at this point, Stewart, Carl, Rocco and Billy continue their weekend, calling the police only after they've finished fishing and come down from the mountain, two days later.

When they return to their small town of Jindabyne in New South Wales, they're surprised when their families and the community treat them with anger and hostility for their selfish, callous behaviour. Stewart's wife, Claire, is particularly disillusioned, calling into question her entire relationship with Stewart and their young son, Tom, who himself has been getting into dangerous situations hanging around with a slightly older, troubled girl, Caylin-Calandria. Tensions are even higher because the murdered woman was a member of a nearby Aboriginal community, sparking resentment and cries of racism. Simmering guilt, familial tensions, and strained friendships threaten to tear the residents of Jindabyne apart.

The film features gorgeous cinematography with the most stunning mountain landscape scenery and a hauntingly beautiful soundtrack. It is a compelling and complex tale of doubt, anger, shame and responsibility – a richly observant study of people in crisis. At its heart, it's about the everyday choices people make in life, and how they live with the consequences.

The House of the Spirits

A film by Bille August, based on the novel by Isabel Allende.

The story, set in a mythical South American country that could well be the author's native Chile, begins in the 1920s. Rosa and her younger sister Clara are the daughters of the wealthy, influencial and liberal del Valle family. Esteban Trueba is an impoverished young man in love with Rosa who vows to make his fortune in order to marry her and provide her with the comforts to which she is accustomed. However, whilst he is successful in gold mining, Rosa dies before they are able to marry, after drinking poisoned wine intended for her liberal party father. Broken hearted, Esteban leaves with his fortune to buy an estancia, where he sternly rules with an iron fist over the peasants who work the land for him and who call him "Patron". As their master, he takes all he wants from them, even the women, with the result that a bastard son is born whom he does not acknowledge but who is named after him.

Esteban has a spinster sister, Férula, who, for the past twenty years, has lived a sad and loveless existence in the city, caring for their ailing mother. When their mother dies, Esteban, now a bitter and lonely man, returns to the city from his estancia to attend the funeral. There he notices Clara who is now grown up, and not wasting a moment, he goes to her home. Clara, luminous and mystical, already knows that he is there to ask for her hand in marriage and happily accepts, having loved him ever since she first saw him as a child, when he was courting her sister Rosa.

After their marriage, Clara lovingly embraces his sister, Férula, into the bosom of her household when they move to Esteban's estancia. Férula blossoms from a bitter old maid into a companionable and pleasant woman under Clara's warmth and affection. Esteban and Clara eventually have a child, Blanca, who grows up playing with Pedro, the son of the estancia's indigenous indian foreman. When Esteban discovers this, he sends Blanca away to boarding school, not wishing his daughter to fraternise with the peasants.

Clara, loving and pure of heart, is Esteban's exact opposite. When their daughter finally grows up and returns home from school, she knows that the independent Blanca has fallen in love with her childhood playmate, Pedro. Esteban hates Pedro, a free-thinking liberal who is inciting the peasants to unionize and demand their rights, whipping them into a frenzy against the "Patron" – or so Esteban sees it – and he drives Pedro off his land. He also banishes Férula from his house, believing her to have unnatural feelings for his wife, Clara. Possessive to a fault, he is consumed by jealousy. Clara, unable to sustain Esteban's cruelties any longer, finally leaves him, taking Blanca with her to the del Valle family home in the city.

Blanca, who is pregnant by Pedro, gives birth to their daughter, Alba, whilst believing him to have been killed by her father. Esteban, representing the wealthy, becomes a conservative senator, reigning for years until the liberals finally win power, a tenure that is short-lived however, as a military coup sets up a reign of terror. Meanwhile, Blanca discovers that Pedro is alive, and they joyously meet again. When Blanca is picked up as a political dissident and tortured for her political views, Esteban, old and broken, has little real influence left to help her. Too late, he tries to right some wrongs. Near the end of his life, he returns to his estancia, accompanied by Blanca, to finally find redemption and forgiveness.

A rich and vibrant tapestry, this multi-generational epic deals with human nature and the complex emotions, forces and events that shape it. It is the story of a family struggling to find its place in an ever-changing world, and of individuals trying to do so within their family.

Dreaming Lhasa

A film by Ritu Sarin & Tenzing Sonam

Karma, a Tibetan filmmaker from New York, goes to Dharamsala, the Dalai Lama's exile headquarters in northern India, to make a documentary about former political prisoners who have escaped from Tibet. She wants to reconnect with her roots but is also escaping a deteriorating relationship back home.

One of Karma's interviewees is Dhondup, an enigmatic ex-monk who has just escaped from Tibet. He confides in her that his real reason for coming to India is to fulfil his dying mother's last wish, to deliver a charm box to a long-missing resistance fighter. Karma finds herself unwittingly falling in love with Dhondup even as she is sucked into the passion of his quest, which becomes a journey into Tibet's fractured past and a voyage of self-discovery.

Dreaming Lhasa is the first dramatic feature film by documentary filmmakers Ritu Sarin and Tenzing Sonam. It is also the first internationally recognised feature film by a Tibetan to explore the contemporary reality of Tibet. Although the film is set among the exile community in India the story it tells has resonances beyond just the Tibetan experience; it touches upon the larger questions of cultural identity, dislocation and loss that are very much a part of today's post-modern world.

Edge of Darkness

A TV mini-series written by Troy Kennedy-Martin and directed by Martin Campbell.

Ronald Craven is a Yorkshire police inspector obsessed with solving the mystery surrounding his daughter Emma's murder. His investigation leads him not only into his own past but into subversive anti-government groups, international intelligence conspiracies, and globalist elitism. The story spirals into a gripping eco-thriller of political conspiracy, secret service machinations and even shady medieval societies. As Craven draws closer to the dangerous inner sanctums of organised environmental protests and nuclear power interests, he discovers the ultimate truths at the heart of our society.

This cult 80s apocalyptic political thriller stands up surprisingly well to the test of time. With its award winning performances and the unforgettable score by Eric Clapton, the film's impact is as powerful, terrifying and moving now as when first screened in 1985.

Les égarés

Strayed
a film by André Téchiné

Set in 1940 at the beginning of France's occupation by the Germans. The recently widowed teacher Odile joins the exodus from Paris, fleeing the city with her two children, thirteen-year-old Philippe and seven-year-old Cathy. When a German plane bombs the road packed with refugees, Odile's car is destroyed, and the three flee into the woods. They encounter Yvan, an adolescent delinquent whose survival skills and charm soon prove invaluable.

The fugitives stumble into an abandoned house in the country which becomes the setting for a makeshift family, a 'desert island' with no radio or clocks, where they are cut off from the outside world. Yvan appears and disappears without warning; he lies and steals. Although Odile is outraged and does not trust his wild instincts, she slowly becomes attracted to the mysterious stranger and finds herself caught up in complicated personal and sexual dynamics.

Exquisitely shot, this masterly drama is a visually stunning and emotionally compelling story of loss, passion and discovery. Portrayed with an extraordinary intensity, it is a story of impossible love.

Lantana

A film by Ray Lawrence

An intriguing psychological thriller about love, infidelity and mistrust. The mistakes we make, the consequences we suffer and our attempts to put things right. Detective Leon Zat moves through a dark labyrinth of human relationships on the journey to solve the mystery of a woman's disappearance, little aware of the personal issues that he will have to confront.

Set in Sydney, New South Wales, the intertwining plot centres on four couples immersed in guilt and suspicion for different reasons, each with something to hide. These conflicts begin to be revealed when police detective Leon Zat investigates the disappearance of a local woman, Valerie Somers, a psychiatrist whose own marriage is corroded by grief. Leon then discovers that his wife Sonja is a patient of the missing doctor, to whom she has turned for professional help in their failing marriage. As the investigation progresses it reveals an unseen complexity of connections, the characters bound together by mistrust, transgression and a lack of communication with their loved ones.

The story remains a multi-layered drama throughout, the investigation featuring mostly in the background of the plot. Whilst none of the characters are model citizens, they are all very real, ordinary people who are capable of making mistakes, and we find ourselves drawn to each in turn. Above all, the film highlights the dangers of non-communication, concealed feelings and unfounded suspicion.

Notes on a Scandal

A film by Richard Eyre

One woman's mistake is another's opportunity. Barbara Covett is a bitter, cynical and lonely schoolteacher who is close to retirement. Her private life consists of caring for her ageing cat, Portia, writing her daily journal, and living alone in her basement flat. When Sheba Hart, a younger, attractive woman, joins the school in Islington as an art teacher, Barbara watches her disapprovingly at first but then finds herself becoming drawn to the younger woman and reaches out to her for friendship. Sheba responds by inviting Barbara to dinner at her house to meet her lecturer husband, Richard, who is twenty years her senior, and their two children, Polly, a sexy and rebellious 16-year-old daughter and Ben, a younger boy with Downs Syndrome.

Barbara becomes close to Sheba, but when she accidentally discovers that Sheba is having an affair with the 15-year-old student Steven Connolly, Barbara sees the chance to manipulate and get closer to Sheba, hiding the secret from the school headmaster. Barbara promises not to tell anyone but insists that the affair end immediately. Sheba agrees to this condition but finds herself drawn back to the boy again and again.

Sheba becomes uneasy with Barbara's friendship and is appalled when she discovers the older woman might have a sexual interest in her. The tenuous relationship between the two women reaches a crisis point when Barbara's cat is dying and she asks Sheba to go with her to the vet. Sheba is about to leave with her family to see their son in a play and cannot disappoint him. Barbara is outraged by Sheba's decision which she sees as an act of betrayal, and in revenge, sets in motion a scandal that will bring destruction in ways she never imagined.

Histoire de Marie et Julien

A film by Jacques Rivette

Julien is a loner who restores antique clocks. He is blackmailing the rich and mysterious Madame X who trafficks in fake antiques. By chance he encounters Marie, the beautiful woman with whom he fell in love one year earlier. Julien attempts to rekindle the affair but is unsettled by the enigmatic Marie's strange and distant behaviour. Only Madame X holds the key to unlock Marie's terrible and devastating secret.

The story unfolds almost trance-like, where clear divisions between dream and reality are uncertain. Julien first dreams of his encounter with Marie and then they meet in person. Both have recently lost their lovers. Julien seems to be frozen in time and place. He lives and works in a house where clocks abound, yet time seems to have deserted his life. Marie explains that she is waiting, having returned from a faraway place in order to repent for a wrong she committed against her former lover, now dead, leaving her unable to accomplish her task. As their relationship develops and they fall in love, Marie begins to use Julien as a proxy for her former lover, hoping to win his forgiveness and thus release. Working both consciously and unconsciously, directed by her dreams, Marie's behaviour becomes increasingly bizarre.

Madam X, who meets Marie during a blackmail payoff, immediately identifies the situation, drawing parallels between her own sister and Marie. She shares her knowledge with Julien, who after some research into Marie's past, is able to piece together her story, deciding that it matters little to him. The facts, whilst astounding, make no difference to his love for her but their relationship is left at an impasse. Since life without her would now be unthinkable, Julien is willing to do anything for Marie, either she will stay with him or he will follow her. Eventually, Marie decides she must accept her punishment for failure, rather than put Julien at risk, but in doing so she is forced to observe Julien's sad and lonely life without her in it.

A beautiful, intriguing and atmospheric mystery of the netherworld and how with love, nothing is impossible.