26th Annual Washington DC International Film Festival
Opening Night film Starbuck from Canada.
In its 26th year, Filmfest DC: The Washington, DC International Film Festival continues its commitment of bringing new and award-winning cinema from around the world to the nation’s capital. From April 12 – 22, Filmfest DC presents more than 80 films from more than 35 countries at top venues in Washington, DC. A full list of films, locations and screening times is now available on the Filmfest DC website.
This year, the District’s oldest and largest film festival focuses on “The Lighter Side” with a slate of new international comedies from countries such as France, Argentina, Italy and Japan. Also featured will be "Caribbean Journeys," a groundbreaking program of new work from Jamaica, Trinidad & Tobago, Cuba and the Dominican Republic. The DC premiere of Marley, a documentary that paints a moving portrait of the reggae star, will receive its Washington, DC premiere. Calypso Rose about the legendary calypso singer, and RasTa: A Soul’s Journey, featuring Bob Marley’s granddaughter, will have their American premieres at the festival.
“The festival’s Caribbean Journeys series helps give voice to the vibrant people of a culture rarely appreciated beyond the sun and sand,” said longtime festival director, Tony Gittens. “We’re also excited to explore how humor varies across cultures with our series of international comedies. But, more important, we’re hoping these films will showcase cinema’s unique ability to bring people together to enjoy a shared experience.”
More than a dozen international guests are expected to appear and discuss their films, including the director behind Monsieur Lazhar, a 2012 Oscar® finalist for Best Foreign Language Film, and the producer of Pink Ribbons, Inc., a controversial documentary that investigates corporate campaigns to fight breast cancer. This film is part of the festival’s "Justice Matters" series, designed to draw attention to social justice issues. Other special sections include "Global Rhythms," a series of music films, "Lunafest," an array of short films by, for and about women, and Filmfest DC for KIDS.
Locations include The Avalon Theater, the Embassy of France, the Goethe-Institut Washington, Landmark's E Street Cinema, the National Gallery of Art, the Naval Heritage Center, and Regal Cinemas Gallery Place.
Tickets are available on the tickets page of the Filmfest DC website, by calling 1-800-996-4774 or on-site at the Goethe-Institut Washington. General admission tickets are $11; discount passes are available online.
The opening night film is Starbuck from Canada, shown at Regal Cinemas Gallery Place and the closing night film is The Intouchables from France, shown at the French Embassy.
Cash awards will be made in the Circle Jury Award Competition, the Justice Matters Series and in the new First Features sections. Filmfest DC will also present two audience awards, and the SIGNIS jury will present an award.
Special guests will introduce their work and host Q&As after their screenings. They include Emad Burnat, 5 Broken Cameras; Daniel Cohen, An Article of Hope; Storm Saulter, Better Mus’ Come; Fredrik Gertten, Big Boys Gone Bananas!; Sasha Reuther, Brothers on the Line; McCartha Lewis, Calypso Rose: The Lioness of the Jungle; Judy Chaikin, The Girls in the Band; Pamela Yates, Paco de Onís, Fredy Peccerelli, Granito: How to Nail a Dictator; Joan Carr-Wiggin, David Gordian, Savitri Gordian, Mark Paladini, If I Were You; Sheldon Larry, Leave it on the Floor; Philippe Falardeau, Monsieur Lazhar; Ravida Din, Pink Ribbons, Inc.; and Donisha Prendergast, RasTa: A Soul’s Journey.
Visit the festival website or call the public information line 202-628-FILM for more information.
Boy: Q&A with Writer/Director Taika Waititi
By Annette Graham, DC Film Society Member
A screening of Boy was held on March 26 at Landmark's E Street Cinema. Writer/Director/Actor Taika Waititi took questions from the audience. Boy is a delightful coming of age comedy set in a Maori area of New Zealand during 1984 when Michael Jackson was all the rage. Taika Waititi appears in the film as Boy's father.
Taika Waititi: Thank you for watching the film and sticking around. The film is shot in New Zealand in Waihau Bay (means Windy Waters). That's where I'm from, it's my home town that you saw on the film. I shot at my grandmother's house where I grew up. When I went to the school in 1984 there were 30 kids. When we shot the film in 2009 there were 28.
Audience: Have you made any other films?
Taika Waititi: I'm relatively new. But I've been making films since 2004 when I made my first short film. My first feature film was Eagle vs. Shark.
Audience: Were you really into Michael Jackson at the time?
Taika Waititi: Yes absolutely, we were all into Michael Jackson in the 1980s. Especially for kids when I was growing up, he was the ultimate. We embraced anyone who was black or brown who was doing well. So it was Michael Jackson, Prince, Eddie Murphy, Ponch from CHiPs. We used to love all those dudes. The reason kids loved Michael Jackson I think was not just because he was an amazing singer and dancer but here's a guy who's earning millions and millions of dollars and spending it on the same stuff that 10 year olds would spend it on. He buys a big castle and fills it with zoo animals, puts a train around the outside, has Pepsi Cola on tap. The reason I set the film in the 1980s is because I know that time and you have to write what you know. And I don't really know the world of kids these days. So for me and for New Zealand as well, the 1980s was a coming of age decade. So it made sense to make a coming of age film. New Zealand was a very clumsy decade for us. It was very innocent. We were like teenagers. We had a very innocent outlook on the world. We had a commercial in 1980 which was a guy driving his car to a store, he gets out of the car and goes into the store and when he comes out his car is gone. "Where's my car?" And across the screen it says "Don't leave your keys in the car." (everyone laughs) And that's the end. So it was a cool time to grow up.
Audience: Is the Goodnight Kiwi icon (shown when the TV shows went off) still in existence?
Taika Waititi: That was a cartoon on TV. In New Zealand in the 1980s we had two TV channels, TV 1 and TV 2. In 1993 we had a third, TV 3. Now it's 2012 and I think we now have 5. So every night at the end of TV which is around midnight there was a cartoon they played which is the kiwi that shuts down the TV station and goes up to his nest in the TV tower. TV lasts all night now; we're now really modern.
Audience: In the dance sequence at the end, was that fun choreography or did you incorporate Maori influences?
Taika Waititi: That's a haka, it is essentially a song which has actions with it; you might call it a war dance. It's just a challenge you would offer to people who you wanted to kill. (everyone laughs) Traditionally every Maori kid growing up in New Zealand would learn these haka. There are lots of different ones from different tribal areas and you would learn ones from your area. When we were kids, to make it interesting, we would mix contemporary stuff with it, Michael Jackson stuff. Because breakdancing had just exploded, we would do a lot of breakdancing haka as well. In our culture when you make a speech or have something important to say, if you have a general meeting and someone gets up and says what's on their mind, at the end of that you are culturally obliged to sing a song. It happens in any Maori situation you're in. That's really where that comes from.
Audience: How much of the film is autobiographical?
Taika Waititi: The only thing autobiographical is the place, the setting, showing how kids grew up in that time, and what the area was like.
Audience: Why is this story important to you and how did you come up with it?
Taika Waititi: I wanted to tell a story set in that time because it's never been on film before. New Zealand film really isn't like this--a lot of it is kids dying or people riding animals or talking to trees. Around the world, people have a misconception of what Maori people are like. We need to make different types of films and see ourselves in different ways.
Audience: Were the kids in the film from that area?
Taika Waititi: Yes.
Audience: Your short film Two Cars One Night was also seen through a child's point of view. Is that of interest to you?
Taika Waititi: I'd rather not work with kids again, but one of my next films is going to have an 11 year old kid. I really love the way the kids reinterpret the adult work and the way adults can be very child-like. I love characters like the father who really hasn't grown up and people who are parented by their children. I think families are very interesting and there's always strange dynamics within families. These are the people you are supposed to be closest to in your life. But often within family structures you have the most distances between people.
Audience: Once Were Warriors (1994) was a fantastic film by Lee Tamahori.
Taika Waititi: That's the kind of film we have made before. I was trying to show the more hilarious side of child neglect. (everyone laughs) Especially here people expect a certain thing when they see the Maori culture on screen. I had an interview where this guy said to me, "What was it like when you went back to your village and the elders in your village saw the camera for the first time? And saw the soul-capturing contraption? And the lights and technical wizardry? What was it like for them?" We have had TV for 60 years. This is the age of internet, it isn't hard to find out what we're about down there. I read a review once from Variety, this guy never went to New Zealand. He said, "The film wasn't culturally specific enough to Maori people. There wasn't enough of the spiritual element that you need to see in films about Maori people." We don't talk to ghosts every day. This is culturally specific. I was there.
Audience: What was the gesture when they were leaving graveyard?
Taika Waititi: Washing the ghosts off you. They are very clingy. You don't want to take them with you. It's a Jewish tradition as well.
Audience: How old is the tree?
Taika Waititi: That is called pohutukawa. It's twisted and grows sidways with the wind.
Audience: Do you serve in the military in New Zealand?
Taika Waititi: No, we don't really have a military. But we fought in the war. WWI and WWII. We had a special Maori batallion. It was a decorated unit.
Audience: Could you comment on the realism vs. non-realism in the drawings?
Taika Waititi: I wanted to separate the three fantasy elements for the three characters, including the dad. Rocky's was very simple and that's when those animations came in. I did those, to keep his vision very simple and separate from reality. Boy's is the next step, more advanced and very imaginative live action cut aways. Alamein's fantasy manifests itself in the physical world, and how he dresses and presents himself, in changing his name all the time, the idea of creating a fantasy about yourself to escape who you are.
Audience: What would you like people to take away from this film?
Taika Waititi: A ticket stub! Really, I just wanted people to see a cool story that's an alternative or an antidote to what was probably on in the other nine cinemas. This film was made at a time when independent film was suffering a lot. The independent studio independent distributors all shut down in the last few years. Paramount Vantage, Warner Independent, other studio owned departments all closed down. In a recession you really can't be buying obscure films from countries that no one can locate on a map and then try to get people to see them. Films like Whale Rider did very well because everyone was very confident and had money. But now what you find is a pattern where people need to know how to market something. This film premiered at Sundance in 2010 and did incredibly well, got good reviews, was nominated for the Jury prize. But the problem was we couldn't find distribution because people just don't know how to market it. There's no dragons, no muscley guy with a sword. There's an incredibly good looking father character, (everyone laughs) but apart from that, it has no stars and is a kind of obscure film. So we are self-distributing the film and relying on the old concept of people actually talking about the film, audiences going out. That's where you guys come in, going out and telling people. Because it used to be that way. When you saw a film that was great people would talk about it and it would generate word of mouth. Now it's "do you have $15 million to spend on advertising." For most films that get made in Hollywood, they'll spend up to the same budget that the film cost to make on advertising. So for John Carter the advertising for that would be $150 million. I can make 100 films for that. So what I want is for people to see the film, love it, and then go and tell other people.
Audience: What percentage of filmmakers in New Zealand are Maori?
Taika Waititi: I think maybe 10%.
Audience: How is it being distributed?
Taika Waititi: It opened in New York at the Angelika, the next week it was LA, San Francisco, Seattle, here, later this week I go to Boston, Atlanta. Then it rolls out everywhere. April 6, from then on we're in Phoenix, Santa Fe, and lots more places. It's ongoing. Not many people realize that when you release a film, it might not be there next week. It runs from Friday to Thursday. They check the numbers; it's like Survivor. If there are five films in the cinema, the one with the lowest number of people to see it will drop off and then a new film will take its place. That's how it works. So if we get people in the cinema every day, but weekends are the biggest times, then we get to keep going. We're still at the Angelika a month later, because it's been doing quite well there. Go on Facebook and tell everyone.
Audience: What's your favorite experience working on The Flight of the Conchords?
Taika Waititi: Just working with my friends. That show was really fun. It was just like doing an old theater show that we used to do and there happened to be cameras there.
Audience: Where did you find the kid who played Boy? Was he an actor?
Taika Waititi: We found the kids in chatrooms. (everyone laughs). That's the brilliance of the internet, you can really troll for young actors. We found them all at schools. None of them had acted before. James [Rolleston] was cast three days before shooting. He plays Boy. I wouldn't recommend doing that. I had cast another kid nine months before that--he was brilliant, a really great actor. By the time we started pre-production and rehearsals he was hitting adolescence and he was as tall as me and his mustache was as big as mine. So we gave him another role, as the bully in the classroom. James was an extra in a classroom scene. He came in for a wardrobe fitting. Everyone loved him, he had a great personality and I auditioned him that day. That afternoon I told him, "You have to be the lead in the movie." He just jumped into it. He was just incredible. Two or three days into the filming he was saying things like "cut, cut, it doesn't feel real." And asking to improvise monologues. Rocky was very much like Rocky. When you cast kids you try to cast to the character you want.
Thank you so much for staying.
Boy opened in DC on March 30.
Romance Joe: Comments by Director Lee Kwang-Kuk
By James McCaskill, DC Film Society Member
Romance Joe (Lee Kwang-Kuk, South Korea, 2011) will be shown in Filmfest DC. These comments were made at the Rotterdam International Film Festival.
"I have no specific audience in mind when I begin making a film. If I make a film about a subject I enjoy then there is an audience who will enjoy it. I am interested to see how the audience will see the film as a whole. How people will see the ending," Lee Kwang-Kuk (photo above) told me in Rotterdam where his film was was selected for the Tiger Awards Competition. Romance Joe, his debut film, is entertaining and imaginative and will find a world-wide audience. Lee, who was the assistant director on Hong Sang-Soo's award winning The Day a Pig Fell in the Well, plays fun-filled games with his characters and the audience as he toggles back and forth between stories. A film maker dumped in an isolated area and told to come up with fresh story ideas. Was that an analogy for Lee coming up with his own fresh take? A chance meeting at a rural inn between the out-of-ideas director and a waitress who is a fan of his film leads to the unfolding of her stories within stories. The film dissolves the thin connection between art and life. Traditional story telling is tossed aside as Lee carries you into his world of film. The world of Romance Joe has its own unique sense of humor.
"Everyone in the world lives in their own universe, within which they have their stories," director Lee said. "Everywhere you look you see people talking about their lives, giving each other part of their stories. I want to introduce that feeling into my own film." The organization of Lee's debut feature follows that concept resulting in a delightful tangle of stories. Lee Kwang-Kuk told me that he wrote the screenplay in 2010, started filming in Spring 2011, and finished film in Autumn 2011; it took eight months to film.
What did he enjoy most in creating his film? "Developing the film with the actors. There was not anything I did not like. The low budget was a constraint but it forced creativity. I had my scenario ready but wanted room for details that the actors could add. I learned how to make films by working with other directors. It was important that the whole film was created through this collaborative process. Not everything happened as I envisioned when starting the screenplay." He could not say there was a key reference. "I needed a story. Maybe a connection between myself and the lead character. Romance Joe was mostly from my imagination."
"In the beginning the white rabbit was not there. The rabbit was from Alice in Wonderland and leads Alice into her adventure. In this film the rabbit is at the end of the film." On the low budget, he told me: "Films are not made by money. The concept, the several story lines, are not made by financial concerns. The money is not the start of my thought process." It is beautifully filmed by DP Jee Yune-jeong who follows the director's lead of creativity.
When I asked about casting, he replied, "Some actors I knew before, some were new. I did not use auditions the way most directors do. I had interviews and wanted to know what kind of people they were, how they would fit into the film." Director Lee knew what he was looking for; rest assured that he is fully in charge of this contemplative films and will carry you with him.
Romance Joe will be shown as part of Filmfest DC on April 15 and 19.
Calendar of Events
American Film Institute Silver Theater
Oscar winners Hugo and The Artist bring a new interest in silent film. A series "Silent Cinema" begins in April and continues into June. Films will include comedies and classics, many with live music accompaniment. The series begins in April with Hugo. A documentary The Extraordinary Voyage is about the restoration of Georges Melies' (portrayed by Ben Kingsley in Hugo) film A Trip to the Moon and is followed by a screening of A Trip to the Moon. The silent classic Sunrise is also seen in April with more in May and June.
"Castles in the Sky: Miyazaki, Takahata and the Masters of Studio Ghibli" is a comprehensive retrospective of Japan's greatest animation studio, co-presented with the Freer Gallery of Art, the National Gallery of Art and the Japanese Information Center. Films in April include My Neighbor Totoro, Nausicaa of the Valley of the Wind, Castle in the Sky, Kiki's Delivery Service, Only Yesterday with more in May and June.
"Jack Nicholson: A Retrospective" surveys Nicholson's 50 year film career. Films in April include The Departed, As Good as It Gets, The Shooting, Ride the Whirlwind, Easy Rider, Psych Out, Corman's World, Five Easy Pieces, The King of Marvin Gardens, Carnal Knowledge with more in May and June.
The Freer Gallery of Art and the AFI co-present "Korean Film Festival DC." In April director Na Hong-jin will be present for his films The Yellow Sea and The Chaser. Other films in April include Sunny, The Unjust, Moby Dick with more in June. See the Freer for more.
"Charles Dickens in the Cinema" concludes in April with The Life and Adventures of Nicholas Nickelby (1947), The Pickwick Papers (1952) and A Tale of Two Cities (1958) with Dirk Bogarde.
"Monty Python at the Movies" is a week of "something completely different." Four films will be shown including Monty Python and the Holy Grail, Monty Python's Life of Brian, And Now for Something Completely Different and Monty Python's Meaning of Life.
"Just One More Thing--Peter Falk Remembered" begins April 22 with Murder Inc., The Great Race, Pocketful of Miracles and continues in May and June.
"AFI Life Achievement Award Retrospective: Shirley MacLaine" begins April 20 and continues in May and June. The winner of the AFI's 40th Life Achievement Award has made more than 50 feature films with one Academy Award win and six nominations. Titles in April are Artists and Models and Some Came Running. The series continues in May and ends June 11.
"Bigger Than Life: The Films of Nicholas Ray" continues in April with The True Story of Jesse James shown with The High Green Wall, a short film made for TV. Also Party Girl (1958), the uncut version of Bitter Victory (1957), 55 Days at Peking (1963), King of Kings (1961) and a double documentary feature We Can't Go Home Again followed by Don't Expect Too Much, Susan Ray's documentary about her husband's stormy relationship with Hollywood.
"Things to Come: The City Imagined on Film" ends in April with Logan's Run (1976).
Gene Kelly, born in 1912, gets a well-deserved retrospective in his centenary year. In April the "Gene Kelly Centennial Retrospective" concludes with Xanadu (1980) and The Young Girls of Rochefort (1969).
The opera on film for April is the Royal Opera in "Rigoletto" and the ballet on film for April is the Bolshoi Ballet in "The Bright Stream." Check the website for dates and times.
Other special events at the AFI include Easter Parade (1948) with Fred Astaire and Judy Garland and The Bride Wore Black (François Truffaut, 1968) with Jeanne Moreau.
Freer Gallery of Art
The "Korean Film Festival DC 2012," co-presented with the AFI, continues its Korean films in April. On April 1 at 1:00pm is Invasion of Alien Bikini (Oh Young-doo, 2011) and on April 1 at 3:00pm is Red Vacance, Black Wedding (Kim Tai-sik and Park Cheol-su, 2011). On April 8 at 2:00pm is End of Animal (Jo Sung-hee, 2010). Director Na Hong-jin will be present for his films The Chaser (2008) on April 20 at 7:00pm and The Yellow Sea (2010) on April 22 at 2:00pm.
The annual "Anime Marathon" with special guest Helen McCarthy, author of "Hayao Miyazaki: Master of Japanese Animation" is shown in conjunction with the 100th anniversary of the cherry blossoms. On April 15 at 11:00am is Ponyo (Hayao Miyazaki, 2008); on April 15 at 1:30pm is Porco Rosso Hayao Miyazaki, 1992); on April 15 at 4:00pm is Princess Mononoke (Hayao Miyazaki, 1997) and on April 15 at 7:00pm is Spirited Away (Hayao Miyazaki, 2001). This is part of a larger series "Castles in the Sky: Miyazaki, Takahata and the Masters of Studio Ghibli" sponsored by the AFI, Freer, National Gallery of Art and the Japanese Information Center.
National Gallery of Art
The series of films by Robert Bresson (1901-1999) concludes in April with Une Femme Douce (1969) on April 1 at 4:00pm and is followed by L'Argent (1982).
"Japanese Divas" is the main series for April and is shown in conjunction with the exhibit "Colorful Realm: Japanese Bird-and-Flower Paintings by It? Jakuch? (1716–1800)." On April 6 at 2:30pm is Ugetsu Monogatari (Kenji Mizoguchi, 1953) followed by Sister of the Gion (Kenji Mizoguchi, 1936). On April 7 at 2:00pm is Street of Shame (Kenji Mizoguchi, 1956); on April 7 at 4:00pm is Tokyo Story (Yasujiro Ozu, 1953); on April 8 at 4:30pm is Rashomon (Akira Kurosawa, 1950); on April 15 at 4:00pm is Sansho the Bailiff (Kenji Mizoguchi, 1954); on April 20 at 2:30pm is Life of Oharu (Kenji Mizoguchi, 1952); on April 21 at 2:30pm is Late Spring (Yasujiro Ozu, 1949); on April 28 at 2:30pm is Early Summer (Yasujiro Ozu, 1951) and on April 29 at 4:30pm is Tokyo Twilight (Yasujiro Ozu, 1957). The "divas" include Setsuko Hara, Machiko Kyo, Hideko Takamine, Kinuyo Tanaka, Ayako Wakao and Isuzu Yamada. Three more in May.
Hanezu (Naomi Kawase, 2011) is shown on April 22 at 4:30pm as part of Filmfest DC.
Smithsonian American Art Museum
On April 4 at 6:30pm is To Kill a Mockingbird (1962) with Gregory Peck.
National Museum of Women in the Arts
A five-part French-inspired film series continues with A Tale of Two Cities (1935) based on the Charles Dickens classic novel on April 1 at 2:00pm. Presented in conjunction with the exhibit Royalists to Romantics.
Washington Jewish Community Center
On April 17 at 7:30pm is Nicky's Family (Matej Minac, 2011), about Nicholas Winton (now 102 years old) who organized the rescue of 669 Czech and Slovak children just before WWII. The film is the winner of a number of awards; special guests TBA.
On April 22 at 3:00pm as part of the ITVS Community Cinema Cafe is Hell and Back Again, one of the 5 nominees for Best Documentary.
"The State and the Individual: Films by Marc Bauder and Dorte-Franke" which began in March contines in April. On April 2 at 6:30pm is After the Revolution (2010) about three activists in the last days of the GDR. On April 16 at 6:30pm is The System (2011) about a dropout who becomes involved in a parallel world of international lobbyists and former GDR secret service agents.
"Shorts-Courts-Kurz" is an afternoon of new international short films on April 21 at 2:00pm. The shorts are from the 2012 Clermont-Ferrand festival in France and the 2011 Dresden festival in Germany, two of the most significant short film festivals.
"Robert Thalheim in Focus" is a three-part series beginning April 24 at 6:30pm with And Along Come Tourists (2007) about a young man who chooses civil work over military service and finds himself at Auschwitz where tour buses bring millions of visitors every year. The filmmaker will be present to discuss his work. On April 30 at 6:30pm is Netto (2004) about a man trying to cope in reunified Germany. One more in May.
On April 4 at 7:00pm is Sea Wall (Rithy Panh, 2008) starring Isabelle Huppert in an epic set in French colonial Indochina, based on the semi-autobiographical novel "Un barrage contre le Pacifique" by Marguerite Duras.
The Japan Information and Culture Center
On April 24 at 6:30pm is a film TBA.
The National Theatre
Burt Lancaster is the subject of a new series at the National Theater on Mondays at 6:30pm during March and April. On April 2 is Elmer Gantry (Richard Brooks, 1960); on April 9 is Birdman of Alcatraz (John Frankenheimer, 1962); on April 16 is Seven Days in May (John Frankenheimer, 1964); on April 23 is Airport (George Seaton, 1970); and on April 30 is Atlantic City (Louis Malle, 1980).
Arlington Arts and Artisphere
A new series "Music in Film" begins April 5 at 7:30pm with Blues House Party, followed by Q&A with Producer Eleanor Ellis. On April 12 at 7:30pm is Almost Famous (Cameron Crowe) followed by a panel discussion. On April 19 at 7:30pm is Better Than Something: Jay Reatard, a documentary about Jimmy Lee Lindsey Jr. On April 26 at 7:30pm is The Last Waltz (Martin Scorsese).
On April 14 at noon is A Night to Remember (Roy Ward Baker, 1958), a docudrama adaptation of Walter Lod's book about the Titanic, shown on its 100th anniversary.
On April 21 at noon is His Girl Friday (Howard Hawks, 1940) starring Rosalind Russell, the first in a new series of 1940s films.
Interamerican Development Bank
On April 12 at 6:30pm is a documentary film MadWomen and panel discussion with Chilean filmmaker Maria Elena Wood. On April 16 at 6:30pm is The Finger (2011), a comedy.
This month's Greek film is Burning Heads (Giorgos Siougas, 2011) about immigrants in Athens, on April 4 at 8:00pm. The "Czech Lions" film for April is Long Live the Family (Robert Sedlacek, 2011) on April 11 at 8:00pm. The French Cinematheque film is TBA on April 26 at 8:00pm. For "Reel Israel" on April 25 at 8:00pm is The Troupe (Avi Nesher, 1978).
The Avalon is one of the venues for Filmfest DC, check website for schedule.
Embassy of Israel
The Embassy of Israel presents several Israeli films during Filmfest DC including Policeman (Nadav Lapid, 2011) at E Street, Restoration (Joseph Madmony, 2011) at the Avalon and An Article of Hope (Daniel Cohen, 2010) at E Street.
Italian Cultural Institute
On April 10 at 7:00pm is Mediterraneo (Gabriele Salvatores, 1991) set in 1941 as eight Italian soldiers land on a small Greek island to establish a fort.
Anacostia Community Museum
On April 26 at 7:00pm is a lecture by filmmaker Thomas Mobley "Thomas Mobley Talks Filmmaking."
"Classics of the Silent Screen" is a new series of films from the silent era with accompaniment by Ben Model. On April 11 at 8:00pm is The Eagle starring Rudolph Valentino as a Russian soldier who becomes an outlaw.
On April 2, 3, and 4 at 7:30pm is the silent animated film The Adventures of Prince Achmed (Lotte Reiniger, 1926) with a live score performed by Tom Teasley. At the Source Theater 1835 14th Street, NW.
Busboys and Poets
On April 8 at 8:00pm is a screening of Howl (2010).
George Mason University
On April 23 at noon is the documentary Dogtown and Z-Boys (2001), followed by a Q&A with Peggy Oki who is featured in the film.