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The Latin American Film Festival returns to the High
The High’s 16th annual Latin American Film Festival
features outstanding recent cinema from Mexico, Argentina,
Chile, Brazil, and the U.S. All films are in their original
language with English subtitles. The public may call the film
hotline at (404) 733-4570 for up-to-the-minute information
about visiting directors, receptions, and changes or cancella
tions. The Latin American Film Festival is sponsored by
Bell South. Additional support is provided by Bellsouth—The
Real Yellow Pages, Georgia State University Institute of Inter
national Business, and LAPTV. The Wyndham Midtown At
lanta s the official hotel sponsor of the festival. For additional
information, pleasevisit www.latinfilm.org.
Waiting for the Messiah
In Daniel Burman’s life-af
firming character study, two
men seek new ways to live.
Arielisarestless twenty-some
thing-year-old who’s been
brought up in Buenos Aires’s
traditional Jewish neighbor
hood. Though he’s expected to
marry hischildhood sweetheart
and take over the family busi
ness, he longs for something
different. Deliverance comes
during Hanukkah when a
shortfall on the Tokyo stock
exchange causes a major Ar
gentine bank to collapse, driv
ing his father into bankruptcy.
The same disaster also robs
Santamaria, a middle-aged
banking employee, of work,
wife, and home. His efforts to
rebuild his life are aided by a
lonely woman whoworks asan
attendant in a public lavatory.
In Spanish with subtitles.
Me You Them
Inspired by real events, this
Brazilian film tells the story of
a peasant woman who cun
ningly takes three husbands
(oneaprovider, onegenial, one
lustful) and persuadesthemall
tolive with her under one roof.
Writinginthe New York Times,
critic A. O. Scott called
Andrucha Waddington’s work
“An unexpected delight . . . a
film that weds the humor and
magic of a folk tale with a very
modern feel for the psychologi
caldynamicsbetween men and
women.”
Without A Trace
Winner of the Latin Ameri
can Cinema Award at the 2001
Sundance Film Festival, With
out A Trace is a smartly writ
ten and visually sumptuous
road movie about two women
on the run. Aurelia is a single
mother who's fled her factory
jobanddrug-dealingboyfriend;
Ana is a smooth talking sinug
Lady Day: The Complete Billie Holiday on Columbia
Lady Day: The Complete Billie
Holiday on Columbia (1933-
1944), a lavishly-designed 10
- CD boxed set marking the first
time that her entire output of
known master recordings (both
. released and unreleased in the
- United States) madeduring her
- Columbia years is being issued
in one complete collection, has
Jjustbeenreleased on Columbia/
- Legacy, a division of Sony Mu
sic.
- Comprising23otracks, Lady
Day pays homage to her first —
andbyall observances, her most
important— period asarecord
ing artist, the years when her
legend was forever engraved in
stone. Presented in chrono
~logical order of their recording
~are the following: Billie
~Holiday’s first two premiere
~recordingsof November-Decem
‘ber 1933 for Columbia Records,
_backed by the Benny Goodman
Orchestraand producedbyJohn
~Hammond (“Your Mother’s
.Son-in-Law” and “Riffin’ The
~Scotch”); followed by 151 songs,
@_Where shoppingis a pleasure
gler of fake Mayan artifacts
fleeing a corrupt cop. When
they cross paths at a truck stop
on Mexico’s dusty northern
border, they decide to travel
togethertothe Yucatan, know
ing that their budding friend
ship is built on secrets and
deceptions. Maria Novarowrote
and directed.
Juan, I Forgot I Don’t Re
member
inthis “docu-fiction,” theson
of the Ite Juan Rulfo, a re
nowned Mexican writer and
poet, sets out to capture his
father’slife through the eyes of
a group of senior citizens in
Jalisco. Although they can re
member Rulfo’s name, they
can’t recall any details of hislife
or who he really was. Instead,
as they struggle to retrieve
memories, they reveal more
about themselves, painting a
vivid montage of the lives they
lived. At the same time, Juan
Rulfo’s memory is revived
throughinterviews with his wife
and several well-known writ
ers. Juan Carlos Rulfodirected.
Longing for the Future
Thisimpressionistic portrait
of Sdo Paulo introduces us to
the megalopolis through the
rhythms and improvised
rhymesofthe cantadores, trou
badours from Northeastern
Brazil who, like rappers, spon
taneously compose musical
verse. Their street-side enter
tainments capture with pride,
anger, and hilarity, the dis
placement and struggle for sur
vival of Northeasternersin the
city. Marie-Clémence and Cesar
Paes codirected.
Dust to Dust
The winner of the 2001 Chi
cago Latino Film Festival’s
AudienceAwardisagentlecom
edy about family and friend
ship. It centers on the relation-
startingwith her re-emergence
two years later at the July 2,
1935 recording session with
Teddy Wilson & His Orchestra
(including “I Wished on the
Moon,” “What a Little Moon
light Can Do? And “Miss Brown
To You”), through some 42
sessions culminating Febru
ary 10, 1942 (including “It’s a
Sin to Tell a Lie” and “Until
the Real Thing Comes Along”);
followed by 77 alternate sides,
radiobroadcast airchecks, and
rarities—nearly half of which
are previously unreleased in
the United States—again chro
nologicallyrangingfromarare
1934 track with Duke Ellington
& His Orchestra (“Saddest
Tale”) to a pair of V-Disc re
cordings from January 1944
(“I Love My Man” and a med
ley of “Do Nothing ‘Til You
Hear From Me/T’ll Get By.”)
The offering is also pack
aged with one of the most de
tailed booklets ever created for
a commemorative boxed set,
containing:
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AN AL L
Waiting for the Messiah
Friday, October 12, 8 p.m., and Sunday,
October 14, 4 p.m.
Me You Them
Saturday, October 13 and October 16, 8 p.m.
Without A Trace,
Friday, October 19 and October 23, 8 p.m.
Juan, I Forgot I Don’t Remember
Saturday, October 20, 8 p.m.
Longing for the Future
Friday, October 26, 8 p.m.
Dust to Dust
Saturday, October 27 and 30, 8 p.m.
Sex, Shame & Tears
Friday, November 2 and 6, 8 p.m.
Burnt Money
Saturday, November 3, 8 p.m.
The Sentimental Tease
Friday, November 9 and 13, 8 p.m.
Coronation,Saturday
November 10, 8 p.m.
Calle 54
Friday, November 16, 8 p.m.
shipbetween cousins Rodriand
Roco, who shareagreat love for
their grandfatherbut little else.
Whenthe grandfather dies, the
family begins tobicker over his
will and forgets its two most
important requests: that the
old man’s ashes be scattered
over Acapulco Bay and that a
sum of money be delivered to
hisbestfriend. Rodriand Rocco,
much asthey detest each other,
take matters (and their
- A biographical account of
Billie Holiday’s tumultuous life
and musical odyssey, from her
birth on April 7, 1915, to her
death ondJuly 17,1959, written
by Grammy award-winning
annotator, producer, jazz critic
and author Gary Giddins;
- A socio-historical perspec
tive on Billie Holiday’s wide
spread influence on (and inspi
ration for) various writers, po
ets and novelists, written by
Farah Griffin, professor of En
glish and African-American
Studies at Columbia Univer
sityin New York, and author of
If You Can’t Be Free, Be a
Mystery: In Search of Billie
Holiday (TheFreePress,2ool);
- An introductory essay and
track-by-track analysisand com
mentary by five-time Grammy
award-winningreissueproducer
Michael Brooks, who provides
thorough discographical datain
cludingrecordingdates and loca
tions, session musicians, original
matrix numbers and catalog re
lease numbers on original labels
grandpa’s remains) into their
own hands. Juan Carlos De
Llacadirected.
Sex, Shame & Tears
Ahilariously tangled roman
ticcomedy, Sex, Shame & Tears
followstheromanticand sexual
exploits of two couples wholive
inhigh-riseapartmentsdirectly
across from one another in
Mexico City. Ana yearns for
more intimacy than her intel
lectual husband Carlos pro-
”
. .
{ L .
e & ”
Lengendary performer:
Billie Holiday
and composers and musical
sources (includingfilms, Broad
way musicals, stage revues.)
- Scores of photographs and
AUGUSTA FOCUS
vides, while Andrea wishes she
could temper her husband
Miguel’s extramarital esca
pades. When Miguel’sexcomes
to town at the same time that
Ana’s ex drops in, everyone’s
friendships, fantasies, and love
are tested. Based on his hit
play, writer/director Antonio
Serrano’s honest and insight
ful film was hugely popular in
Mexico and won several Ariel
Awards. In Spanish with sub
titles. (Mexico, 1999, 109 min
utes.)
Burnt Money
Real life stories of love and
crime are irresistible material
for filmmakers. With Burnt
Money, director Marcel Pifieyro
(Wild Horses) brings to the
screenthe notorioustale of “The
Twins,” a gay couple who, to
gether with other gang mem
bers, were involved in a ruth
lessbank robbery in Argentina
in 1965. Less an action movie
. .. s *," e
iR m—l&«,fl L
than an investigation into
psycho-sexual obsession, the
film is a dark journey into de
ception, loneliness, and desire.
This film is not appropriate for
children.
The Sentimental Teaser
isan enormously popularradio
personality who advises listen
ers on love and life through a
call-in show in Santiago. His
persona inspired screenwriter
Mateo Iribarren to write three
(1933-1944)
other memorabilia gathered
from archival sources around
the globe.
Sixty years after Billie
Holiday’s recording of her sig
nature tune “God Bless the
Child” on May 91941, her origi
nal body of work on the Colum
bia, Brunswick, Vocalion, Okeh,
and Harmony labels continues
tofascinategenerationsof fans,
both those who’ve appreciated
Lady Day’s music for decadesas
well as those encountering her
languid, smoky vocals for the
very first time.
Leading her own band or ac
companied by orchestras led by
Benny Goodman, Teddy Wil
son, Count Basie, Benny Carter,
Eddie Heywood and, on one his
toric track, Duke Ellington —
and playing in the company of
such giants as Roy Eldridge,
GeneKrupa, Ben Webster, Chu
Berry, Johnny Hodges, Artie
Shaw, Jonah Jones, Buck
Clayton, Lester Young, Freddie
Green, Walter page, Jo Jones,
Charlie Shavers, Harry James,
OCTOBER 11, 2001
unrelated stories, each of which
begins as a conversation be
tween a caller and the Senti
mental Teaser. The captivat
ing tales range from tragedy to
comedy: a young woman is
haunted by a terrible family
secret, a university student’s
wild affair withaneighbor turns
out tobemorecomplicated than
eitherimagined, and amarried
couple’s search for privacy in
their thin-walled apartment be
comes a cause taken on by the
entire neighborhood.(Chile,
1999, 90 minutes.)
Coronation
Based on a famous Chilean
novel, Coronation is a master
fully directed drama of sexual
obsession, greed, and social
inequity. Estela is a peasant
girl hired by an older bachelor,
Andrés, tocare for his wealthy,
bullying grandmother. Perse
cuted by the paranoid old lady
and lonely in a household of
aging servants, she becomes
involved withalocal boy, much
to the fury of her employer,
who dreams that Estela will
soon be his. Director Silvio
Caiozzi evokes the spirit of
Bunuel with his film’s aura of
erotic repression, intimations
of violence, and surreal humor.
Calle 54
Fernando Trueba, the Os
car-winning Spanish film
maker, invited his favorite
Latin jazz musicians, includ
ing Tito Puente, Bebo and
Chucho Valdés, Eliane Elias,
Gato Barbieri, and Jerry
Gonzalez, to perform for his
camera at a recording studio
on Manhattan’s 54 Stteet.
Later, Trueba and crew trav
eled to Cadiz, Havana,
Stockholm, and Miami to cap
ture them on their home turf.
The result is an extraordinary
concert film.
To purchase tickets in ad
vance call the Woodruff Arts
Center Box Office at (404) 733~
5000. General admission prices:
are $5 for adults, $4 for stu
dents, seniors and Museum
members, and free for patron
level members.
The Rich Auditorium of the
Woodruff Arts Centerislocated
at 15th and Peachtree streets,
next door to the High Museum
of Art, at MARTA station N-5.
hot Lips Page, and dozens of
others, the foundation of Billie
Holiday’s too brief recording
career (less than 25 years alto
gether) is embodied in the de
cade she spent as a Columbia
artist.
Lady Day: The Complete Billie
Holiday on Columbia (1933-
1944) continues Columbia/
Legacy’s tradition of outstand
ing boxed set commemorative
collections.
Previously, the six CD boxed
set Miles Davis & Gil Evans:
The Complete Columbia Studio
Recordings won an unprec
edented three Grammy awards
for 1996 — Best Historical Al
bum, Best Album Notes, and
Best Recording Package
(Boxed)—onlythesecondtime
in Grammy history that triad
hasbeen achieved; followed two
years later by the six-CD Miles
Davis Quintet 1965-°6B: The
Complete Columbia Studio Re
cordings, which won the
Grammy as Best Historical Al
bum.
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