Below is the OCR text representation for this newspapers page.

NEW ARRIVALS This week's picture shows are difficult to preface with a witty title or clever anecdote. One film is about a young suicide bomber on a mis sion, and the other, a documentary about a man who died after having sex with a horse. Yeah, try and make something with that. ZOO (R) 2007. In 2005, a man was dropped off at a Seattle hospital, suffering from unusual and severe internal injuries. Authorities later discovered that he was part of an underground group of zoophiles and had incurred the inju ries after having penetrative sexual intercourse with a stallion. The story received an enormous amount of attention and suddenly a subject too taboo for front-page headlines was all over the national press. The deceased man was 45-year- old Kenneth Pinyan, a seemingly ordinary father of two and engineer at the aerospace company Boeing. Pinyan used the Internet to connect with other men who shared his desires and found a ranch in Enumclaw on the outskirts of Seattle where he could indulge his bestiality. Writer Charles Mudede, an associate editor of Seattle weekly The Stranger, collaborated with director Robinson Devor to produce a film about Pinyan's lifestyle and death, and together the two created quasi-documentary Zoo. Originally titled In the Forest There is Every Kind of Bird, Zoo is short for zoophilia, the technical term for a strong fondness or sexual attraction to animals. The oblique film attempts to tastefully recon struct the events that led to Pinyan's (referred to in the film as "Mr. Hands") infamous death, and, to Devoris credit, Zoo isn't visually graphic Several "what the hell" moments also distract from Devoris work. At one point, the documentary suddenly breaks from Enumclaw to a white back drop, and two of the film's actors discuss why they decided to take on such controversial roles. Then back to the horse orgy. Another "what the hell" moment involves a random interview in a which a woman recalls a dwarf pony sucking on the penis of one of the ranch's stallions. In the end, the confusing, dull documentary fails to shed any light on this bizarre subculture. And as open-minded a culture as America is, and should remain, it's hard to feel sympathetic for someone who would risk his life and his family's well-being just to get it on with a horse. There's really no way to redefine that kind of deviancy. Grade: D DAY NIGHT DAY NIGHT (NR) 2006. Julia Loktev (Moment of Impact) flexes her directorial prow ess and social intelligence with this, her second film and major indie success. Day Night Day Night follows an anonymous 19-year-old girl (Luisa Williams) as she prepares for a suicide bombing mission in Times Square. Her name is never stated, nor her state or country of origin. Fair-skinned, with brown hair and brown eyes, she could be pinned to myriad ethnicities. Her accent is neutral, and her motivation for the mission remains a great secret. The quiet, slow film obsesses over the young girl's movements, honing in on her face, capturing each slight expression and gesture. Dialogue is sparse, and a great deal of the audio is her breathing heavily, establishing an intimacy with the mysterious young woman. Loktev reveals two sides of the girl—the radical, ready to give the ultimate sacrifice for some unknown cause, and the young woman, nervous about taking her own life in one of America's busiest intersections. But instead of delving into how the young bomber arrived at such a drastic decision, the film meticulously focuses on the banal preparations that precede the mission: washing her clothes, scrubbing her skin, getting food to eat. What is so interesting and refreshing about Day Night Day Night is that it strips suicide bombing of all political, social and ethnic asso- 4TH ANNIVERSARY FEST-O-FALL Of CHOLESTEROL i> SUNDAY, OCTOBER 21 1-7PM LIVE MUSIC SMOKED HOG BYOB FEATURING REDMECK GREECE & the slue haired ladies JOT ‘EM DOWN STORE & BBQ GROOEKLES • BBGl BREAKFAST BcSCOirS HOT BOH-ED PEANUT'S ISO l. IV WIT £ WALL RD • JOG-S^-Zllo Day Night Day Night or salacious (the idea of bestiality is graphic enough without the help of visual extras). Devor confuses modesty with indirectness, however, and the film is little more than a confusing sequence of stilted reenactments and disjointed interviews. Shadowy scene by shadowy scene, the documentary caves in on itself, amounting to little more than a throbbing score and nebulous cinematography. ciations. By giving the woman a young, neutral and innocent face, Loktev separates the crime from American stereotypes, specifically those associated with Islamic culture. She transforms a crime sensationalized in contemporary American media into a haunting poem about the power of conviction. Grade: B- Robin Geddie c h a p e 1 114 College Ave. ^ myspace.com/athenschapel We Invite-You To Experience a New Level Of Cocktail Culture With The Following Expertly Hosted Tastings Six Days A Week WMMam Young,Foxy&Free presents Blog Party fun dance BJ’s at Chapel: Thursday Oct. 18 Check pix at YFF’s blog, Snack - yffmag.com NEWS & FEATURES I ARTS & EVENTS I MOVIES I MUSIC I COMICS & ADVICE I CLASSIFIEDS OCTOBER 17,2007 • FLAGPOLE.COM 19