NationStates Jolt Archive

The Kelsian Academy of Film and Television (KAFT), in association with De Lux Media and the city of Montréal, present...
The Montréal Foreign Film Festival

THE FESTIVAL

The Academy formally invites any and all members of the international motion pictures industry, foreign leaders, and others to attend the Montréal Foreign Film Festival, to be held in Kelses largest city, Montréal. The festival will highlight the achievements of filmmakers, actors, actresses, and all other important members of the international film community in a week-long film event leading up to the NSFilm Awards, were the best of the best will be awarded for their achievements. Hosted by world-renowned Kelsian actor Dirk Thuram, the NSFilm Awards will be hosted at Kelses’ largest theatre, the Montréal Opera House (http://sophie-g.net/photo/oz/sydney/pct/oper1024.jpg). During the week-long festival, films will be shown in and around Montréal’s Saint-Joseph district, home to the Opera House and other venues.

MONTRÉAL

Ville de Montréal, or just simply Montréal is the largest city of Kelse and the capital of the Montréal state, which encompasses Montréal and its suburbs. It is a leading city in global cultural and a major center of commerce in the International Democratic Union and is renowned for its influence in fashion, the arts, and entertainment. World-class hotels and restaurants are found abound in the city, which is also host to an unrivaled nightlife scene.

ACCOMODATIONS

Guests may enter Kelse via Jacques Eiffel International Airport in Montréal on an international passport. Transportation in and around the city will be provided by the Montréal Transit Lines, which offers bus, subway, and monorail routes that traverse the city extensively. For those who travel in style, accommodations can be made with one of the city’s Limousine services. Several hotels within the city will offer deals for international visitors; mainly being the Montmartre ( http://www.lottery.state.mn.us/gifs/venetian.jpg
) and the Monte Carlo ( http://www.inetours.com/Las_Vegas/images/Casinos/Monte_Carlo_1073.jpg).

Please note that all international leaders and government are highly encouraged to RSVP directly with the city government of Montréal if attending.

FILM ENTRY

To enter a film into the festival, filmmakers must fill out an application form to send to the Kelsian Academy of Film and Television, which will either accept or reject the films entry. Please note that only (5) films may be submitted from one country.

Title:
Director:
Runtime:
Country:
Language:
Genre: Please choose (1) genre and (1) sub-genre from the following: Action/Adventure, Comedy, Drama, Horror, Independent, Children/Family, Documentary, Musical, Romance, Sci-Fi/Fantasy, Historical, Special Interest, Sports, Thriller.
Rating: Please choose (1) rating for the film from the list below.
Major Cast List:
Plot Outline:

Ratings
R+18 – Restricted for 18-years of age and older. Will likely contain frequent sexual activity, brutality/graphic violence, intense horror, and/or other disturbing content.
R+15 – Restricted for 15-years of age and older. Will likely contain explicit violence, frequent coarse language, sexual activity.
+15R – Recommended for 15-years of age and older. Will likely contain violence, coarse language, and/or sexually suggestive scenes.
PG-12 – Parental guidance advised for those under 12-years. Theme or content may not be suitable for all children/pre-teens.
G – Suitable for viewing by all ages.

NSFILM AWARD NOMINATIONS

If a film has applied for entry into the Montréal Foreign Film Festival, it is eligible to win a Filmie (http://www.threemenandatenor.com/images/emmy-trophy-L.jpg), or NSFilm Award. A film, and its cast and crew, may be nominated for any of the following awards...

Best Film, Best Director, Best Original Screenplay, Best Leading Actor, Best Leading Actress, Best Supporting Actor, Best Supporting Actress, Best Action Film, Best Comedy, Best Romance, Best Drama, Best Horror, Best Documentary, Best Breakthrough Film, Best Breakthrough Performance, Best Visual Effects, Best Music, and Best Set/Costume Design.

The awards are to be handed out by the KAFT association, who will base their vote heavily on the given plot outline as well as outside media reviews.

CURRENT FILM LIST

Al Zahbi Fallen (Aht Urghan Empire)
Bug On The Window (Londim)
Daybreak (Ariddia)
Der Caeser le du Puits (Amestria)
Ghosts in the Slot Machine (McPsychoville)
Great Maraquean Civil Unrest (Maraque)
H1SR (Rejistania)
I Know Why The River Cries (Aqua Anu)
Le Porc (Amestria)
Lyon Avenue (Kelse)
Man Of The Hour (Allanea)
Sylvia (Ariddia)
The Prop (Bazalonia)
Tired (Vuam and Isma)
Yasashii Himura (Kanami)
You Say You Want A Revolution (Ariddia)

Title: Bug On The Window
Director: Tim Gilmore
Runtime:122 minutes
Country:The Democratic Republic of Londim
Language:Londimium(similar to English). Subtitles avaliable
Genre: (1) Action (2)Thriller
Rating: R+15
Major Cast List:
Harry Feeder- Steve McGean- Leading Actor
Linda Burchill- Sarah Lou- Leading Actress
Yun Sun Har- Tao- Supporting Actor
Tina Greaves-Vixen
Plot Outline:
Steve McGean is out for revenge after his sister is kidnapped by a radical enviromentalist group who want all fossil fuel plants to be shut down. Steve McGean is the heir to one such plant. Sarah Lou is his sister who has been kidnapped by the group BUT is also attracted to her kidnapper Tao, the leader of the group. Vixen is a mysterious character as we do not know her agenda and who she is helping.

***************


TO: The Kelsan Of Academy and Film
FROM: The Democratic Republic of Londim

I, John Gret, Entertainment Minister of Londim would like to attend this film festival. As you can see we are only entering one film in this festival but hope it will be good enough. If it can be arranged I would like accomodation at the Monte Carlo. Thank you

John Gret, Entertainment Minister
The Democratic Republic of Londim

Title: Al Zahbi Fallen (Part 1)
Director: Skyserpent General Najelith the 25th
Runtime: 645 minutes
Country: Empire of Aht Urghan
Language: Multi-lingual
Genre: Action, Historical
Rating: R+18 ( Old world rating: X, New Rating (RL): 21+)
Major Cast List:

Seval Goshinite as Justinius
Alec Furdill as Prince Trion
Beu de Falcon as Lamia No.13
Osris Jinn as Major Geragi
Gabblox Magpietongue as Goblin Lancer
Akira as Boss

Plot Outline:
The Empire is attacked by three armies all in the same night, the city is besieged for weeks as the armies mount desperate attacks upon the stronghold of Aht Urghan. The wall breaks and the gates burst open, the army attacks and slaughters thousands in town.

Lead by a duo of two heroes, can they destroy the most powerful armies the world has ever seen? Powerful enemies such as Lamia No.13 which pit the army against themselves in a life or death struggle to save themselves from their fallen comrades, or the fabled Panzer Behemoth which slaughtered the northern alliance, all lay awaiting the heroes desperate charge. But when the Skyserpent Generals fall to Lamia No.13 can a ragtag group of mercenaries take on the five powerful Generals all at once?



OOC: Think Battle of the Bulge, Dunkirk, D-Day, Saving Private Ryan, and Pearl Harbor rolled into one excellent movie. :)

(Please contribut to my Motion Pictures Page at NS Wiki

http://ns.goobergunch.net/wiki/index.php/Motion_Pictures_of_NS)

IC:

Title: Yasashii Himura (Y.H. for short) (1970)

Director: Alex Thorton

Runtime: 250 minutes

Country: Kanami

Language: English, Jaosen, Japanese, including sub languages of the diversed cast.

Genre: Please choose (1) Drama (1) Historical,.

Rating: PG-12: For scense of intense violence, thematic elements, some language (rated PG in Kanami)

Major Cast List:

Yuki Akira-Yasashii Himura

Ken Iydomi-Mentor

Chika Sanno-Kyoko Manjima

Bobby Spunk-Vice Prime Minister Yukito Mako

Jannie McKnight-Michiko

Reeve Tommas-Shinta Himura

Karen-Anne Bakito-Yuki Himura

Shegure Soma-Mako Himura

Annemarie Williams-Kyoko Himura

Koh Kotobuki-Koji Himura

Noriyuki Abe-Koichi Himura

Hanna Montgomery-Saki Himura

Simon Robertson- Defense Minister Albert Stromson

Kaori Grant-Advisor Tiffany Grant

Plot Outline: One of the countries biggest heroes comes to the big screen.

Y.H. is the biographical-film of the nations founder Yasashii Himura, from her start of a young child, to her founding of the nation, and her life untill her death. This drama will be remberd forever, especially by the greatful people that built her dreams of democracy.

Spactacular story telling, of both fact and fiction, and a digtally restored sound and picture, will make this movie all the worth while


The Prime Minister and her Cabinate will be attending, along with the cast and crew of the film.

(Movie style like JFK, and Nixon)

Title: I Know Why The Rive Cries

Director: Ivan Peterson

Runtime: 160 minutes

Country: Aqua Anu

Language: Akoowan

Genre: Please choose (1) Drama (1) Romance

Rating: Please choose (1) R+15 Intense Peril, Sexual Content Nudity

Major Cast List:

Emma Roberts-Lilly Evansen

Richard Smith-Jacob Roberto

Marie Tomane-Amber Evansen

Kaden Barton-Gary Evansen

Julie Taylor-Mrs. Robyn Evansen

Tom Jennings-Mr. Jason Evansen

Jim Cantorie-Meterologist R.C. Lee

Lady Gina-Queen Lastunie


Plot Outline: Based on the heart touging true evnets of the worst flood in Aqua Anu. Heavy rains have been battering Aqua Anu, and flooding is a danger. But to Lilly, it's just a bit of bad weather. She and her boy freind Jacob, aren't worried. But soon the levies break, and their night of romance, becomes a night of terror and a fight for survival.

Title: Great Maraquean Civil Unrest
Director: Gerald S. Thompson
Runtime: 299 minutes
Country: Secular Empire of Maraque
Language: Maraquean, subtitles in English, German
Genre: Documentary, Historical
Rating: R+18
Major Cast List: None. This is actual footage of the Great Maraquean Civil Unrest of 1971.
Plot Outline: Gerald S. Thompson, who was 29 at the time of the Great Civil Unrest of 1971 embarks on a 4,000 journey across Maraque after his house was burned down by lawless anarchists. The film shows Thompson as he makes the journey through the lawless streets of Maraque to find freedom and prosperity, and documents his dangerous and often times horrific journey. The film showcases the real-life actual events of what goes on during a civil war, up close and personal. It may be over 40 years old, but the film is just making the rounds in theatres across Maraque with big buck openings.

The director, Mr. Thompson will be attending this event.

Title: Ghosts in the Slot Machine
Director: Leon Steen
Runtime: 83 minutes
Country: McPsychoville
Language: English
Genre: Special Interest, although Independent and Documentary are also possible
Rating: 18, due to scenes of alcohol abuse and violence.
Major Cast List: Gabriel - Mark Bradley
Francesca - Lina Maat
AA Councillor - Jon Wilderberg

Film Summary: (Taken from the Wiki entry)

Ghosts in the Slot Machine is a film from acclaimed film noir director Leon Steen. Strictly put, it should be classed as a documentary more than a film in its own right; the film follows two fictional gaming addicts, Gabriel and Francesca, as they attempt to kick their habit. Both are unemployed, and Gabriel is battling his alcohol addiction at the same time. The film is split into three sections; ‘In The Beginning’, which goes into detail about both people’s origins, and both conduct interviews in which they tell what got them started with gambling; ‘Coming Down’, when they attempt to forgo the casinos altogether (it is in this stage that Gabriel goes back to work, joining a law firm named Pearce and Pearce); and finally, ‘Elation’. In Elation, Francesca, having been free for the four months she has been followed, believes she is cured, but Gabriel continues to gamble (admittedly, at a reduced rate). For Gabriel, however, the success of the experiment has been his alcoholism - after collapsing not long after the experiment began, he went teetotal, and barred the odd beer, he stayed off it for good.

Many believe that Gabriel’s character is based off Steen himself. While Steen has not drank in his life - due to his strict Yewish beliefs - his addiction to prescription drug Invirase was well-publicised by the McPsychovillian tabloids, and during the filming of his classic ‘Pulse’ he was alleged to be losing upwards of k$30,000 every night at the craps tables. However, unlike Gabriel, Steen has since recovered - he also gives to a notable charity dedicated to helping those with addictions, the Forum For Aid with Addictions (FFAA).

The Bureau Cinématographique et Culturel Ariddien would like to submit the following three films. Ariddia is an under-developed, Third World nation which produces very few films. Few of those are ever distributed abroad. Ariddian films often aim to be thought-provoking (some call them propaganda) rather than escapist.

Of the following, only Daybreak has been widely watched and acclaimed in foreign countries. The other two are mostly obscure.


Title: Daybreak
Director: Serge Feagiai (based on the novel by Abel Moeaki (http://ns.goobergunch.net/wiki/index.php/Abel_Moeaki))
Runtime: 2h 52min
Country: Ariddia
Language: English (with French and Wymgani subtitles)
Genre: Independent, Documentary (Daybreak is fiction, but documentary in intent)
Rating: R+15 (explicit violence, occasional swearing, no nudity but a few sexually suggestive scenes)
Major Cast List: Henry Small (as Samuel Jones), Xavier Dubord (as Julian Taille), Mdudzi Nsi Akoue (as Jo Lance), Arjen Pancaro (as Edward)
Plot Outline: Daybreak has no plotline in the conventional sense. It depicts the tentative, ultimately doomed friendship of two soldiers on opposite sides during a ferocious war. The focus is on the lives of the soldiers, and of civilians affected by the hostilities; the war itself is perceived as a senseless blur, and the film deliberately refrains from elaborating on who the enemy nations are or why they are fighting. The implication is that the who and why of those who started the war are of no great importance, and should not distract from the horrific realities of the war itself. The film is often shockingly violent and disturbing, but never gratuitiously so; it conveys a sense of helpless anger at the futility of what the protagonists are subjected to.

Title: You Say You Want A Revolution
Director: Jean-Bernard Gaspin
Runtime: 2h 07min
Country: Ariddia
Language: French, English, Wymgani; commentary in French, with English and Wymgani subtitles
Genre: Historical, Documentary
Rating: PG-12
Major Cast List: N/A (non-fiction)
Plot Outline: You Say You Want A Revolution uses footage from the time of Ariddia's peaceful transition to communism to draw up an in-depth view of the momentous 1985 election (http://ns.goobergunch.net/wiki/index.php/History_of_Ariddia#The_Social_Republic), over a century ago now. The film attempts to convey and explain the hopes, hesitations, worries and uncertainties of the era, setting the event in its detailed historical context. Ariddia's conservative, capitalist past is analysed, the build-up to the election clearly shown with much of the subsequent focus on the uncertainties in a stunned nation in the hours after the election results. The film has been acclaimed as being of great historical value to Ariddians, but its interest in the eyes of foreigners may well be limited. Still, it remains the most comprehensive cinematographic analysis of the period.

Title: Sylvia
Director: Jane Ash (based on the eponymous novel by Keith Isaac)
Runtime: 1h 56min
Country: Ariddia
Language: French, English, Wymgani, with subtitles
Genre: Children/Family, Fantasy
Rating: G
Major Cast List: Sophie Elan (as Sandra), Ewo Ut (as Ul), Jacques Chênnier (as Aurélien), Sophie Tran (as Jess)
Plot Outline: Finally, escapism! Or not... Sylvia is a film for children and light-hearted adults alike. A group of adolescents dream up a world of their own, which gradually seems to merge with reality; it is both a magic tale for children, and a serious study of society, humanity, escapism, and hope. It has created some controversy abroad, being labelled by some as "propaganda masquerading as a fairytale to fill the heads of innocent children with communist nonsense and a dangerously distorted vision of reality". Others have acclaimed it as a masterpiece of subtelty, combined with a beautiful and moving story, and a detailed, magic world of fiction. Ash has denied the charge of "propaganda", replying only that "giving people something to think about is the very opposite of propaganda."
It will be up to foreign viewers to decide.

The first of several Kelsian films has been added to the current film list...

Title: Lyon Avenue
Director: Chanel Yalen
Runtime: 1hr 58min
Country: Kelse
Language: French
Genre: Independent, Drama
Rating: R+15
Major Cast List: Malvina Tresmé (Ashley), Katrina Maro (Yula), Andrew Maltho (Johan), Thomas Selzkri (Aro)
Plot Outline: "Lyon Avenue," an independent film starring some of the movie industries biggest talents, is the story of four university students living in a flat on the famous Lyon Avenue in Montréal during their second year. The movie depicts the ups and downs of the four students as they live it up in the party capital of the world, focusing mainly on their several complicated relationships. Several emotional breakdowns lead to scenes of drug and alcohol abuse, which leads to the death of one student in a not-so-happy ending.

Title: Man of the Hour
Director: Moshe Kimhi
Runtime: 125 minutes
Country: Allanea
Language: English (subtitles available)
Genre Action
Rating: unknown]
Major Cast List:

Lionel Sheen – Howard Jones
Linda Rayes – Lia Shao-Liu

Plot Outline:

When a group of Yazmarean communists take over a small school in Southern Yazmarea, taking the patients hostage, they give a simple ultimatum: make all Allied forces leave Yazmarea in an hour – or all is lost. But in their rush towards the Dictatorship of the Proletariat, they forgot about one man.

Howard Jones.

He is no military man.

He is no cop.

He is just an Allanean school teacher who really – really – doesn't like it when people interupt his classes.

And for hundreds of mothers whose kids are now in the hands of the Communists, Lionel Sheel is Man of the Hour.

Title:The Prop
Director: Andrew Trendwood
Runtime: 1 hr 55 minutes
Country: Bazalonia
Language: English
Genre: Comedy
Rating: +15R
Major Cast List: Wolfgang Omozer as Hector Davidson, Reginald Santini as Agent 42 and Arnold Ruzzwald as Agent 255
Plot Outline: A Theartrical Propmaster, Hector Davidson, has been tasked with supplying props for a hideously bad and over the top sci-fi theatrical production which requires the creation of a time machine prop. Not finding anything that fits what is required Hector Davidson build his own time machine prop out of house hold items which turns out to be an actual working time machine. He discovers this but has to hide the truth about his creation from not only the people involved in the theatrical play but 2 bumbling government agents stumble across it during the plays opening night. And so Hector must do his job as propmaster, ensure that it doesn't go off during the middle of the play and ensuring that the agents don't catch a wiff that something is up. This leads to many comical situations. Sexual References abound.

This film is being put forward for the categories of... Best Comedy, Best Visual effects and Best Original Concept, Best Original Screenplay

Movie Review.. Transcript of 'Movies@Home'

Ed: And now onto our review of The Prop.

Johanna: Hector, a propsmaster for a leading Bazalonian thearte company, 'NewHeights', is tasked with putting together a prop for there upcoming performance of "And the Space Belle Tolled", creates a authentic looking time-machine from spare items he has around the house...

Ed: The thing is that, it actually works but Hector has no time to put together another prop for the stage show it has to be used. Things are complicated further by the appearance of 2 bumbling BSIO agents at the backstage spouting reports of abnormal occurances recently at the theatre

Johanna: Hector has to deal with the agents and attempt to stop the prop from working all the time trying to perform his job. OF course he fails and the whole thearte manages to get transported in time backwards and fowards to the time of dinosaurs and way into the future, where alien life has taken over.

Ed: The alien life just happens to look exactly like the costumes designed for the play and a number of aliens get roped in. Eventually Hector manages to sort everything out and by the time the play ends the audience leaves and everything is normal.... apart for one thing.

Johanna: Yes, that was very funny, overall I find the whole experience unbelievable but somehow engaging.

Ed: Yes the Alien life being an exact duplica of the aliens in the play hard to believe but everyone played their parts so well, Wolfgang Omozer as the anxious and quiet yet dependable propmaster to the comically half-wits of Government agents Reginald Santini and Arnold Ruzzwald.

Johanna: It was not hard to be drawn into the chaos of it and that's one of the reasons I enjoyed the film it was chaotic and you couldn't take anything for granted. Even for mix-up comedies it didn't follow the usualy formula.

Ed: Exactly, this was a comedy, taking the completely unrealistic science of it making a time machine from a packet of frosticles, a washing machine and a liberal sprinking of corn flour is totally rediculous but that's where the comedy lies in the outragousness of the entire production.

Johanna: The show has alot of sexual jokes, mainly in "And the Space Belle Tolled" but there is this one joke in particular regarding alien ... habits.. that was especially funny. The special effects, particularily when dealing with time changes and futuristic technology where very believable...

Ed: Hector's face distortions during the time travle are always top notch and I can't help but give this 4 stars

Johanna: What stopped me giving it 4 was the last bit at the end, the causality of what Hector did in the past was a big issue for me 3.5, hough maybe I am being a bit picky. An overall very good performance with a great script for the actors to play off.

Title: H1SR - First league, here we are!
Director: Kansu Hana
Runtime: 2 hours and 15 minutes
Country: Rejistania
Language: Rejistanian, majuvedan, minokaje, seleke, tiresi, Isesian, radjavedian, ehila~o, hito, nen, ... let's simply say the film was dubbed into any language in Rejistania with more than 100000 speakers, also a dubbed version in English and French exists.
Genre: Sports, Children/Family
Rating: Suitable for all Ages
Major Cast List:
Linux Kansu is Eseke Ru
Janamerikana Sehenil is Teke Daran

The Karela Lines team cast:
Isi Seahe is Goalie Su Haxda;
Jenji Kiru is defender Taladi Liik, Xanu Ately is defender Vaka Mese, Ki Hana is defender Hana Yla, Teke Atanah is defender Milxi I Jen;
Kansu Kiru is winger Nanek Desna, Ateok~hana Kiru is midfielder Iku Lyku, Karela Lyku is midfielder Nanis Ri, Syku Nana is winger Xensu Idas;
Syku I Jenji is forward Idan Ra, Xenesiji Ikaril is forward Xeseja Su;

Plot Outline: Based on a real story: An amateur team from the H2SR had much luck and actually got promoted into the H1SR. This team was Karela Lines. the film starts on the matchday where the Karelans promote into the H1SR and then tells the story of their unbelievable rise via determination, tactic (the so called System Karela*) and being underestimated. But will that be enough to become Rejistani champions?

There are funny moments like Xeseja Su getting nominated to the national team, but he keeps believing it is a practical joke. Original match-scenes are used in this film. Advanced special effects and much make-up is used so the players look like the H1SR team of that time.

*OOC: In NS, Karela Lines are the inventors of a very devensive, catenaccio-ish tactic, which was called System Karela.

Critic

Vuam and Isma announce film entry for the Montréal Foreign Film Festival.

Since it's release last May, Tired has become a cult film within Vuam and Isma's elite, and even started to touch the less cinephile Vuama and Ismians.

Tired, directed by Anatole Ferré, now has the chance to be known outside Vuam and Isma's borders, as it entered competition for the Montréal Foreign Film Festival (MFFF) in Kelse. It will be pitted against some films that have been given dashing reviews such as Daybreak or Lyon Avenue in this festival.

Tired is presented for Best Film, Best Director, Best Original Screenplay, Best Lead Actress, Best Supporting Actor, Best Drama, Best Breakthrough Film and Best Breakthrough Performance. Anatole Ferré's masterpiece is however only seen as a strong contestant for Best Supporting Actor, best Breakthrough Performance and Best Drama, mainly thanks to Pablo Barret's screen-breaking performance.



Film fiche :
Title: Tired
Director: Anatole Ferré
Runtime: 82 minutes
Country: Vuam and Isma
Language: Original in Vuama and Ismian, will be presented in English with French subtitles.
Genre: Independent
Sub-genre: Drama
Rating: R+15 Contains sexually suggestive scenes, alcohol and drug abuse, coarse language and violent scenes.
Major Cast List: Agathe Weiler (Stephy Mache), Pablo Barret (Grég Tammo), Catherine Suleman (Tricia De Nothe), Valerien Pasque (Terrence Hu).
Plot Outline: Tired relates the inner torment of Stephy, an average 24 year-old college student under whoms happy exterior is hidden a depressive interior. The first part of the film depicts her life, a chaotic assemblage of sleepless nights, classes where she pretends to be happy, afternoons spent sleeping and parties. The second starts in a party, where she decides to comfort herself with Grég, a fellow student. However, as she gets to know Grég, she discovers that he is also completely different from who she thought he was. The gentle outside was nothing more than a mask that hid a more brutal person. What she thought was just a one-night game is becoming more and more than that, so she decides to leave Grég. Dissapointed, Grég spreads rumours about her, hoping to force her to cave in to his desires. Unable to face her peers, Stephy takes the train to the sea and commits suicide.


Montréal Foriegn Film Festival I

Tired has just been announced as one of the films in competition for the Festival, and whilst the dark, calm beauty of Anatole Ferré's creation doesn't need to be proven, there is nothing sure about any possible rewards that might be reaped. Why? Because of Lyon Avenue by Chanel Yalen. Both stories revolve around students, both take the sentimental approach to the lives of their characters. But all similarities stop there. Whilst Tired focuses on one person, Lyon Avenue revolves around 4. Whilst Tired is all about the interior of each character, and the difference with their appearance, Lyon Avenue is all about the interactions between characters. Tired started out as a small-budget production, being only the third film by Anatole Ferré, and is the first film for each of its actors, whereas Lyon Avenue has a cast that would make any director proud.

But in fact, both are similar as to the message they want to bring through, and both bring it through in a quite strange manner. Tired exalts truth and righteousness by depicting the horrors of lie and treachery. Lyon Avenue praises courage and fairness by showing weakness and injustice cannot make one happy. Both films unite in their depiction of the darkest side within each of us, and both films excell in the privacy they create with each character, the understanding thay bring of each psyche.

Anatole Ferré admitted that Lyon Avenue was one of the films he felt would be in strongest competition with Tired, and even admitted that it could just have the adge over Tired for Best Drama. "Lyon Avenue is beautiful. It remids me a lot of what I wanted to do with Tired, but in a completely different way. I wanted to express Stephy's isolation by showing the similarities between when she is alone at home, and when she is with others, by pointing out that there was no real difference for her. Chanel Yalen took a different approach, the one of showing that even within a group, the characters are alone. The acting is marvelous, and you really cry with the characters all the way through. In Tired, I wanted to avoid crying, because it is too personal, too unlike my characters. My characters only cry in extreme scenes, and I felt like that dramatised their solitude, as they can't even express to others how they feel. Lyon Avenue does the opposite, and that makes it beautiful because it makes each scene harder, heavier, more... ...'poignant', touching. But they don't always cry the same. They always cry in a way that is new, a way that brings a different sorrow to the viewer. I wouldn't be surprised if Lyon Avenue wins a lot of awards, because it is a very complete, round film. When I look back at Tired I feel like there is so much work left, and that my film is still rough and uncut compared to Lyon Avenue."

Entertainment Montréal!

Montréal, KE - The Montréal Foreign Film Festival has just begun, and already the city has been whirwhinded in the glamour of the motion pictures industry. So far in theatres across the city, 14 films, including Chanel Yalen's box-office smash "Lyon Avenue," have been released as part of the festival. So far the Kelsian critics have gone mad reviewing the films, and we here at Entertainment Montréal! have got the dish on three movies currently on screen.

Al Zahbi Fallen (Aht Urghan Empire) - This action-packed war epic from Skyserpent General Najelith the 25th, although an excellent movie, is at a staggeringly long 645 minutes long. Did we mention it is only Part 1? Based on the events of the attacks on Aht Urghan, director Najelith really spotlights the violent and desperate attempts of the mercenaries in an attempt to defeat the opposing armies. It's really a great movie, but Kelsian audiences didn't enjoy it much. Too long, most say, and we agree. The KAFT, however, enjoyed it enough to give it 5 nominations at the upcoming NSFilm Awards. The nominations include Best Film and Best Director.

Bug On The Window (Londim) - Bug On The Window, the thriller from Tim Gilmore, is a very entertaining movie that will probably go mainstream here in Kelse. The movie has gone well with audiences, and we agree. Steve Mcgean is a great actor, he should definately do some movies here. Sarah Lou, meanwhile, provides with a stunning performance that is sure to give her some recognition. Did we mention that their were some kick-ass action scenes? We liked it, but the KAFT didn't, and the movie only recieved 3 nominations.

Daybreak (Ariddia) - Daybreak, based on the novel by Abel Moeaki, is a independent film based on the "ultimately doomed friendship of two soldiers on opposite sides during a feroucious war." Director Feagiai intended for the movie to not have a defining plotline, and boy is it hard to explain the movie in detail! Scoring well with audiences, it is indeed thought-provoking and very violent. The film also scored well with the KAFT, who have so far nominated the movie for 5 NSFilm Awards.

As you can see, we here in Montréal have a great selection, and movie-goers are ever so delighted. The two movies currently fighting for festival box-office glory are Kelse's own "Lyon Avenue" and Vuam and Isma's "Tired". Both films lead the rest in NSFilm nominations with a total of 8 each, leaving little room for competition...

Two of this years films have been nominated by the Ardenne film festival for competition in Montréal. They are the following:

Title: Le Porc (English Translation: The Pig)

Director(s): Catherine Becker and Jean Tourneur

Runtime: 130 minutes

Country: Amestria

Language: Amestrian with an English dub and subtitles

Genre/Sub-Genre: The film is notoriously difficult to classify. There are elements of Adventure, Comedy, Drama, Fantasy (Magical Realism), Historicism, and the animated film was made so as to appeal to both children and adults. The Academy can decide the exact Genre and Sub-Genre.

Rating: PG-12

Major Cast List: Le Porc has no actors/actresses as it is an animated production. The voice actors are:

Gérard Félix- Henri Gouraud

Irène Duperey- Rachel Adorée

Renée Aimée- Arielle

Charles Cassel- Both Colonel Javert and Mr. Jacob

Michel Roussel- Both Arielle’s father and Mr. Adorée

Plot Outline: The setting of the animation is the mid-19th century Amestria, a few years after the Eastern Rebellion. A military officer, Henri Gouraud, is disgusted by his participation in the destruction of Lior (a southeastern city infamously ordered wiped out by the First Stratocracy of Leader King Bradley), and feels he cannot go on living as a member of humanity. Henri, unwilling to commit suicide out of fear of death, looks for a way out, and decides to transform into a pig (a humanoid pig but a pig none the less). Some of Henri’s former friends and family are horrified by his transformation and break contact with him while others embrace him with great sympathy as he struggles to adjust to his new situation. As he perseveres he is reacquainted with his young niche Arielle and meets a former ape turned human named Jacob. The three ponder the nature of the universe, the meaning of humanity, and have various heartwarming (miss)adventures.

The animation is many things, a commentary on the difficulty veteran’s encounter while attempting to reintegrate, a historical piece describing the period in which is set, an idyllic picture of the 19th century Amestrian countryside, a glimpse at the world through the eyes of a child, and an absurdist comedy. There is currently a debate over how much of the film is a commentary on the BC Suppression Campaign conducted during the Torontian Occupation. It is well known that Tourneur took time off from the production to take care of a friend who had suffered a nervous breakdown and attempted suicide shortly after returning from BC. It is notable that the Amestrian Militaries Central Command and the Ministry of Defense banned the film from being shown to troops deployed in Torontia, citing the possible demoralizing effects it could have (the Torontian Provisional Government followed suit).

A Sample Review

Le Ardenne, English Addition
The Pig, a Beautiful, Charming, and Horrific Masterpiece
By Catherine Valéry

Page 6

ARDENNE- After three years of waiting Catherine Becker and Jean Tourneur have finally finished their joint animated project, The Pig, and it is every bit the masterpiece that critics were expecting. The animation is flawless (there is a maniacal attention to particulars), presenting an exceptionally detailed, living, breathing world of magic and tragedy set in the post civil war era of mid 19th century rural Northwestern Amestria. It is an idyllic world of farmers, nature, and forest gods, a place of a peace that can never exist due to the unavoidable intrusion of troubles from the outside, one of those troubles being the effects of a distant southeastern conflict. One of those effects is a former Major by the name of Henri Gouraud, who out of a suicidal disgust for his actions wishes he were no longer human yet is too afraid to kill himself. So he decides to become a pig.

Henri is very much a pitiful forsaken person when the audience first meets him. His abandonment of humanity has left him isolated, physically (having to live alone on the outskirts of town) and emotionally (many members of his family viewing him as a burden and being unable to relate to him). He is haunted by nightmares and avoids crippling destructive guilt solely by his non-human state, which he also uses to get out of social obligations he now feels to be meaningless or exploitive (“I don’t pay taxes, I’m a pig” or “I’m a pig; I’ll leave politics to you humans.”). Despite his circumstances he proves himself likeable and a dry wit, taking trivial setbacks with good humor and, although he resents those who have distanced themselves from him, he avoids hatred and is very willing to forgive. He is especially empathetic towards Rachel, his ex-wife.

Among the few who still care for him is Rachel Adorée, Henri’s former wife who he dearly loved before the outbreak of the Rebellion (Irène Duperey once again displaying her formidable talents). Rachel is one of the strongest characters in the story, a person who, although unapologetic for divorcing Henri for the sake of her own happiness (a pig being unable to give her the affection she wanted), seeks to help him through his estrangement with himself and the world around him as best she can. Although it is her attention that keeps Henri in good health, she is sadly unable to reach him. The only character able to do that is the young Arielle.

Arielle is truly a beautiful soul, both a manifestation of childhood innocence and wonder and mature wisdom (a girl who is visited by fairies outside her bedroom window and who has read both the bible and the Communist Manifesto), she dwells both in the magical imaginative world of the forest and the cold uncertain existence of reality, trying to make sense of both. Confronted with the differing fortunes that result from war, Henri the pig and her own father, a Brigadier General and hero of the State, Arielle becomes disillusioned with the notion that the universe can ever be summed up by one story. Arielle thus returns her Bible to her parents and the Communist Manifesto to the radical friend who let her barrow it, telling them to no longer give her “books that try to explain everything” as she would learn more from “books that explain only a few things” (a postmodern rejection of all encompassing narratives). She thus begins to study Núháquënwaëv and other forms of animistic paganism, leading her on a short quest to meet the forest spirits and hear their stories, a quest which she ultimately manages to drag Henri along on. Arielle is the one who, through her innocence, is ultimately able to reach Henri and return joy to his life. They spend more and more time together, forming a deep emotional bond, before being joined by the enigmatic and funny Mr. Jacob.

The character of Mr. Jacob, the former ape, proves both a humorous comedic foil to Henri and deep philosophical commentator. While Henri was a human who became a pig in order to escape his own self hatred and inevitable suicide (his way out), Jacob was an ape who became human in order to escape the zoo without having to resort to suicide, “a choice between the Zoological Garden or the Music Hall, in other words, no real choice at all” (his way out). Throughout the film Jacob reflects on his life and sees both nothing special about being human and nothing wrong with his present existence, much to the protests of the other characters (who argue for and against humanity). “I am content,” he remarks near the end, and we believe him.

The films principle antagonist is the fanatically legalistic Colonel Javert of the Military Governments Secret Police. A loyal supporter of the Bradlian Regime and the order it promotes, Javert, upon learning of Gouraud’s transformation, becomes disgusted with him, considering his new form an attack upon the system (“if everyone became pigs things would fall apart”) and sets out to find evidence of seditious beliefs and treason in order to justify setting an example by “sending him to the butcher shop were he belongs.” During his search for “evidence” Javert terrorizes the Gouraud family until he encounters the young innocent Arielle in the woods and, in heartwarming scene of quite sad self-redemption, decides to leave poor Henri alone for her sake, feeling he would be unable to live with the guilt that would come with separating her from him (he instead contents himself with forcing Henri to pay taxes). The ideas presented can be traced well back to Lesueur’s opera To berate a King. Charles Cassel’s excellent voice work makes the character feel both creepy, authoritative, and sympathetic at the same time, an outstanding display of acting ability.

The film is remarkable by its ability to be exceptionally disturbing with no violent scenes or bloody imagery. In his dreams Henri pictures those who he has killed in the service of the State. Each figure speaks a few words, kind and gentile or vengeful and threatening, then slowly turns to dust… Combined with the raw emotional talent of the voice actors and the films musical score such scenes are remarkably effective at conveying the magnitude of the horror. Some have speculated that this is Becker and Tourneur’s criticism of war movies that seek to fully convey the horror of war through simple graphic repetition, spurning that approach they focus upon how the characters deal with traumatic experiences that can never to be truly conveyed to others, not even the audience. The closest the story comes to portraying death onscreen is a chilling scene where several Liorian families, men, women and children, have been lined up while Major Henri Gouraud stands; part of a firing squad, yet seemingly alone, his musket aimed at them. The screen fades to black and there are gunshots and screams. It seems scant attention to the genocides of the Eastern Rebellion, but the glimpse is ultimately more then enough.

This critic strongly recommends that everyone go to the theater and see this phenomenal work of art and storytelling.


* * * *


Title: Der Caesar le du Puits (English Translation: The Caesar of the Well)

Director(s): Jean Godard Director, Pierre-Marie Ventre Co-Director

Runtime: 96 minutes

Country: Amestria

Language: Amestrian with English subtitles

Genre: Comedy

Sub-Genre: Drama

Rating: R+15 (rating does not apply in Amestria)

Major Cast List:

Vincent Blier- The Piano (Voice work only)

Charles Cassel- The Medicine Cabinet (Voice work only)

Charles Blier- Poussé Number One

Bernard Gabin- Poussé Number Two

Irène Duperey- Poussée

Plot Outline: The film is a combination of two of Pierre-Marie Ventre’s renowned stand alone Resistentialist plays and a short animated segment (see review).

A Sample Review

Le Ardenne, English Addition
“Things Are Against Us!” Two of Pierre-Marie Ventre’s critically acclaimed Plays Come to the Big Screen
By Catherine Valéry

Page 6

ARDENNE- Two of famed Resistentialist Philosopher Pierre-Marie Ventre’s famed theatrical works, the Closed Well, and The Things that are Caesar, have been adapted to motion picture format and will be showing in select theaters later this month as one full length feature film. The film, titled The Caesar of the Well, is made up of three distinct stand alone chapters. The first chapter, which is of course Ventre’s first work the Close Well, features three old Poussés (Pushed Arounds), who hate each other, trapped ceaselessly at the bottom of a well, the universal Resistentialist symbol, with several bricks, representing Things, which they also hate. Humanities inability to escape the agony of each other or Things is brilliantly depicted as the old Poussés attempt without success to climb out from the well or throw the bricks out, only to fall back down or have the bricks fall back upon them.

Chapter Two is a short animated work featuring four Esclaves De Chose (Thing Slaves), dressed in ridicules fanboy outfits, chained to a towering giant of kitsch (the Thing Giant). The Esclaves De Chose worship the towering Thing Giant, bowing and scraping before it, thanking it for their freedom before they are all promptly slaughtered by a rampaging Gewehr Chose Wielder (Gun Thing Wielder). The Esclaves De Chose and the Gewehr Chose Wielder obviously represent Allaneans while the Thing Giant satirizes Allanean culture. Ventre has gone out of his way to offer criticism of Allanea ever since an unfortunate visit to the United States seven years ago, where on route to a speaking engagement an “unlicensed idiot cap driver, who later was found to be high on crystal met, somehow crashed into a lamp post three times and then tried to shoot [Ventre] with a semi-automatic when [Ventre had] asked for [his] money back.” The animation in the version shown to critics, despite the grim subject, was exceptionally beautiful, reminding everyone why Ardenne remains the animation capital of Western Europe.

The Third and Final Chapter is a condensed version of the renowned play The Things that are Caesar, minus the much reviled intermission/lecture of the second act were the action was briefly put on hold in order to criticize the sexuality of the audience. The chief characters, the piano and the medicine cabinet, are well rendered by computer animation (although the purist fans of Ventre’s work have made clear their wish that live actors had played those two leading roles). The two Poussés, who act out humanities futile attempts to completely master Things, are well portrayed by actors Charles Blier and Bernard Gabin. Particularly amusing is Poussé Number Ones (much to the joy of purists the humans remain nameless) attempt to seduce Poussé Number Twos wife, Poussée (a radiant Irène Duperey), who is distressed by her husbands woeful ineptitude in being unable to dominate Things even to the extent of fixing the medicine cabinet (and more importantly his inability to make love to her properly), by playing the piano. Poussé Number One of course cannot play well but Poussée is not cultured enough to tell the difference, and so it looks like the two are destined to sleep together until the piano gleefully punishes Poussé Number One for his arrogance. The scene where Poussée discovers her husband bleeding to death, cut by glass from the broken medicine cabinet, and tearfully reflects on how she knew how to fix it all along, is exceptionally well preformed. If there is a flaw it is in the unbelievably downer ending, in which Poussée, whose final fate was left ambiguous in the original play, is shown burning to death with Poussé Number One as a raging inferno consumes both their apartments, caused by Poussé Number Ones futile attempt to punish the piano by burning it with buckets and buckets of lighter fluid (this critic needless to say prefers the theater versions ending).

Truly The Caesar of the Well is the movie of the year to see for all Resistentialists or fans of the Théatre Jambon des Somnambules

OOC: I changed the title to a more catchy "H1SR - first league, here we are!" I also improved the cast list a bit by including the positions.

bump

bump

OOC: I TGed Kelse, but no result... He is still active in NS, but apparently not wanting to take this further... :(

OOC: I apologize for the delay, I got caught up in lots of things and was way over my head. I hope to get caught up with reviews, nominations, and more scheduled events [Box Office Numbers!] by Monday. As of now, the RP run-down is that the Film Festival began on Friday, and any new movies as of this point will be released Monday, and after that Wednesday, and after that Friday. Any films wishing to be nominated must be released on Wednesday to be eligible for a NSFilm Awards. As for the NSFilm awards, the RP will begin Saturday, with awards being handed out until Sunday. An after-party will be planned as the last RP event for the festival starting Monday.

Thank you for your patience and participation, and this will be in full-swing on Monday!

Entertainment Montréal! Festival Update

Weekend Festival Box Office
1 - Tired - $12,452,000
2 - Le Porc - $9,562,000
3 - The Prop - $8,892,000
4 - Lyon Avenue - $7,500,000
4 - H1SR - $7,500,000
6 - Sylvia - $7,349,000
7 - Yasashii Kimura - $7,002,00
8 - Bug On The Window - $6,421,000
9 - Daybreak - $5,912,000
10 - I Know Why The River Cries - $5,213,000
---------------------------------------------
15 - Great Maraquean Civil Unrest - $1,012,000
16 - Man of the Hour - $876,000

*Festival Box Offices figures only from affiliated festival cinemas within Montréal. Average Single Ticket - $8.75.

Current Film List and Nominations
Al Zahbi Fallen (Aht Urghan Empire) - [5]
Bug On The Window (Londim) - [3]
Der Ceaser le du Puits (Amestria) - [6]
Daybreak (Ariddia) - [5]
Ghosts in the Slot Machine (McPsychoville) - [4]
Great Maraquean Civil Unrest (Maraque) - [3]
H1SR (Rejistania) - [5]
I Know Why The River Cries (Aqua Anu) - [3]
Le Porc (Amestria) - [4]
Lyon Avenue (Kelse) - [8]
Man of the Hour (Allanea) - [2]
Sylvia (Ariddia) - [7]
The Prop (Bazalonia) - [3]
Tired (Vuam and Isma) - [8]
Yasashii Himura (Kanami) - [7]
You Say You Want A Revolution (Ariddia) - [2]

"And welcome to the BazFilm coverage of the Entertainment Montréal! Film Festival. Over the weekend Cinema's all over Montréal Displayed a total of 16 films from all over the world. KAFT has produced the official festival Box Office results." - Ed

"The only Bazalonian film at the Festival, The Prop, did exceedingly well racking in near 9 million dollars of ticket sales being the third highest for the entire festival however despite this it has only received three nominations." - Johanna

"Tired, from Vuam & Isma, directed by Anatole Ferré was first in the BoxOffice with an impressive 12 and a half million an immazingly also impressive 8 nominations." - Ed

"Le Porc, from Amnestria, directed by Catherine Becker and Jean Tourneur, it is an animated film and managed just over 9 and a half million dollars, just piping The Prop by Aproxmiately 700,000 dollars." - Johanna

"On the other hand, let's look at the other end of the Box Office, 15 and 16 places." - Ed

"Great Maraquean Civil Unrest and Man of the Hour flopped at the Kelsian Box office with Man of the hour not even getting a million and Great Maraguean Civil Unrest just barely crossing the million dollar mark. It seems that the Allanean and Maraquean film failed to impress or draw any appreciable crowd, they have been nominated for 2 and 3 respectively." - Johanna

"Either Way.. The Prop is expected to be the forerunner in all of it's three categories, that is all from us for now at the festival and we will bring updates as the festival progresses." - Ed

"Thank you and Goodnight." - Johanna

OOC: Is this still open?

OOC: Yes, submissions for films close Thursday.

Title: Confidental Confessions
Director: Sofia Kamrill
Runtime: 160 min
Country: Emerald Springs
Language: Kauximoi
Genre: Please choose (1) Drama (1) Teen
Rating: R+15: Contains Strong Thematic Elements Relating to Teenagers (hard hitting issues, as well as simple issues)

Major Cast List:

Maria Ayers-Sophie Myers

Marie Lillis-Lacey Garber

Roger Clarison-Jack Davinsen

Emil Camden-Eric Myers

Cera Ramsey-Mary Pur

Thomas Kulkivoch-Dr. Roger Manson

Mia Tomarie-Allena Grunwhich

Peter Smith-E.J. Holmes III

Plot Outline: Seveal Teens have been put into a confesional therapy goup either by their parents, or their doctors. Through the course of the session each of them open up and reveal why they are there. Everything from dealing with abusive boyfreinds, to AIDS and Drug Use and neglectiful parents, are confesed. Slowly they will learn from eachother to become better.



Title: The Band

Director: Sofia Kamrill

Runtime: 125 minutes

Country: E.S.

Language: Kauximoi

Genre: Please choose (1)Drama (1) Family,

Rating: Please choose (1) PG-12 (Contains Thematic Elements)

Major Cast List:

Maria Johnston-Melody Williams

Jacob Paul Evansen-Ray Elfman

John Yellen-Chandler Davis

Lacey Peterson-Amber Zimmer

Jon Blackstone-John Lowe

Richard Zimmerman-Matt Johnson

Carl Banks-Richard Brunson

Sharon Meguson-Harmony Revell

Reeve Sanchez-Beaux Shaw

J.J. Grossmand-Paul Robets

Doug Robertson-Steven White

Jack Horner-Jim Shore

Molly Per-Lilly Monosn

April Masonry-Anna Lucas

Annemarie Harris-Marie Jackson

Elizabeth Burton-Liza Richardson

Kyle Javensen-Billy Mattingly

Wesley Houser-Dougals "Jazz" Donnaven

Logan Bansten-Nick Downs

Caley McKnight-Ginny Burton

Paula McNair-Margert Skeen

Abagail Adams-Katarina Martin

Emma Ross-Christina Romney

Gary Schwitzeheimer-Jon Blackham

Amanda Lee-Kira Davis

Alex Grant-Alan Silvestri

Plot Outline: A high school bad that has been off the chart for years is now in it's second year. A new Sophmore named Melody Williams, (Maria Jonston) An Epileptic 16 year old Trombone Player, is brand new to the small comunity and band, and is a little lost. Fortunatley for her everyone is welcoming and nice, especially Ray Elfman (Jacob Paul Evansen) Through the school year, the bad will have it's share of triumphs, let-downs, and dealings with a greedy and apathetic principal. Follow this major class on this long school year, and let the music play!

Also written by Sofia Kamrill, based on many of her personal high-school experiences.

Title: The End of The World Has Been Postponed
Director: Yodelf Izer
Runtime: 4 hours
Country: Alcalid Empire
Language: Alcalid
Genre: Comedy and Sci-Fi/Fantasy
Rating: PG-12
Major Cast List:

Simon Hanson - The Alien Speaker

Ader Kel - Korson Meli(writer)

Sur Orv - Qurn Andrei(writer)

Sodi Poqt - Morv Witern(director)

Azul Gel - Derson Bwelt(actor)

Anzeha Ider - Zelsa Veder(actress)

Querner Kel - Berven Ono(actor)

Deho Laver - Xycon Victein(actor)

Plot Outline: It is time for the judgement of the world at the hands of the alien Aha, and now one studio must make a film that pays attention only to the "positive" bits of history, or else the Earth will be destroyed. Now they just need a way to fill the other 2 1/2 hours.
A comment on historical revisionism.

Filmenn

The higher you rise, the harder the fall.

With the recent figures showing the grossing of the different films in competition for the Montréal Foreign Film Festival, Tired seems to be comforting it's place as a favorite.

Tired, nominated for 8 awards, ran riot in Montréal with almost one and a half million tickets sold. Other favorites with the cinema-goers were Le Porc by C. Becker and J. Tuorner, coming from Amestria, and A. Trentwood's The Prop from Bazalonia. Lyon Avenue and H1SR fell short of the podium, alongside Sylvia and Yasashii Kimura.

However, whilst those 7 films are responsable for 42 of the 75 current nominations (16 films currently in competition), could the fans' favorite be different from the jury's pick? Allanea's Man Of The Hour failed to enthrall the general public, but those who love action films are sure that they have one of the best action films for the last years in competition. But others say that Bug On The Window by T. Gilmore, also an action film, has much more depth. All that we can say for the moment was that Allanea's effort was the least-well recieved film in Montréal, whilst A Bug On The Window recieved substantial viewing all across the town. But perhaps it isn't in Action that the favorite will come from behind, as Mr Thompson's autobiographic Great Maraquean Civil Unrest failed to touch viewers, but might strike a stronger string with the jury.

The real surprise however was that Al Zahbi Fallen managed to gross over a million dollars, dispite its often slow tempo as the film spans 10 hours and 45 minutes. Many had relegated the Aht Urgan Empire effort to being nothing to take care of because of it's length. However, it seems that no matter the length of the film, talent is always rewarded.

But even though a surprise is always possible, it's a safe bet that the strongest contestants for the MFFF's praises are amongst the films that were watched again and again by the Montréal public. Filmenn sent its finest eyes to Montréal, to pick out the choiciest morcels, and also bring an insight to the films' reception by the Montréal public.



Le Porc, directed by Catherine Becker and Jean Tourneur, from Amestria. Seen by Mikkel Jon Vonlaathen.
Torn between remorse after his actions in the army and fear of death's cold grasp, Henri Gourand (voiced by G. Félix) slowly becomes as un-human as possible : he becomes a pig.

Living bannished from society by his own desire, he rebutes the system (through Colonel Javert, voiced by C. Cassel) and it's attempts to normalise his position by forcing him to re-integrate the community that he left. However, he doesn't reject all social interaction, as he shows by his links with
Rachel Adorée, his ex-spouse (voiced by Irène Duperey), who attempts to reach out to him without being able to be understood by our hero, and also though his links with Arielle (voiced by Renée Aimée) who also rejects all things that propose to explain everything, in favor of things that explain only one aspect of one thing, but explain it well. Arielle is one of the few who maintain links with "Le Porc", dispite his transformation, and even though it is with sadness that she sees him each time, she does all she can to bring joy back to his life.

However, if he is evading humanity without being able to properly let go of society, other characters are going the other way down the path. Mr Jacob, an ape-cum-man, for example. Mr Jacob, to the contrary of "Le Porc", has not only embraced humanity but also society, rejecting animality and individuality to his past. For Mr Jacob, the human condition is delectable, whilst it is the condition of animal that is unsupportable, a condition "without reason, without purpose, without aim, without all that makes life more than existance".

Le Porc is both thesis of the horror of war and the abnegation of humanity through its participants, but also the antithesis of isolation and dehumanisation.


Comments in Montréal :
- "A particular style, but quite deep once you understand the subtle changes that operate through the whole film."
- "Amazing. The question of what makes man himself, and how it is possible to go on being human after acting in the most inhumane manner."
- "Surely one of the best films I've seen, where the political and philosophical undertones are so strong they could fuel the film alone.



The Prop, by Andrew Trentwood, with Wolfgang Omozer, Reginald Santini and Arnold Ruzzwald, from Bazalonia. Seen by Stewart Weale
Distaster strikes Bazalonia when Hector Davidson's (W. Omozer) time machine works! Made as a prop for a time travel play that is just "too much", a couple of garage items turn the dream into reality, much to Hector's despair!

Since he hasn't got the time to re-build a prop, and he can't control the machine's time transfers, he attempts to stop hell from breaking out on stage, and when it does, contains it with brio as the unsuspecting theater-goers think it's part of the play. But it all gets harder when Agent 255 and Agent 42 mistake the theater as the origin of the town's trafficking groups, and keep a "discreet" eye on Hector. Now he's also got to manage the two most useless agents in the BSIO, and keep the show on the road.

Each time the time machine goes berzerk, you just have to guess what's going to happen. Will it be great? Will it be a disaster? Who cares, because Hector's the man who fits the bill, keeping the situation under control even in the most extreme conditions.


Comments in Montréal :
- "Hillarious! Two hours of laughter, and you'd think it's ten films rolled into one. From future to past, from here to everywhere, The Prop was brilliant!"
- "Screen-blowing comedy that just has you broken in two from one end to the other. Blundering agents versus overworked propmaster, it's a great watch!"
- "I though I would die of laughter, it's just too much! Hector is the man for every situation, and he's the man in control, dispite the often 'adverse' situations!"



OOC : Edited as per request. However, I haven't edited in regards to the second point, since I cannot see what it is that needs to be changed. Mr Jacob is "content" with his life, and as such is delected by the human condition. But he also did not regret his transition from his past state to his current one. As such, doesn't he implicitly find that his past condition wasn't worth being lived, since it was when he was faced with the choice of living or dying that he chose death (or in this case transmutation)? If it's better to die than to live, then is it not correct to say that such a person's life is without content, substanceless, and deeply void? Since Mr Jacob is "content" with being human, then doesn't he recognise that the void he had in his animal condition is filled as a human? In such a regard, wouldn't he be likely to debate the merits of humanity in such a manner as I did in my post? In the amestrian review, there are conflicting views on the human condition from Mr Jacob (nothing special and yet "content", whilst animality wasn't enough to "content" him, meaning that there must be something more to humanity than to animality, and as such something special), and yet there aren't any views in regard to his animal condition.

I'd like feedback on this point, since I understand that it is your film after all.


Also, to all those that want to insert bribes of my film to their broadcast, please do. As long as things seem correct and in-character, then you are free to do all you wish. (If it's not IC enough, then you'll be TGed, so don't fear!)

OOC: Vuam and Isma:

OOC : Edited as per request. However, I haven't edited in regards to the second point, since I cannot see what it is that needs to be changed. Mr Jacob is "content" with his life, and as such is delected by the human condition. But he also did not regret his transition from his past state to his current one.

He sees no difference between the two. As an ape he was subject to the jungle and as a human he is subject to society.

As such, doesn't he implicitly find that his past condition wasn't worth being lived, since it was when he was faced with the choice of living or dying that he chose death (or in this case transmutation)?

Mr. Jacob chose life, he did not want to die, at the same time however he did not wish to live out his life in a European zoo, so he became human, his way out. He retains his freedom and is alive, capable of enjoying his life as a human and is therefore content.

Since Mr Jacob is "content" with being human, then doesn't he recognise that the void he had in his animal condition is filled as a human?

Mr. Jacob was content as an animal as well until he was on his way to the zoo, just as Henri was content with humanity until he was forced by his superiors to line people up against a wall and shoot them.

However unlike Mr. Jacob, Henri, it can be interpreted, by his continued interaction with Rachel Adorée and Arielle as well as his humanoid (not fully animal) form and limited relations with society (he lives on the outskirts but has not severed contact) is clearly not content as an animal. Yet at the same time it is from Henri the denouncements of humanity come.

"And Now we got Montreal for an update on the film festival. Checking in with Joan Marie, Joan."

"Thanks, well you heard right we are at the Film Festival in Montreal, and let's look at the current box office status:



Weekend Festival Box Office
1 - Tired - $12,452,000
2 - Le Porc - $9,562,000
3 - The Prop - $8,892,000
4 - Lyon Avenue - $7,500,000
4 - H1SR - $7,500,000
6 - Sylvia - $7,349,000
7 - Yasashii Himura - $7,002,00
8 - Bug On The Window - $6,421,000
9 - Daybreak - $5,912,000
10 - I Know Why The River Cries - $5,213,000
---------------------------------------------
15 - Great Maraquean Civil Unrest - $1,012,000
16 - Man of the Hour - $876,000

And in first Place the film "Tired" from Vuam and Isma is leading the charts. Our own film "Yasashii Himura" the dramatized version of our nations founder, is in 7th, with 7 Nominations. Many are expecting "Tired" to be the big pusher here, so we'll show you a preview of that now.

The Following Preview Has Been Approved for ALL Audiences by the
Kanami Board of Entertainment Classification and Ratings

Rated

[R]
[Under 17 Should be Accompanied by Parent or Adult Guradian]
Sexual Content, Drug/Alchol Abuse, Strong Language and Violence


KBECR.org ratings.org
.............

"And if you are intrested in seeing that film it will open nationwide in Kanami on the 17th. And I must admit I've seen a few of these films, many are very well done, and many have probably won Kanami Arts Awards.

Here is the list of Nominees

Current Film List and Nominations
Al Zahbi Fallen (Aht Urghan Empire) - [5]
Bug On The Window (Londim) - [3]
Der Ceaser le du Puits (Amestria) - [6]
Daybreak (Ariddia) - [5]
Ghosts in the Slot Machine (McPsychoville) - [4]
Great Maraquean Civil Unrest (Maraque) - [3]
H1SR (Rejistania) - [5]
I Know Why The River Cries (Aqua Anu) - [3]
Le Porc (Amestria) - [4]
Lyon Avenue (Kelse) - [8]
Man of the Hour (Allanea) - [2]
Sylvia (Ariddia) - [7]
The Prop (Bazalonia) - [3]
Tired (Vuam and Isma) - [8]
Yasashii Himura (Kanami) - [7]
You Say You Want A Revolution (Ariddia) - [2]

There are some other big time players as well, we have films from nations like Maraque, Aqua Anu, even Emerald Springs is joining in with Sofia Kamrill's outstanding films. She's had three director nominations in Kanami, in the past, and 2 Screenwriting nominations. It's not known yet what her two films will be nominated for much less if they will win, many are betting on the box office favorite wich along side "Lyon Avenue" holds the most nominations at 8. It's #1 at the Box Office, and the critics here love it."

"So how is "Y.H." doing?"

"Not much word on Y.H. other than our box office ranking and our 7 nominations."

"Thanks Joan we'll check back in, in a little while. Up next more film industry news."

Title: Le Ciudad
Director: Jacques Alphand
Runtime: 1hr 26min
Country: Kelse
Language: French & Spanish
Genre: Drama, Romance
Rating: R+15
Major Cast List: Anahí Reverte (Lorena), Christoper Bardot (Yannick), Jacqueline Santana (Ana), Malvina Tresmé (Sandra), and Benjamin Yelen (Anthony).
Plot Outline: "Le Ciudad" is a new twist on the classic love story Romeo and Juliet, this time set in the urban neighborhoods of the fictional metropolis Carerra. Lorena is quiet and reserved and an aspiring dancer living in the slums of Carerra while Yannick, a loud, rambuctious teenager living in the affluent coastal area, has no aspirations whatsoever. A drug user, Yannick travels to the slums on a hot Friday afternoon with Anthony to replenish his stock of illicit drugs when he gets lost and meets Ana, best-friend of Lorena. Mesmerized by Ana's latin charms, Anthony gets Ana to invite him and Yannick to a party that evening. At the party, Ana introduces Lorena to Yannick, and the two immediately fall in love. Yannick than invites Lorena and Ana to a party the next night, which the two do attend. The love story continues, but when met by the angry ex-girlfriend Sandra, played by "Lyon Avenue" star Malvina Tresmé, things take a tragic turn. Drunk and High, Sandra leaves the party only to return with a pistol, with what she accidentely shoots Ana with.

Ana dies, and soon follows Sandra, who collapses and convulses in a graphic overdose. The story quickly reaches the slums, and large amounts of youth join arms to march to the coastal area for justice. The party is deserted, and the house it was thrown out is set ablaze. The police soon enough, enforces curfew and warrants arrest if any of the two sides cross their set boundary lines. The couple hide out at Anthony's house, but soon seek refuge outside of Carerra. Before leaving, however, Lorena vows to visit her parents. When traveling to the house, Yannick is spotted by gang members. The couple turn around and are chased through the slums in an action-packed car chase scene. The film ends, however, when the car crashes into a wall, fatally killing Yannick and Lorena - whom the gang members are unaware is in the car.

Director Alphand uses camera direction, light, and color effectively to portray the urban lifestyle lead by the citizens of Carrera. Also, the many scenes sung aloud by the characters give "Le Ciudad" a certain flair that makes it one of the best Kelsian films of the year.

"Very much adequate" comments Su'he

Xeseja "Xese" Su, retired AENR clerk and retired Karela Lines player was delighted to see that the film H1SR was "very much adequate and historically correct". According to him, the film depicted the incredible story of how Karela Lines promoted and became rejistani champions without "too much dramatization". "The story was already dramatic enough" he said, smilingly. He was however not really glad that the Champions League was mentioned in the film. The rejistani team failed rather spectacularly to win even a single match there.

The film "H1SR - first league, here we are" lives from the great soccer scenes in it. "Midfielder" Ateok~hana Kiru who plays Iku Lyku was according to a former interview close to resign due to the high pressure and the required precision of director Kansu Hana. But even he admitted that it payed off well.

Entertainment Montréal! Festival Update

Mid-Week Festival Box Office
1 - Sylvia - $14,786,000
2 - Daybreak - $13,567,000
3 - Le Ciudad - $12,250,000
4 - H1SR - First League, Here We Are - $12,000,000
5 - Le Porc - $11,876,000
6 - The Prop - $11,670,000
7 - Tired - $11,435,000
8 - Confidential Confessions - $10,954,000
9 - Yasashii Kimura - $10,562,000
10 - Lyon Avenue - $10,232,000
-------------------------------------------------
11 - Bug On The Window - $9,723,000
12 - Der Caeser le du Puits - $8,460,000
13 - I Know Why The River Cries - $8,200,000
13 - You Say You Want A Revolution - $8,200,000
15 - Ghosts In The Slot Machine - $7,862,000
-------------------------------------------------
16 - Al Zahbi Fallen - $6,213,000
17 - The Band - $5,621,000
18 - The End of the World Has Been Postponed - $5,542,000
19 - Man of the Hour - $2,430,000
20 - Great Maraquean Civil Unrest - $423,000

*Figures from Monday through Wednesday only. Festival Box Offices figures only from affiliated festival cinemas within Montréal. Average Single Ticket - $8.75. Please also note that for Kelsians, the cinema is often reserved for week-days.

Top-Five Total Grossing Films
1 - Tired - $23,887,000
2 - Sylvia - $22,135,000
3 - Le Porc - $21,438,000
4 - The Prop - $20,562,000
5 - H1SR - First League, Here We Are - $19,500,000

Current Film List and Nominations
Al Zahbi Fallen (Aht Urghan Empire) - [5]
Bug On The Window (Londim) - [3]
Confidential Confessions (Emerald Springs) - [6]
Der Ceaser le du Puits (Amestria) - [6]
Daybreak (Ariddia) - [5]
Ghosts in the Slot Machine (McPsychoville) - [4]
Great Maraquean Civil Unrest (Maraque) - [3]
H1SR - First League, Here We Are (Rejistania) - [5]
I Know Why The River Cries (Aqua Anu) - [3]
Le Ciudad (Kelse) - [6]
Le Porc (Amestria) - [4]
Lyon Avenue (Kelse) - [8]
Man of the Hour (Allanea) - [2]
Sylvia (Ariddia) - [7]
The Band (Emerald Springs) - [1]
The End of The World Has Been Postponed (Zatarack) - [2]
The Prop (Bazalonia) - [3]
Tired (Vuam and Isma) - [8]
Yasashii Himura (Kanami) - [7]
You Say You Want A Revolution (Ariddia) - [2]

OOC: Today is the last day to submit a film eligible for participation at the NSFilm Awards.

And now live from Kelse, we'll be covering the MFFF (Montréal Foreign Film Festival), where we'll try to mingle with the crowds of Kelsians who are coming out of various cinemas.

So, with the midweek results having come out, we can see that Sylvia has taken the big jump, going from 6th most seen during the weekend, grossing a little over $7 million, to 1st, grossing a little over $14,5 million! Now, this is due to various facts, such as where the film has been shown et cetera, but I think it bubbles down to two main reasons why there was such a leap.

First of all, Kelse is well known for it's weekday cinema tradition, with whole families going to see a film, often with young children. But also, whilst weekend cinema-goers are more often adults, it's clear that you'll not go to see the same film if you're with your kids that are 7 and 11. This probably lead to a kind of dip in performances for more passionate, explicit and violent films, and to a rise in general public rated films. So, not only is the boost due to the fact that more people are going to the cinemas, but also more people are going to see G-rated films.

But for a film to be at the MFFF, it must be really something special, and not your regular kiddie flick. So we're here outside "Marketplace Red Ribbon", waiting for Sylvia to finish screening so we can get some reactions from the general public. Whilst we wait, I'll read a short summary of Sylvia.

Well, Sandra, played by Sophie Elan, Aurélien, played by Jacques Chênnier, Ul, played by Ewo Ut, and Jess, played by Sophie Tran, yes, I know that's a lot of names... Well, they're teenagers, and like all teenagers, they have their dreams, their fantasies, their wild ideas. But as they expose them, or rather, they are exposed to the viewer, the world that they are imagining becomes more and more part of reality. The ideals they have- Oh the doors are opening, let's ask the viewers what they thought!

Hello madam! I'm from Vuam and Isma, and I wanted to ask you what you thought of Sylvia?
"It was a good film. I'm a bit dissapointed because there were a lot of things that were in the book but that aren't in the film, but Jane Ash managed to get the essential of Keith Isaac's work in there, that was quite good."
You mean you didn't like Sylvia?
"Yes, I did. But when you expect a lot from a film, it's rare to be satisfied, even with a good film. The book is just so much deeper... It's a good film, but it's dwarfed by the book."
Ok, thank you madam! Ah, sir! May I ask you and your family what you thought of the film?
"Sylvia? I went because my daughter insisted on seeing it."
"Yea, it's just really great wicked film. It's, like, so beautiful!"
Ah, so you liked the film?
"Yea! It was really good. I just love Ewo Ut! He's so cu-Ut!"
And you, sir?
"Eh, I liked it. But I didn't like all the undertones it had. Just a bit heavy for a film that was advertised as something light and fantasy. But then again, it's better for a film to have meaning than to lack it... Even though I felt there was a bit too much..."
"Daad! It wasn't too much! It was really great! I really loved the whole middle part, it's really great. I'll be going back to see it for sure!"
Well, thank you for answering! A last person... Ah! Excuse me, may I ask you a few questions?
"Eeh... Ok."
Did you like Sylvia?
"Yea."
...Big yea or little yea?
"Big yea, definitely."
...Anything you want to say about the film? Anything you liked, anything you didn't?
"Uhh... Well... I liked the way that fantasy gradually invested reality, creating a stronger link between reality and imagination... It was a bit strange the way some things worked out, but then others were definately good, and payed off. The acting was ok, but nobody was really better than the other..."
...Well, thank you!

Ah... Well, it certainly was Ariddia's days in the light, as not only did Sylvia by Jane Ash hold the top spot in the public's heart, but Daybreak also broke free of 9th place in weekend entries, coming in 2nd in Monday to Wednesday entries. Now, Daybreak is focused on war's horrors, but seen though the eyes of two opponents soldiers. Trapped in no man's land, they are forced to be brothers in arms, both on opposing sides, and both vow to protect their companion through destiny should they return to their side. But as they hope to rejoin one of the fronts within days, it becomes more and more difficult to believe that they will ever reach the front alive, as the film concentrates on the effects of war, the causes being generally such that the heros cannot join the front, like bombings.

Probably not a film you'd take your children to. Or at least not little Jimmy! Last on the podium of the beginning of week entries : Le Ciudad. Only a last-minute entry from Kelse, it's a new name for a known an tried game : impossible love. You've guessed it, Le Ciudad is another view of impossible love, and manages to avoid most of the traps of other films of the genre, managing to ally pace, sentiments and deep meaning.

Well. This was Ewan O'Gregar from Montréal, Kelse, IDU for V&ITV!

"And here we are at the Montreal' Film Festival, a myriad of films to watch and a myriad of mid week Box Office results being hit." - Ed

"4 new films have been released into the MFF so let's go and give an overview about them." - Johanna

"The Band is a Emerald Springs film based on the high-school experiences of Sofia Kamrill, who is also the films director as she follows the school band through the year. It's highs, it lows and struggles against the greedy principle. And during the mid week Box Office has come out 17th in the list gaining 5.6 million." - Ed

"Confidental Confessions another film from Emerald Springs by Sofia Kamrill is a serious film where it follows a group therapy session of teens, who all have various issues. It was a very touching movie as the teens open up as they deal with various issues such as abusive boyfriends and AIDS. It is very emotional and deals effectively with the issues but I left the viewing wanting more from what I had seen. Confidential Confessions however did very well at the Box office with 11 dollars and 8th place." - Johanna

"The End of The World Has Been Postponed a statement about historical revisionism, a Zatarack film, set as an alien called "Aha" threatens to destroy the earth unless they can produce a video showing their history and why they should live. There is positive material but they end up being 2 1/2 hours short of the demanded length. It only gained 5 and a half million and languashed 18th out of 20 at the box office." - Ed

"Le Ciudad the 2nd of the host nations films at the MFF, a re-work of the classic Romeo & Juliet love story, but with a twist.. instead of two groups of equal stature Le Ciudad pits the slums of a fictional city of Carerra, with drugs and parties against the social elite. The Juliet of this story is from the slums of the city and meets up with the romeo while trying to 'score a hit'. She drags him to a party and it goes from there. Le Ciudad stole The Prop's thrid place with a 12,250,000 intake." - Johanna

"That brings us to The Prop, 11,670,000 came in to the box offfice for the film as the Kelsian tradition of weekday cinema watching flew into full effect only 3 days where counted. The Prop is placed 4th in the top 5 total-grossing films. This speaks volumes either about the popularily of comedy in Kelse, since there is no other Comedic film or the quality of the film." - Ed

"And today is the last day for entry into the NSFilm awards apart of the MFF. The excitement arounf Montreal is electric as all the merchandising and foreign film glitterati are out in force. Only one thing is going to be certain the 1st NSFilm awards is going to be great. That's all we have time for today. See you for the awards." - Johanna

"See you later." - Ed

Serge Mohamed (news presenter):... and now we go live to Montréal, Kelse, where Julie Lorge of PINA (http://ns.goobergunch.net/wiki/index.php/Public_International_News_Ariddia) has the latest on the Foreign Film Festival.

Julie Lorge: Yes, thank you, Serge! With a big surprise here in Montréal, since we have Ariddian films that have become hugely succesful! Just look at the figures, which should be coming up on your screen about now. Jane Ash's Sylvia is top of the box office at mid-week, with $14,786,000. It's totalled $22,135,000 so far, and it's received seven nominations. Which I don't think anyone was expecting, least of all Ash herself. Serge Feagiai's Daybreak is second, and in thirteenth in these rankings we have Jean-Bernard Gaspin's historical documentary You Say You Want A Revolution. Kelsians are massively attending the festival, they're watching Ariddian films, and it seems they're liking them.

Mohamed: Any idea why that is, Julie?

Lorge: Well, Sylvia is a film for the whole family, and there have been a lot of parents here taking their children to see it. It's one of the only films here made for children to enjoy, so that's probably part of its success. Plus, it's not just a film for children. We've seen teenagers and adults going to see it too. It's fantasy, it's moving, it's got a magic feel but at the same time it's more than just escapism. It can be watched on various different levels, really, and the public here seem to like that.

Mohamed: What about Daybreak?

Lorge: Well, its success is rather more unexpected. Of course, Daybreak, the novel, is often seen as the great masterpiece of Ariddian literature, so perhaps there are people here who'd read the book and wanted to see the film. Especially since Moeaki, the author of the book, actually praised the film and said it added a powerful extra layer to what he wanted to convey in his novel. Daybreak, of course, isn't really entertainment. It's a film, and it's fiction, but it's all about a very serious topic, it deals with it in a very moving, sometimes gut-wrenching way, and apparently the people who went to see it wanted just that. They wanted something that was going to be moving and thought-provoking. Something that, hopefully, was going to leave them deeply affected.

Mohamed: And does that explain, perhaps, why Kelsians, and people who have come to Montréal from elsewhere, are going to see You Say You Want A Revolution?

Lorge: Well, it's not attracted quite as many people, but it is ahead of some good films, which is surprising for a documentary. Many were thinking it may not have all that much appeal for non-Ariddians. I think perhaps some spectators wanted to be inspired by the events of our peaceful but radical transition to a Social Republic; many of the viewers may be communist sympathisers. Others may just have an interest in foreign history. This may sound silly, but there's also the language connection. Much of the film is in French, and that may have drawn in Kelsian viewers. Of course, maybe people just saw it as a good film, a documentary that's very well done, especially coming from a Third World country.

Mohamed: A word on the other films?

Lorge: Of course. The most successful film so far is Tired, which is a film by Anatol Ferré, from Vuam and Isma. It's a very short film, but it packs in a lot in terms of emotional involvment. It's all about appearance and reality, superficiality, cruelty and the way a lone individual deals with the pressures of society. At first you don't particularly sympathise with Stephy, the main character. Even though the actress who plays her, Agathe Weiler, is absolutely brilliant, in a very challenging role. At first you can tell yourself that this Stephy's problems are as superficial on the inside as on the outside, and she seems rather self-centred. She doesn't really seem aware that people around her may have far more serious problems. But then Weiler's performance really gets you involved. It's a plea for compassion, in a way, for understanding depression even in what may seem a superficial context. It turns out to be a very moving film. It appeals to the spectator's empathy for the main character, and it does it in a superb way.

Le Ciudad is fairly short too, and it's a Kelsian film, in French, by Jacques Alphand. It's a modernist re-telling of a classic Romea and Juliet tragic love story. What's most interesting, though, isn't the storyline itself but the setting, and the way it's developed. We see the difficult, often hopeless living conditions in Carrerra, the violence and social inequalities, the sense of futility in both life and death for those trapped in it.

One of the strangest films is from Amestria. It's by Catherine Becker and Jean Tourneur, and it's called Le Porc. It's actually an animated film, but it's not just for children. Its central topic is a rather vast one - the notion of humanity. The absurdist elements in the film make it even more difficult to deal with, which in a sense make it even more thought-provoking. This isn't a film that just gives you the answers, it makes you struggle to find your own, and it'll probably be met with great critical acclaim in Ariddia. The character Arielle is the embodiment of wanting to understanding things by herself, think for herself, and one can only hope she'll inspire spectators to do the same. There are a lot of interesting aspects. There's a critique of the breakdown in human relationships and solidarity. There's the relation between mankind and non-human animals, with the line obviously being blurred, even if it's in an absurdist way. There's the effect of war, a lone man's self-loathing and despair at the part he played in it. There's the character Henri's attempt to exclude himself from all forms of responsability within society. Perhaps the only weakness of the film is the rather too idyllic, perhaps simplistic depiction of bygone rural life, but that's really just a detail when you look at the rest. Le Porc raises a lot of interesting issues, and it does so in magnificient fashion. It takes a while for the suspension of disbelief to really set in, but once it does this is a masterpiece. Probably one of the best films at this festival.

Like You Say You Want a Revolution, Great Maraquean Civil Unrest is a historical documentary. It's not been all that succesful over here, but it's not a bad film. There's realism, obviously, which is what too many war films lack. This film shows the actual horror and suffering of individuals in a civil war. The downside is that it's sometimes a bit manichean. The main character, Gerald Thompson, is shown as some kind of hero leading his people to freedom, and it's never made clear exactly why so-called anarchists burned his house down. Their motivations and beliefs aren't really explored. It's not perfect, but it's still a good film for the most part.

Mohamed: Are there any films you found disappointing?

Lorge: We-elll... It's more of a matter of taste. Let's just say there are one or two films that might not be very successful in Ariddia. Bug on the Window is an action thriller, not much of a thought-provoking film, more pure entertainment... Plus, it casts environmentalists as violent "bad guys", and that's sure not to go down very well in Ariddia. Al Zahbi Fallen is a war film, but exactly the kind of war film that Daybreak[i] is not. It's about a small group of people fighting an entire army, and it's about trying to win, not about the consequences of the fighting on individual soldiers and civilians. It's too... black and white for my taste, and there's violence without empathy. What I'd call gratuitious violence. Pure action. The worst of this kind is [i]Man of the Hour. It's full of clichés. It's all about a single "hero" who takes on a bunch of blood-thirsty "communist" hostage-takers. A lot of very, very simplistic and silly anti-communist propaganda. It was so ridiculous, I laughed all the way through it. I got a few nasty looks in the cinema from people who were taking it seriously, but I can tell you I wasn't the only one laughing. Actually, I think a lot of people would find this film funny if it's ever shown in Ariddia. I've heard that some Ariddian universities want to use it for studies on anti-communist film propaganda. There'd be a lot to say about it.

Mohamed: So, a mixed bunch?

Lorge: Yes, but some very, very good films indeed. I haven't been able to tell you about them all, of course, but most are high quality, moving, thought-provoking, interesting, or all that and more at the same time.

Mohamed: Thank you, Julie. Keep us updated. Now, onto the weather...

Le Ardenne, English Addition
Reviews from the Montréal Foreign Film Festival: Man of the Hour, a truly painful two hour experience
By Roger Millet

Page 6

Montréal, Kelse- Since the start of the festival two films have been competing for the dubious honor of second to last in box officer earnings, the Great Maraquean Civil Unrest and Man of the Hour, the latter picture recently claiming that title. The Great Maraquean Civil Unrest was not a bad film, however it did poorly likely due to its length (299 minutes) and the fact it is a historical documentary concerning events that happened over 40 years ago. People tend to watch historical documentaries (particularly long ones) on television, at home, or at Universities, but that is the subject of a different review. Man of the Hour, on the other hand, is a very bad film, a film that would have been an unredeemable waste of this reviewer’s time if I had not been paid to see it by this publication. It has only managed the nomination for two awards, only beating out the god awful The Band, which has been nominated for one (in this critics opinion neither film deserves their respective nominations). Man of the Hour's premise is simple, evil terrorists take hostages and issue some demand, the hero then single-handedly kills the terrorists with the assistance of a small arsenal of firearms, and saves the hostages…that is literally all there is, there is really nothing else.

The films two main characters, Howard Jones (Lionel Sheen) and Lia Shao-Liu (Linda Rayes), both have the emotional depth of a turnip. They are little more then living breathing caricatures, Jones, the average virile gun touting macho hero, and Shao-Liu, the stereotypically sexual Asian damsel in distress who just stands around, looking scared and pretty. The audience is given no reason to care for either of them. The calm unemotional manner in which Jones blasts away the generic terrorists comes off less as personal bravery and more a complete sociopathic lack of empathy. While the main characters barely register there is little that separates the supporting cast from furniture. Mr. Jones students are pretty much carbon based props.

Which brings this critic to another of the films glaring flaws; it has an extremely weak antagonist. The Communist insurgents are all incompetent faceless stormtroopers (it is rather fitting that none of them have names, being referred to in the credits as Terrorist Leader, Terrorist Number 1, Terrorist Number 2, Est.). Their goal, take over a small school in Coalition occupied Southern Yazmarea, take the students hostage, and demand the allied forces, millions of troops, planes, tanks, and guns, leave the country in one hour…that’s right, one hour. What a great plan. The terrorists, frankly, are very stupid. It’s beyond this critic what they could ever have hoped to accomplish by taking people hostage at that school, it’s beyond this critic why they did not simply massacre everyone in the school; why go through an elaborate hostage taking that would accomplish nothing?! Of course the audience never learns anything about the insurgents, they merely stand around being imbecilic, obnoxious, and over the top violent. The Terrorist Leader is, of course, the most imbecilic, obnoxious, and over the top of them all (he is after all the one who came up with their group’s inane evil plan). Besides hostage taking, killing, and taunting Jones, the Terrorist Leader does little but shout Maoist slogans and platitudes that we have all heard somewhere before (looks like the writers bought Communism for Dummies and flipped through it while writing his dialogue).

Speaking of the dialogue, the writing is sub par at best, much of it consisting of stale one liners, Allanean pop cultural references, and thinly veiled Allanean propaganda. Although Director Moshe Kimhi claims on the festival submission forms that his film is merely an action movie, it might as well have been produced by the Allanean government. The film blatantly glamorizes libertarianism, Allanea’s (many would argue imperialistic) presence in Yazmarea, Allanean gun culture (what is it with that country and firearms?!), and preaches nonstop Allanean Exceptionalism. It’s easy to see why Montréal action fans forsaked this film in favor of Bug On The Window and the insanely long Al Zahbi Fallen part one, and why it has come in second to last in earnings; there is no humor, there is no wit, there are no interesting ideas presented, just painful platitudes…the movie is terribly terribly shallow!

The costumes and scenery is all exceptionally cheap and unremarkable. The school is merely some drab random place where bad things just happen; it has no character or identity of its own… It is a world created entirely for Lionel Sheen so he can shoot up things and kill people, nothing more. Those who watch this movie for splendiferous explosions, martial arts, or cutting edge computer graphics will be disappointed, as it is fairly minimalist, the action focused mainly on gunplay.

The film is in essence an extremely tedious and boring by the motions action cliché. The fact someone or some group thought this film worthy of competition in Montréal’s Foreign Film Festival shows a great deal about the state of Allanean cinema and its peoples taste in film.

Man of the Hour, not coming to a theater near you, for good reason.

"And we're back with more coverage of the Montreal Film Festival, let's go to Ryan and Jenna."

Jenna: "Thanks, I'm with Ryan, and we are checking out the festival, as it gains momentum. Now there have been some changes since our last report, our own Film "Yasashii Himura" Has been bumped to #9, under "Confidental Confessions" from Emerald Springs.

Ryan: "Sofia Kamrill has two films, which in an instant jumpped the charts. Well at least one did."

(OOC: Done with E.S.'s permission)

Jenna: We caught up with Sofia and caught this interview.

Ryan: (To Kamrill) "So, Sofia, may I call you Sofia?"

She nods

Ryan: You have two films, one nominated for 6 awards, the other for just one."

Sofia: "Right"

Ryan: So please tell us about Confidental Confession, your ultimate triumph at this festival."

Sofia: "The screenplay came to me by a friend. The Screenplay is written by Charlie Dumas, and Anna Pasquin, based on the book from Dr. Kasey Peterson.
My friend put this screenplay on my desk, for me to read, and it was so powerful, so moving, these are teenagers with some of the worst problems, and they all opend up one by one to confess it. That showed a great amount of trust in the characters. Now I asked Dr. Peterson, she told me the characters are ficitious, but the problems are from real pateints she and her colleagues have had in the past. Just very moving, and it was a great pleasure to make this film."

Ryan: Your other film "The Band" Was a flop. One Nomination, not even in the top 20 of the box office."

Sofia: I don't know why. I made this film after I did "Confidental Confessions" I wanted to make a lighter film, and I went back to my music history. Now much more of that story is fiction than fact. My school was very supportive of the music program, I just put in the greedy principal to add to the drama.
It was a block buster in E.S. not everyone will react the same way. I know my freinds will be upset but oh well. I'm sad it wasn't well recived, I loved that story, and I loved making it."

Ryan: "I personally enjoyed it."

Sofia: "Thank you."

Ryan: So what about that film comes from your life, and what is dramtic effect of writing?"

Sofia: "A lot of the characters personalites, are what the people I knew we're like. Jokes like Mt. Dew chugs, parties, Star Wars refrences, that was stuff we all did. And our teacher, was a real drill sargent. He pushed us, but we became better. We went from one of the bottom music groups to the top, with his pushing. So that was very real. As I mentiond my school was very supportive of the music program. That's E.S. Nature, I added the Principal as an antagonist character."

Ryan: "The main character is a trombone player. Did you play that?"

Sofia: "Yes I did. I loved it, and I still play it."

Ryan: "Did you do any of the trombone playing for this film?"

Sofia: "Only partially. I personally picked kids with music background. Now Maria, she was actually a pianist, and I taught her the trombone. She was the girl for the part, I didn't care about spending some time with her to teach her that."

Ryan: "Do you think this film will win anything?"

Sofia: "Doubt it, it's a complete flop in here. I think Confidental Confessions will be my strong runner. I hope and wish people could see 'The Bad' as a good film just as much as the dealings with teenage problems. I'm proud of both my films, proud the Motion Pictures Society of E.S. chose thoes to be submited."

Ryan: "Thank you Sofia, it's been a pleasure talking to you."

Sofia: "My pleasure as well."

"Hello everyone I'm Amy Adamson, I'm here live at the Montreal Film Festival. E.S. Has entered this competition, a little late, but we are doing fairly well. You know E.S. has a great deal of Movie Makers, and the M.P.S. has had to chose just a few. They chose the most prolific woman director in this nation. Sofia Kamrill. They chose two of her best films and submitted them. Confedntal Confessions Her moody and dark drama about teens dealing with the harsh curveballs of life, has been nominated for 6 awards. On the other hand, her other The Band is a flop with only one award. Suprising seeing as it's a favorite amongst the Queen and King, and Princess Mia."

Sofia: Well not everyone will take a film the same way. What could be a critical hit here, could be a disaster elsewhere. Or vice versa, and even vice versa that what could be a hit, could be a complete smash elsewhere. So popular it could stay up the charts for years.

"That was her statment to the few nominations for The Band But she isn't down, don't forget she still is runing high for Confedental. Reaction at home has been mixed."

"I think Sofia has a lot to be proud of, a very sucessful film, Confedental Confessions was very good, and so was the Band."-Ed Waters

"It seems to me more people are intrested in a violent picuture, than a heartwarming drama. Both Confidental and The Band Deserve a little more." -Rana Malcolm

"I don't know it just seems the sort of typical films have more nominations than the lease typical" Film Buff-Alex Stewart

"M.P.S. President says he knows little of how Montreal judges their films."

"Everyone is diffrent. Kamrill said it her self, everyone will take a film diffrently. Some might like giant war movies over character drama's any day."


Sofia: I'm very proud of both my films. I'm excited to see them both get nominated and I hope one or the other wins.


"Therapists agree Confedental Confessions is as real as it gets. Soifa's powerful direction, the music score, screenplay, and cinematography."

Lacey:

I mean I know he loves me, but sometimes..."

Sophie:

"But when he gets violent you are unsure."

Lacey:

"I must be doing something wrong, why would he hurt me if I wasn't? He loves me...Doesn't he?"


"Powerful indeed. Confidental Confessions is accalimed amongst some of the other nominees. Including Director Alex Thorton."

Alex: "I've never seen a film so powerful, so moving that was about teens. I mostly see this attitude: Oh All teens are worried about their looks, first crushes. They never dive deeper into the serious issues, but Sofia, had the courage to break away from modern interpritation of teenagers, and show the dark side of life. Come time for the Kanami Film Awards, she's going to be a big player."

Amy: "What do you think about her other film?"

Alex: "The Band? I personally liked it. It was a fun and touching movie at the same time. It was a bit of a flop here, hey that was what I was expecting with my film. Sofia is a wonderful woman, I hope she can make her country proud with taking home something. I know Confedental Confessions will be the bigger player for her."


"And that's all for now. From Monteal I'm Amy Adamson, E.S. Time News."

Entertainment Montréal! Festival Update

End of Week Festival Box Office
1 - The Prop - $16,621,000
2 - Tired - $16,232,000
3 - Sylvia - $15,521,000
4 - H1SR - Fire Leage, Here We Are - $15,346,000
5 - Confidential Confessions - $15,079,000
6 - I Know Why The River Cries - $14,921,000
7 - Lyon Avenue - $14,500,000
8 - Le Porc - $14,421,000
9 - Daybreak - $14,000,000
10 - Le Ciudad - $13,895,000
--------------------------------------------------
11 - Ghosts In The Slot Machine - $13,562,00
12 - Yasashii Kimura - $12,543,000
13 - Bug On The window - $12,292,000
14 - Der Caeser le du Puits - $11,763,000
15 - You Say You Want A Revolution - $9,867,000
--------------------------------------------------
16 - Al Zahbi Fallen - $7,300,000
17 - The Band - $6,456,000
18 - The End of the World Has Been Postponed - $5,000,000
19 - Great Maraquean Civil Unrest - $570,000
20 - Man of the Hour - $0 [Pulled]

Total Top Grossing Films
1 - Tired - $40,119,000
2 - Sylvia - $37,656,000
3 - The Prop - $37,183,000
4 - Le Poc - $35,859,000
5 - H1SR - First League, Here We Are - 34,846,000

*Figures from Thursday and Friday only. Festival Box Offices figures only from affiliated festival cinemas within Montréal. Average Single Ticket - $8.75.
-------------------------------------------------------------------------------------------
Hello everyone!I am Andrea Billet, and I am live from Montréal with Entertainment Montréal! at the first annual NSFilm Awards!

The Montréal Opera House shimmered on the harbour as the city lights behind it gave those watching a sense of awe. The camera zoomed into the entrance of the Opera House as reporter Andrea Billet stood with a microphone next to a very glamorous red carpet. I'm here at the red carpet as hundreds of stars from around the globe are arriving for the awards ceremony, hosted by none other than Dirk Thuram! The crowd of Kelsians screamed as they stood on the sides as the various nominees began to approach....

OOC: Billet is a generic entertainment reporter, like those on Entertainment Tonight or the E! Network. As your role-played film cast and crew and also foreign dignitaries make their entrance - you are given permission to use her at your discretion.

"I'm Arthur Morrison here from the Montreal Film Festival, where many countries, including us are nominated for achivments in film. Aqua Anu's famous I Know Why the River Cries has now jumped to #6 on the charts and has 3 nominations. Let's take a breif sceen from it


Lily:

The canals are flooding out, they've told us to leave.

Richard:

This is the worst storm we've ever seen

Robyn:

We are not leaving. This nation has tough flood walls, we'll be all right. The Queen can run if she desires, but we are staying.

[Water Rushes into the tiny appartment, Lilly and Jacob huddle together on the top of a dresser drawer]

Lilly:

Jacob, are we going to die?

Jacob:

No, I won't let you die, Lilly. You will survive this flood.

Lilly: [in a melodic voice]

The river is crying, why does it cry? I know why the River Cries. It cries, of sadness, mist and shadows, it cries through the shadows of the storm.

[Jacob kisses her]

Jacob:

I love it when you sing. You will sing forever.

[He ties a rope to her]

Lilly:

What are you doing?

Jacob:

This is your only chance. I love you Lilly.

[he pushes her out an open window, down into the flood waters. A boat pulls her to safty, but the apartment is swept away]



"And that is from the final half-hour of the film, the most powerful sceen.

Now let's take a look at the current box office records


1 - The Prop - $16,621,000
2 - Tired - $16,232,000
3 - Sylvia - $15,521,000
4 - H1SR - Fire Leage, Here We Are - $15,346,000
5 - Confidential Confessions - $15,079,000
6 - I Know Why The River Cries - $14,921,000
7 - Lyon Avenue - $14,500,000
8 - Le Porc - $14,421,000
9 - Daybreak - $14,000,000
10 - Le Ciudad - $13,895,000
--------------------------------------------------
11 - Ghosts In The Slot Machine - $13,562,00
12 - Yasashii Himura - $12,543,000
13 - Bug On The window - $12,292,000
14 - Der Caeser le du Puits - $11,763,000
15 - You Say You Want A Revolution - $9,867,000
--------------------------------------------------
16 - Al Zahbi Fallen - $7,300,000
17 - The Band - $6,456,000
18 - The End of the World Has Been Postponed - $5,000,000
19 - Great Maraquean Civil Unrest - $570,000
20 - Man of the Hour - $0 [Pulled]


And that is the current end of week results. In 1st The Prop With us at 6, and Man of the hour has been pulled after ranking in no gross, and little crtical sucess. Tired are expected to be the heavy player in this cerimoney tonight, with 8 nominations and a long held untill recently top box office gross. We are looking forward and we will be broadcasting this live."

"And here we are once again at the Montreal Film Festival. In just a few hours time the NSFilm awards will start and the Bazalonian film The Prop while only nominated for a total of 4 awards, Best Comedy, Best Visual Effects, Best Original Screenplay and Best Supporting Actor it looks set to have a clean sweep, if the Box Office numbers are anything to go by." - Johanna

"With the Thursday and Friday Box office numbers released The Prop stood proud and took the highest gross from the box office over these 2 days with an impressive 16,621,000 in takings. Being number 1 for the first time for the festival." - Ed

"Not only that but The Prop has retaken spot number three and is now is the 3rd highest grossing film for the week long festival. We've got the director of The Prop here with us Andrew Trendwood. Andrew what do you think of the Box office takings?" - Johanna

"Johanna, I have to say I'm totally blown away by the Box office takings. We produced this film as for a Bazalonian audience and when it was submitted as an entrant by the studio to the NSFilm awards. I was worreid that tyhe humour would loose something in an international market. But it hadn't..." - Andrew

"So who else is here in terms of cast to represent The Prop at the NS Film Awards?" - Ed

"Wolfgang Omozer and Reginald Santini are both here, our producer Jacqueline Shnats as well as the person responsible for the script Robert Gooble and a representative from SciFX, the firm that looked after our special effects." - Andrew

"How do you think The Prop will do at the awards ceremony?" - Johanna

"I have no idea, we have been only nominated for a small amount of Awards but I think we have a really good chance.That being said I have no idea and we can only really be cautiously optimistic about tonight."

"Thank you, Andrew. We'll bring you live coverage of the NSFilm awards, which will start in only a couple of Hours... You better go and get yourself ready Andrew. See you after the awards." - Ed

"Thank you..."

................................

On the Red Carpet the cast of The Prop arrived wearing dinner suits and bow ties for the men or extremely elegant and beutiful dresses for the ladies... also accomandied by the Minister for the Arts, Petra Fontanne.

Andrea Billet was there and asked the cast and crew a couple of questions... commented on their clothes and then it was the Minister's turn.

"Minister, what do you think of this film and what will you reckon it will do for the Bazalonian film industry?"

"I think the film was great it's been a while since I have been to a comedy film that I actually could not stop laughing. As for the Bazalonian film industry it can only be good for it. This film shows the quality of scripting, acting and technical expertise that we have available and all I can say is expect more Bazalonian films at the next Montreal Film Festival."

The cast and crew of 'Bug On The Window' arrived at the award ceremony. They stepped out of the cars. As soon as they stepped out the roar of the crowd almost deafened them. The media of the world was here and so were thousands of fans. The ast proceeded to talk to the media. Tim Gilmore was called to by many of the journalists but first he went to Andrea Billet.

"And here we have Tim Gilmore director of Bug on the Window. So how are you Tim"

"I'm very well thank you and yourself?"

"I'm great. So Tim what do you think of the film festival?"

"I love it. It's so big and it showcases some of the biggest films from around the world. It gives all of us here to see how the film industry operates in other nations and allows us to appreciate all the differences."

"It really does. You're film Bug On The window was received generally well by Kelse but has come under few criticisms. One criticism is that you portray environmentalists as bad guys. What do you have to say to that?"

"What I say is yes these guys were portrayed as bad guys but it is condemning the actions that some groups take to acheive their aims. I myself am an environmentalist. I believe in saving the environment but I wanted to highlight how some groups were causing more damage than helping to solve the problem. And if you see at the end the main character, Harry, realizes what he must do."

"I must say I did enjoy the film. But what films have you enjoyed at this festival?"

"I did enjoy Confidential Confessions and Tired. Both excellent films in my eyes and I can see how they did so well in the box office."

"Well thank you Tim for this interview and I wish you luck at the film festival."

"Thank you."

"

Hello, I'm Julie Lorge, of Public International News Ariddia, and I'm live outside the Montréal Opera House, where we've seen a lot of film celebrities arrive over the past... quarter of an hour or so now. We've just seen the cast and crew of Bug on the Window enter the building, and there's a car approaching, it's going to pull up... While we wait to see who it is, just a reminder to tell you that Sylvia, Jane Ash's adaptation of the book by Keith Isaac, is still drawing in a lot of viewers, and it's been the second most successful film here in terms of viewers so far. It's just behind Tired, a very good film I was telling you about last time, and just ahead of The Prop. Now that's a comedy film from Bazalonia, and if we have time later I'll tell you all about it. Also, Man of the Hour has apparently been withdrawn; we're not too sure why, but for now, yes...

Yes, that's Serge Feagiai, director of the Ariddian film Daybreak, who's just got out of the car! With them are several other people; I'm trying to see who they are... There are cameras flashing, as you can see, and where I am I can't quite make out... I'm going to try and get closer and talk to them. Excuse me, sir... Madam... Thank you. I'm getting closer, and that's definitely Xavier Dubord, one of the main actors, as you know. And that's Mdudzi Nsi Akoue, another of the main actors. There are other people, but I can't see, and... Dubord and Akoue are both smiling. We Ariddians, of course aren't really used to all this luxury... Feagiai has just finished talking to Andrea Billet, a Kelsian reporter, and now she's talking to Akoue. I'm going to see if I can... Excuse me, Comrade Feagiai! A word for PINA? Thank you!

Lorge: I'm Julie Lorge, of PINA. Daybreak has just hit $14,000,000 at the box office; that's about three trillion ariddian credits. It's received critical acclaim, and it's been nominated for five awards. How does this make you feel?

Feagiai: I'm glad people have watched it. I'm glad they liked it, and I hope it gave them something to think about. If they leave the cinama and Daybreak stays in their mind, and they talk about it among themselves, then we'll have done something worthwhile.

Lorge: You know Abel Moeaki has praised your adaptation of his novel?

Feagiai: I have tremendous respect for Comrade Moeaki. I could never hope to equal his talent, but I wanted to show his genius in a new medium, bring his great novel to the screen and help new people experience it. I'd encourage all those who've liked the film to read the book. It's a lot, lot richer than what I've managed to do.

Lorge: Moeaki says the opposite. He says you've rendered the essence of the book and added to it, made it more powerful.

Feagiai: Then that's great. But that shouldn't stop people from reading the book!

Lorge: Thanks for talking to us. And good luck!

Feagiai: Thank you, Comrade.

The cast and crew, along with the Executive Cabinate of the country arrived, dressed in their best.

Andrea Bilet: "We've been talking with a few, oh you know I see Alex Thorton, the director of "Yasashii Himura" a film locked in time, about Kanami's founder, Hello Alex, how are you?"

Alex Throton: "I'm very well, excited to be here tonight."

Bilet: "You are up for several nominations tonight, you've already won 14 awards back home, do you think you will be well recived tonight?"

Thorton: "I don't know. I mean I this may be very diffrent from the Academy Back Home, so we'll have to see."

Bilet: "Prime Minister Romeny, you are just as exicted, this film is a decade before you're time, but this is your favortie."

Elenore Romeny: "Yes it is, I mean it's the story of our nation's hero, she founded our wonderful nation, I'm the second youngest Prime Minister, beaten by her obviously, but she was a very brave and wonderful teenager, I think the film is wonderful, shows our country at it's finest, and our countries finest woman at her best."

Bilet: "The film was wonderful, what other films have you loved here tonight?"

Romeny "Confedental Confessions, that one hit real close to home, losing my siblings to drug abuse, I thought this film brought into light the dangers of addiction, and the hard road of recovery. Another I almost hated but turned out liking was Bug on the Window At first I thought it was a film made by the far left, potrayed enviromentalists as evil people, but then I realized, the film is pro enviroment, it's just expressing the evils of eco-terrorism, and that was a noble thing to show, I don't support eco terror."

Bilet: "And we have leading lady Yuki Akira, you play Yasashii Himura, or at least you did when you we're 12, what was that like?"

Yuki Akira: "Amazing, it was my first acting carer, I'm now pushing 50, but I still rember playing that. Yasashii, is a woman I've always admired, and I loved to play this role of her, her young self, then I was of course replaced by the late Andrea Mayers, who played her into her adult years. It's a shame she is passed on, I think she was a great actress."

Bilet: "And what a wonderful job you both did. It was a fantastic movie, good luck to you."

Thorton: "Thank you."

Bilet: Well I'll see if I can catch a few more stars and cast members from other films nominated."

Arriving with her family, Sofia walked the red carpent into the house.

Andrea Bilet: "And it looks like I've just found Sofia Kamrill, another nominated director tonight, she's also a writer and producer for many of her other films back home. Sofia welcome, so what do you think of our festival?"

Sofia: "Oh it's great, I'm loving it."

Andrea: "You have two films nominated tonight, Confedental Confessions and The Band are you excited?"

Sofia: "Very, but I am suprised the Band wasn't well recived. I mean it wasn't a heavy satire drama like Confednetal but I thought it was a good movie. But hey I'm the writer and director, so yeah I like it."

Andrea: "Who's your company?"

Sofia: "This is my father Jediaiah, my mother Lindsey, my little sister Brooke."

They all greeted the camera.

Andrea: "So, Mr. Kamrill, when your daughter said I want to make movies we're you suprised?"

Jed: "I was taken back, one we are Catholics, so not the most aspiring industy to chose, another is she was so bad at math, I never thought she would make her math credits in college, but she did. Passed all her generals, and now she's the most sucessful woman film maker in the country."

Andrea: "Well you must be very proud of her."

Jed: "We are we are."

Andrea: "Do you like all her films?"

Jed: "There are some I won't see."

Sofia: "Well part of being a film maker is, appeal to general audiences, don't always worry about what your family will think, create sort of a vacume. That was what we were taught."

Andrea: "So besides the obvious questions, what have you been frequently asked?"

Sofia: "What's favorite movie? or Why is this film so dark? Why did you make a movie about serious issues, teens don't want to see serious issues, they want simplicity And that I hate, because that is just stupid."
And I've also been asked Why does your movie suck so bad? mostly about The Band and I've just wanted to punch out a few people."

Andrea: "Some peoples children I'll tell you. So you've meet some other directors you've seen other films here, what's your favorite film here?"

Sofia: "Uh I have two, one is Daybreak it's very powerful, another was I Know Why the River Cries that was sad, moving and sweet. I think it should have a few more nominations than two, I swear people are losing taste for romance drama."

Andrea: "Maybe, also here you have your freind and partner, Jim Brinkmann, who writes the music scores to your films, he has a nomination tonight, how are you Jim?"

Jim: "Great thank you."

Andrea: So what can you tell us about both films?"

Jim: "Writing the score to Confednetal Confessions was challenging, because there are so many characters, and Sofia is picky about music scores. Most drama's have very small music arrangments, but Sofia doesn't like that, she likes big orchestra's big music, so that was what I had to make sure I'd do. Now The Band was intresting, because I'm also in that film as my self, in a fictional world. That was just intresting, to write the score for my sceens, I don't have a theme because I don't come in till later as the one who finally exposes the Principal, and saves the group, because Melody seeks me out."

Andrea: "You always right for Sofia's films, are these your favorites?"

Jim: "Hmm, I like all my scores, but these two aren't my paticular favorites."

Andrea: "You have others I'm sure. And condradulations on your nomination."

Jim: "Thank you."

Andrea: "Director of Photography Rick Williams, And Editor Mark Issac, you two are nominated tonight as well for Confidental

Rick: "Really, we had no idea."

Sofia: Many of us only can guess what we are nominated for, no list has been printed.

Mark: "Who knew?"

Andrea: "Well Rick tell us about what you did on both films."

Rick: "I am the Cinematographer, I'm incharge of Camera motion's poistions, I write the shooting script with Sofia, and then I point and shoot, that's my job in general. Now these films we're intresting and challenging, yes from her I've had harder work, but these we're a challange to pull off, because I'm doing a lot of cuts, pans, close ups, off-screens, on and on. The opening sceen as they all gather in therapy, I shot thoes all one-by-one, each car arriving, when most directors would shoot all at once. And when they are all in a group, I did slow circles with the Dolly Cameras, to show each and everyone of these people. And when they recount of their stories, I had to shoot some very disturbing sceens. Like when Lacey is getting beat up by her boyfriend, which happens periodically in relfection and in real time. Or even when Mary slits her wrists, in the bath-tub I couldn't do camera tricks, that had to be shown, I mean the actress is using a dull knife that is rigged to shoot out red liqued, but that was so real. Now the band, was also difficult, becuase there is a group scrunched togehter when playing, you want to show them, but you have no space to move, or weave with steady cams and dolly cams. Plus areial shots, we can't always get a crane to stick in, and sweep the stage, so we use some industrial tricks."

Andrea: "Very intresting, the cameramen not always what you see. Mark, what about you?"

Mark: "I hated Confedental (Both laugh) because when Sofia handed it to me, they were all jumbled up, and I had to decide how to arrange them. Some times we had to cut things because they we're too graphic, and Sofia would jump on me for cutting sceen 163, or 61, and so on, and I would have to explain, because of rating reasons, I'll have to cut that. We wanted no higher than a Restricted Rating in E.S. because we wanted teens to see this, we wanted to show them, therapy has it's befites, and teens are facing the problems you are facing. So I had to cut liberally and conservativley. The Band was easier, because I didn't have to worry about placement much. I could also add easy transitions, and cuts, and merge as needed."

Andrea: "And you did a fine job putting it all together, smoothly, now I also have here Maria Ayers, who plays Sophie Myers, the lead girl in Confedental So what is your chacter?"

Maria: "My character is dealing with neglect. I'm very insecure and lonely, and suicidal at times. But I'm also the most helpful next to the doctor. I'm not a perfect character, but I'm very helpful to the others. I really loved making this movie, I actually have a younger brother who is bipolar, and it's challanging for him, but I love him dearly, I do have a few freinds who are gay/lesbian, or have AIDS, I couldn't turn down this role."

Andrea: You have a few close calls in this movie. I still rember the sceen when you try to commite suicide, and your freinds are helping you."

Maria: "Yes, you see I break down, and do very dangerous things, I try to kill my self, and rember I'm the most supportive in the group besides the doctor."

Sofia: "If I may interject, I thought it was important not to make Sophie a perfect girl who was healing perfectly, which is why I insisted on the last attempte to kill her self. "

Maria: "Right."

Andrea: "Fantastic job, and you Marie Lillis, you play Lacey Garber, describe your condition."

Marie: "Lacey is put in for alleged self-abuse, by her doctor, but in reality, her boyfriend is the one beating her. She confesses that, but she's in denial. And there are points when I am shown getting beat by him. Now I do have a boyfreind in real life, but he is a sweet-heart, I love the heck out of him, he's very kind, nothing like my boyfreind in this movie. Now Jason Sheilds who plays my boy-freind, he is totaly opposite this role. He's very calm, very collected. My boyfreind in this is ill-tempered, and impatent, and aggressive. Not him at all. He's also a sweetheart."

Andrea: "Well the best of luck to you Sofia, and your family, I'm sure you are making your freinds, family, and colleagues back home, very proud. Good luck to you Jim, and the rest of the crew with you."

Andrea Bilet: "And I'm here with the cast and crew of "I Know Why The River Cries. Director Ivan Peterson, thanks for being here tonight"

Ivan: "It's my pleasure."

Andrea: "So your film really is all about love, amist a great disaster."

Ivan: "Well yeah, I think Romance and Disaster work well together, it makes you feel for the people more."

Andrea: "And this story is based on true events, is it the whole story?"

Ivan: "Indeed it is. The story comes from a series of articles published by Alexandra Calvert, who is the grand daughter of Lilly Evansen-Calvert, and she told stories about her grandmothers experience of the worst flood in history, in Time Aquatica Magazine. Eventually they got picked up by screenwriter Thomas Alvert, he presented the screenplay to me, and we went from there."

Andrea: "Emma Robets, you play Lilly, how did you prepare for this role?"

Emma: "Well I had to go through stunt traning, because of the water stunts, it's about two weeks traning. Then I visted Alexandra Calvert, and learned all about the real, Lilly Evansen."

Andrea: "And you have an actress nomination tonight, are you exicted?"

Emma: "Very. A little nervous I must admit, but very excited."

Andrea: "Well I wouldn't worry too much. Now Producer Kathy Tanner, you are here, but you don't have any nominations tonight, this film only has 3, what do you think."

Kathy: "Honestly I feel a little short changed, I think we made an excellent movie here. But it's not up to me."

Andrea: "What is your favorite film here?"

Ivan: "Uh Ghost in the Slot Machine that was excellent. I had a freind that dealt with all thoes same problems."

Emma: "I personally liked Lyon Avenue."

Andrea: "All great films, well good luck to all of you, have a nice night."

Directors Catherine Becker and Jean Tourneur arrived at the awards ceremony by taxi. Behind them followed several of their fellow artists who had worked with them on Le Porc. Tourneur was 37 and dressed in a louse casual tie-less suit. He had typical North Amestrian black hair and, atypically, a light beard. Becker was 35 with short black hair and a cute face. She was dressed in a lovely and comfortable little black dress with kitten heels.

Entertainment Reporter Andrea Billet stepped forward and began to interview the two of them.

“How do you feel about Le Porc being nominated for Best Film, Best Director, Best Original Screenplay, Best Breakthrough Film, and its success at the Montréal box office, coming in among the five top grossing films?” Ms. Billet asked.

Tourneur spoke first. He had a heavy Amestrian accent.

“We are understandably delighted az ze positive reaction zo Le Porc by critics and ze Montréal zheater going public. We are zhrilled az iz’s success. Of course we expecz Zired (Tired) zo zake besz picture, given ze overwhelmingly positive response by critics and ze zheater going public, although (smiling) we are none ze-less hoping for an upsez.”

Catherine spoke next, in perfect English. “We are really hoping for Best Director and Best Original Screenplay.”

“Did both of you see Tired?”

Both answered with an affirmative.

“What did you both think of it?”

Jean shrugged noncommittally. “Iz was a good film.”

“Yes it was well done, but I didn’t like it,” Catherine remarked.

“Why?”

“The feeling one gets from watching it is an ever present sadness, everything leaves one depressed. There is so much desolation, so much hopelessness. It is, in my opinion, a very nihilistic film.”

“Why did your film, Le Porc, take so long to make, more then three years?”

We drew every scene in Le Porc by hand, choosing noz zo streamline ze production by using computers zo generate ze arz, so as zo place as much hand drawn detail as possible in zo each frame. We also had zo zake shorz breaks zo work on other projeczs, such as some brief work on a friend’s animation shorz, guesz artwork on selecz webcomics, and several pictorial anthology magazine* shorz stories.”

(*OOC: Comics)

“And,” Catherine added, “in addition to the drawings we also wrote the story and dialogue, just the two of us, unlike the animation. With the animation we had the assistance of a staff and help from our friends in the Ardenne artistic community.”

“During ze zhird year,” continued Tourneur, “ze distanz fighting in ze BC region of Zorontia intruded upon us. I had zo zake a leave of absence zo help zake care of a friend, a soldier who had served in whaz zhey are now calling ze BC Suppression Campaign, returned home, suffered a breakdown, and zried zo kill himself. Ze production of course continued withouz me, buz iz slowed, and many parzs could noz be finished. He had been stationed in Vancouver, were ze insurgenzs released ze bio-weapon. Zo prevenz further spread of ze disease, which was as contagious as ze flu and had a ninety-seven percenz lethality rate, ze Provisional Governmenz and ze Military ordered zwenty-four hour curfews and a lethal quarantine. Anyone attempting zo break quarantine was shoz and zheir body burned. You can jusz imagine how much zhaz effected him… He never zold me anything abouz his experiences, but ze way he spoke, ze way he carried himself, ze remarks and commenzs he made abouz his perspective of ze world, zhey were really powerful. I zook, zhaz impression, whaz he had said, and upon returning zo work I puz iz all in zo ze character of Henri. New dialogue had zo be written, new scenes drawn, old scenes altered, iz was all very zime consuming and sez zhings back, buz ze character of Henri was made much stronger.”

(OOC: By Zorontia he means Torontia)

“Your film was thus anti-war-”

“Iz could be interpreted zhaz way. I am somewhaz critical of Amestria’s involvemenz in Zorontia and I wanted zo give voice zo whaz I perceived as ze pain of ze returning veterans and ze difficulties zhey were encountering, I feel zhaz Amestria’s governmenz and ze Amestrian people neglected zhem. Iz was very zraumatic whaz happened in BC, zhree ouz of five non-combaz deaths were suicides, yez few zalk abouz iz.”

“What was the Governments reaction?”

“Many, particularly zhose in charge of Zorontian policy and ze Military leadership, did noz, needless zo say, like iz. I should however mention zhaz withouz ze granzs and film subsidies provided by ze Ministry of Culture zhis film would never have been made, I believe zhaz says a greaz deal abouz Amestria.”

“How is your friend?”

“He is now fine, recovering, reengaging, and zrying zo enjoy life. I visiz him regularly. Looks like iz will be a happy ending for him.”

Tourneur smiled.

“Actually, he continued thoughtfully, “I would say Catherine worked longer on Le Porc zhen me, far more zhen zhree years…”

Catherine nodded in agreement.

“Making an animated film such as this has long been a dream of mine.” Ms. Becker explained with a rich smile. “I was making sketches and writing out ideas as far back as my amateur days. Of course (laughing), the film looks almost nothing like what I conceived then, you should see my early sketch pads and outlines. I would get an idea and then make a sketch or jot down a very detailed note. While we were taking a break after finishing the animated film Château de Verre Cassé* I showed him my notes and sketch books-“

(*OOC: Castle of Broken Glass)

“Which were all quite disorganized,” commented Jean.

“Yes,” Catherine admitted, laughing, “they were all extremely disorganized. But he looked them all over and after he was done I asked him if he was interested, and the rest is history.”

“The much acclaimed character of Arielle, which of you created the girl and what inspired her creation?”

Catherine raised her hand.

“She was entirely my character and she is based off my experiences as a child. Members of my family own a wonderful little farm in the Northwestern countryside and when I was young I would spend my summers there. I would stay out for hours, exploring the surrounding forests. The various fairies that come and visit Arielle’s window at night were modeled using as a template the drawings I made as a child. I had quite an imagination when I was young, something that has only expanded as I have grown older.”

“And Arielle’s studying of Núháquënwaëv and other paganistic belief systems?”

“As a child I was fascinated by the various stories and pagan mythologies of the pre-Christian era. I would often ask my parents to read me various mythological stories, be they Amestrian, Greek, Xirniumite… My father was also a collector. A lot of Arielle’s character and experiences comes from how I and my friends grew up.”

“There is something many critics and viewers of Le Porc have expressed curiosity over, throughout the film there are instances where decimal clocks are shown and decimal time referred to, in addition both Henri and Colonel Javert make references to two separate calendars, but nothing is clarified. What is all that about?”

Tourneur decided to answer.

“Sometime after Führer Bradley zook power in ze coup againsz ze Firsz Republic he decreed a new calendar of his design be adopted by ze Governmenz, whaz is now called ze Bradlian Calendar. Iz was parz of his very successful attempzs zo leave a laszing presence upon Amestria, in adopzing a new calendar he would be resetting ze clock zo zero, ze firsz year being ze one in which he crowned himself King. Although successfully adopted by ze Governmenz offices by fiaz, ze calendar never caughz on with ze public despite a concerted Governmenz efforz zo convince zhem zo abandon ze Gregorian Calendar (which is why many cities and zowns zhroughouz Amestria have clock zowers with decimal clocks rather zhen standard clocks). During zhaz zime ze State and ze public were using zwo separate calendars, although everyone managed zo make due. Ze character of Colonel Javert, as a proper State Official and loyal supporter of ze Bradlian regime, always refers zo decimal zime and uses ze Bradlian Calendar. Ze Gregorian Calendar was readopted after ze death of Führer Bradley; buz ze Bradlian Calendar was never discarded az ze insistence of ze Military, which is why zo zhis day ze Amestrian State has zwo calendars.”

“What are your plans for the immediate future? What’s your next project?”

Catherine answered that question.

“We plan on taking a short break and working on a free webcomic, something we have wanted to do for some time, it’s called Larmes de Boue? Larmes de Joie?, which in English means Tears of Mud? Tears of Joy?”

“What’s it about?”

She smiled coyly.

“You will have to wait and see.”

* * * * *

Next was Pierre-Marie Ventre (http://upload.wikimedia.org/wikipedia/en/5/5e/JeanPaulSartre.jpg), the short, bug-eyed, middle aged, graying, spectacle-wearing philosopher, playwright, and co-director of Der Caeser le du Puits.

“Mr. Ventre, how do you feel about the film adaption of your two plays being nominated for Best film, Best Original Screenplay, Best Drama, and Best Breakthrough Film?”

“I am very pleased with how the film has been received. My works are never aimed at commercial success; they are aimed at those who can truly appreciate them. Fortunately many in Amestria and Montréal appreciate my works. It is unfortunate that Director Jean Godard is presently busy with another project and cannot find the time to attend the awards.”

“Is it true you wrote the second animated chapter as revenge against the entire Allanean nation for a bad experience while visiting?”

“Yes, I consider the second chapter to be an exceptional work of creative hatred.”

They talked for a little longer on the subject of his philosophy of Resistentialism. Near the end Ventre mentioned that he had a speaking engagement at the University of Montréal after the festival, a philosophical lecture on Resistentialism.

* * * * *

Next came the actor Charles Blier, who had played the role of Poussé Number One in Der Caeser le du Puits.

“Mr. Blier, how do you feel about your nomination for Best Actor?”

“Well, I was a little surprised; it was really a leading role by default, playing second fiddle to the Piano and the Medicine Cabinet during the third chapter. They must have really been impressed with my performance.”

* * * * *

After Charles Blier came the actress Irène Duperey (http://upload.wikimedia.org/wikipedia/en/f/f3/Londinium_2000.jpg), the women who played Poussée in Der Caeser le du Puits and provided the voice of Rachel Adorée in Le Porc. She was dressed in a very refined, flattering (but relatively non-revealing) black evening gown with high heels. Right along side Irène was Charles Cassel, the actor who had provided the voices for the Medicine Cabinet in Der Caeser le du Puits and Colonel Javert and Mr. Jacob of Le Porc.

“Ms. Duperey, how does it feel to have two films that you played a leading role in up for Best picture, among other awards, and to have the chance of winning Best Supporting Actress?”

“It feels great…” Irène tone became somewhat sarcastic. “Really Ms. Billet, how do you expect me to feel? Miserable, despised, or angry…? Both were extraordinary films and I am very glad I had a role to play in each of them.”

“Great…I suppose…ahem. Anyway, are the rumors about you Mr. Cassel being a couple true?”

Irène smiled and shook her head. “No, despite what the various rumor columns say we are not a couple and we are not dating, we are just good friends who happen to work together on a lot on animated projects. Cassel is one of the most renowned voice actors in Amestria?”

“What are your plans for the future?”

“I am presently debating whether to continue in live pictures or make a brief return to the Ardenne theater. Of course, no matter what I decide, I will always be available for voice acting.”

“How did you become a voice actress?”

“I was 21 and had just graduated from the Rue Blanche*, and I had yet to get my big break on stage or on film, so I was in need of money. I tried out for this one animated piece and I found that I had real talent in it, thus becoming a regular member of Ardenne’s animation studios.”

(*OOC: the Amestrian national drama academy)

* * * * *

Last was a minor official from the Amestrian Ministry of Culture. She recited a memorized statement about how hospitable and wonderful a city Montréal was, how she had enjoyed the festival, and how happy she was to be attending the awards ceremony representing her Government.

"Hello everyone in Kanami, this is Ryan, brining you the latests Information from the Film Festival in Montreal. Our film Yasashii Himura, having 7 Nominations here they are:




Best Motion Picture
Best Director, Alex Thorton
Bes Lead Actress, Yuki Akira
Best Orginal Screenplay
Best Cinematography
Best Orginal Score
And Best Costume Designe


(OOC: I took the liberty, as you haven't really told us what we are nominated for)

We have some heavy contenders, such as Tired, Lyon Avenue, and Sylvia all having 8, except for Sylvia which shares 7 with us. Other big contenders here tonight are: Confedental Confessions, with 6 nominations, Der Ceaser le du Puits, also 6, and Le Ciudad " with 6.
Many have their own predictions, about who will take the grand award, and many also have their predictions of how Y.H. will do. Let's take a look."

Mark Iydoma [Critic]: "Well I think Yasashii will take a numerous amount of awards, its a very well done film, and it should be recognized as such."

Kenny Smith: "I think Yasashii will bomb at the awards. Yes it's a terrific movie, but people just aren't intrested in fact, they like fiction. I know Y.H. is a dramatized version of her life, but I really don't think it'll win anything."

Rupert Grant: "I don't know."


Ryan: Obviously both supporters and critics on both sides have their predictions. Now more and more stars are filing in here tonight, it's like our own festival, only probably on a grander scale. Now this film festival has also inspired our own Arts Academy to do the same. From Montreal, I'm Ryan. Out."

All the representatives for The Prop found their designated seats inside and started chatting amongst themselves they thought their film was great and where boyed by the Box Office results in the MFF all they had to do now was wait.

OOC: Bump

Director Kansu Hana, actor Linux Kansu who played Eseke Ru and Xenesiji Ikaril who played the famous striker Xeseja Su arrived in actual outfits from the film. Kansu Hana came in the suit which belongs to an ASR employee (he had the mini-role of going through the picture saying "Do well, Mr Daran!"), Linux Kansu in Eseke Ru's worn out beige suit and Ikaril in a the tricot for the Lines. Security officials first thought some unwanted persons were trying to get in over the red carpet, but it was only the H1SR-ers.

"And now we go back to Montreal to look at the progress. Amy."

"Thanks Laura, well I've been handed the offical nominations list and let's take a look at E.S. nominations.

Confendental Confessions Has been nominated for 6 Awards

*Best Picture

*Best Director

*Best Adapted Screenplay

*Best Lead Actress

*Best Supporting Actress

*Best Orginal Score


Now The Band has only one nomination and that is for Orginal Screenplay. Now most of everyone has already taken their seats, and are awating the Master of Cermonies to come out, and start the show."

"Thanks Amy. And we will be broadcasting the cerimoney live."

{ooc: Where's Kelse?}

(don't know)

Yasashii Himura

"We've strugled long and hard to find a place to call home. And now we have found it. A place to finally be free!"


Confedental Confessions

Sophie: "My therapy bills are overdue mom."

Mother: (who doesn't even look at her daughter) I paid it. I shouldn't have even sent you to therapy, it's so costly. Your eating me alive."

[She blows out a puff of smoke, and prepares to walk out. Sophie throws a vase] "For God's Sake mother would it kill you to just look at me once?! Please?!"

Mother: "Every time I look at your face, I see nothing but the man who left me."

She walks out.


Bug on the Window

"IF you don't see the truth, that an enviromental crises is upon us McGean, than you will pay for it with your sisters blood!"

Steve: "I swear if you do anyting to here you will pay for it with a lot more."

"Meet my demands McGuean, time is runing out."

"Mark my words, I will rescue my sister."




I Know Why the River Cries

Water Rushes into the tiny appartment, Lilly and Jacob huddle together on the top of a dresser drawer]

Lilly:

Jacob, are we going to die?

Jacob:

No, I won't let you die, Lilly. You will survive this flood.

Lilly: [in a melodic voice]

The river is crying, why does it cry? I know why the River Cries. It cries, of sadness, mist and shadows, it cries through the shadows of the storm.

[Jacob kisses her]

Jacob:

I love it when you sing. You will sing forever.

[He ties a rope to her]

Lilly:

What are you doing?

Jacob:

This is your only chance. I love you Lilly.

[he pushes her out an open window, down into the flood waters. A boat pulls her to safty, but the apartment is swept away]



The Band
[The small group sturugles at their first outside performance. Mostly getting organized on stage]

Boy: "Look at them, what a joke." [laughter]

Teacher: Never mind them, never mind them. Set.

[they finally sit down, he wave the baton and they play far better than expected.]

Judge:"Impressived,"

Judge 2: "Very impressive, could likely use some more work, but very good."

Tired

Stephy: "You know what people see me as Greg, if they don't see me as a happy go lucky kid, they see me as a drunk, that's right, and you see me there too! That is why you told everyone!"

Greg: "No no, I see you as you Stephy. I love you"

Stephy: "Don't lie to me, don't you lie to me!"



"Just a few of the most memorable film moments from the festival. Some are personal favorites of the Prime Minister, and the cast and crew of Y.H. We are still awating the cerimonies to start, apparently the M.C. is stuck in traffic."

Well while we wait for this thread to die further,

http://forums.jolt.co.uk/showthread.php?t=490058

Some Allanean News Channel

Lionel Sheen is sitting on a horrible bright pink sofa as he grins at the camera and the interviewer. “Oh, Amanda, I am not at all worried. I know that we’ll bomb at the award ceremony, and frankly I think it’s good. These people don’t even dig movies, I don’t think their approval actually means anything. I’d be more worried if they thought it was good.”

“What do you mean?”

“You know, before I even talk about movies, those people don’t understand reality. Take the Amestrians – now I know it’s a film fest in Kanami, but Kanamians, Amestrians, same shit, different fork, right?”

“Uhum. So?”

“I have a quote here from the Amestrian media. It’s something called “Prav…” err, I mean, Ardenne.” They think my treatment of the terrorists is unreasonable, because they demand an Allanean withdrawal in one hour. They, in the words of the Amestrian critic, demand that “the allied forces, millions of troops, planes, tanks, and guns, leave the country in one hour…that’s right, one hour.” And that’s stupid! Because – and the Amestrian dorks don’t dig it – terrorists are stupid. If they wouldn’t be stupid, they wouldn’t be terrorist. Terrorists make insane demands – twenty-four-hour withdrawals, billion-dollar compensations, that stuff. That’s not anyhow unrealistic for me to portray terrorists as idiots.”

“I see. But I understand you had a larger issue with the critics?”

“Oh yes, yes I do. They claim, you understand, that the film simplifies the issue. That we made it appear that there’s a ‘black and white’, ‘good and ‘evil’ in the world.”

“Ha-ha.” – the interviewe laughs loudly, “but they didn’t write that?!”

“On the contrary, it’s all over their press.”

“Oh god. I am lucky I only speak five languages and Amestrian is not one of them.”

“Yup. You are. At any rate, that’s bullshit. I mean, surely often oversimplification is a danger, and the world is not all black and white – but the reverse is also true. In some situations it is all black and white. Sometimes there are bad guys and good guys. Some people are just plain evil and you need to draw the line, raise the flag, and give them the last and best fight of their lives. And communists are just that.”

“Yes. Is that what your film seeks to show?”

“Yes, to explore those situations where the world is in fact black and white.”

“Oh I see Lion, well it dose that marvelously.”

“Thanks, Mandy.”