The Jaundiced Eye
"All seems infected that thí infected spy, as all looks yellow to the jaundicíd eye." (Alexander Pope) In 1989 Stephen Matthews and his father Melvin were sentenced to 35 years in prison, convicted of sexually abusing Stephenís five-year-old son. The childís accusations, including torture with a machete, were harrowing. No physical evidence was presented, but listening to the boyís powerful testimony, you can sense how the members of the jury shut themselves off and slipped into decisiveness. That Stephen Matthews is gay was clearly not reassuring to the older jury in rural Michigan. Documenting the Matthewsí decade-long quest for exoneration, The Jaundiced Eye (from the producing team behind the acclaimed documentary Waco: The Rules of Engagement) is a razor-sharp addition to the explosive debate over how sexual abuse cases involving children are prosecuted. (Excerpt by Sean Farnel, Toronto Film Festival). US, 1999. Color, in English, 90 mins, 35mm. Unrated.

JESSIE LERNER IN PERSON
On Thursday, April 15th, filmmaker/curator Jesse Lerner will host a selection from the touring program of Mexperimental Cinema, a survey of sixty years of avant-garde media arts from Mexico. Selections will include: Sergio Garcia’s Ah, Verda, a psychedelic call to arms from the age of Aquarius. RubŽn Gamez’s Magueyes, a choreographed battle of succulents. Ximena Cuevas’ Corazon Sangrante, her collaboration with post-modern ranchera singer Astrid Hadad. A surviving fragment of Humanidad, by Adolfo Best Maugard. Alfredo Gurrola’s Segunda Primera Matriz, Gregorio Rocha’s Sabado de Mierda. The total running time for the program will be 1 hour, 22 mins. The Mexperimental Cinema Project was made possible through a grant by the Fideicomiso para la cultura Mexico-EE.UU. (Co-curated by Rita Gonzalez and Jesse Lerner.) On Friday, April 16th, Jesse Lerner will introduce his films Ruins, a survey of representative moments from the history of Mesoamerican antiquarianism, suggesting how diplomacy and Pan-Americanism framed the recontexualization of archeological objects as art. Ruins uses appropriated sounds and images to contemplate a history of appropriated objects. The film visits with Brigido Lara, master forger, and suggests parallels between the documentary and the fake.  Also on the bill is Frontierland (with Rubin Ortiz-Torres), a perfumed nightmare made out of fragments of the post-colonial scene: part traditional documentary, part postmodern travelogue, part art film, part music video, part public access agit-prop.

Jin Roh: The Wolf Brigade
Written by Mamoru Oshii and directed by Hiroyuki Okiura, both of Ghost in the Shell fame, Jin-Roh begins in an alternate-reality Tokyo in which the Nazis won World War II. The Germans have left the city teeming with active terrorist groups opposed by other, counter-terrorist groups. Our hero is the stoic Kazuki, a Capital Police officer and member of the Wolf Brigade, one of the counter-terrorist groups. During a patrol, Kazuki chases a young girl, a "red riding hood" who smuggles bombs to guerrilla fighters, and corners her in a dark, dank alley. Just before pulling the trigger, he hesitates, and she triggers her bomb, instantly killing herself and nearly taking out Kazuki as well. The event leaves Kazuki shaken, and his superiors remove him from duty and force him to re-take basic training. During a low moment he visits the girl's grave, only to find her sister Kei there. The two form a kind of bond. This blend of fairy tale and horrific post-war scenario makes Jin-Roh something of a landmark for anime fans, and a fascinating way in for first-timers. (Jeffrey M. Anderson, The SF Examiner) Japan, 1998, Japanese w/ English subtitles, color, 102 min, 35mm.

Journey to a Hate Free Millenium
IN PERSON: Judy Shepard, Matthew Shepard's mother. Presented by the Gay & Lesbian Film Festival. All proceeds to benefit the Matthew Shepard Foundation. (Colorado Premiere of a documentary directed by Brent Scarpo)

julien donkey-boy
Korine, who at 25 is one of the most untamed new directors, belongs on the list with Godard, Cassavetes, Herzog, Warhol, Tarkovsky, Brakhage and others who smash conventional movies and reassemble the pieces. Werner Herzog, the great German free spirit, is indeed one of the stars of "julien donkey-boy," which is the story of a schizophrenic, told more or less through his own eyes. The film's style is inspired by "Dogma 95," the Danish manifesto calling for movies to be made with hand-held cameras, available light and sound, and props found on location. Korine shot his basic material using that approach, and then passed it through a lot of post-production stages, so that at times it looks like abstract art seen through a glass, murkilyÉ. Korine's background is well-known. He was a skateboarder in New York when his screenplay about his friends was made into Larry Clark's "Kids" (1995), a harrowing portrait of street kids and their society. His second film, "Gummo," unseen by me, won festival prizes at Venice and Rotterdam, and was despised by a good majority of mainstream critics. Now comes "julien," and it demonstrates that Korine is the real thing, an innovative and gifted filmmaker whose work forces us to see on his terms. (Excerpt by Roger Ebert) US, 1999. Color, in English. 94 mins., 35mm. Rated R

Ken Burns films
Ken Burns has been making documentary films for more than twenty years. Since the Academy Award-nominated Brooklyn Bridge, he has gone on to direct and produce some of the most acclaimed historical documentaries ever made, including The Civil War and Baseball. Burn's films have ranged from two-part biographies of some of America's most important men and women, including Thomas Jefferson, Frank Lloyd Wright, Lewis & Clark: The Journey of the Corps of Discovery and Not For Ourselves Alone: The Story of Elizabeth Cady Stanton & Susan B. Anthony, to multi-episodic films like The Civil War and JAZZ. Burn's epics have received numerous accolades. The Civil War was the highest rated series in the history of American public television. The series was honored with more than 40 major film and television awards. Mr. Burns will screen an excerpt from his latest project. Doors open at 6pm. Seats cannot be saved - you must be present to get a seat. This event will be full. Seats are not guaranteed and are taken purely on a first-come, first-serve basis.

Kestrel's Eye
Kestrel's Eye is a beautiful film about a family of kestrels, living in the tower of an old church, in a small village in the southwest of Sweden. Not meant to inform us about the life of a kestrel, the film is an attempt to compel us to feel like one. Kristersson filmed the kestrels at close range for several years. Aside from technical contraptions, patience was his secret weapon. The camera enters the time and space of the birds themselves, becoming one of the family, surviving winter, welcoming spring, hunting and devouring prey with them. But Kristersson adds a parallel level to the film. Kestrel's Eye is also a film about the life of humans. People walking dogs, digging graves, children coming home from school - these everyday activities are also witnessed, from the birds' point-of-view. Not a film in which humans have dominion, Kestrel's Eye gives us the unique privilege to examine the birds' behavior, and through them our own. "Stunning natural photography." - Documentary Films "The viewer succumb(s) to an almost meditative stage, where the sounds of the birds become a language." - DOX Film Magazine. Sweden, 1998. Color, 89 mins., 35mm, unrated

Kirikou and the Sorceress
Set entirely in Africa, Kirikou recounts the story of a precocious newborn boy who, discovering that an evil sorceress has his his village in thrall, sets out to liberate his people. Armed oinly with inquisitiveness, intelligence and resolve, but aided by the deceptiveness of his small size, he battles against not only the vengeance of the evil sorceress, but the superstition and fear of the villagers. Based on West Africa folk tales, and animated with deliberately rudimentary perspective, lush colors and complex patterns, this intelligent and charming morality tale illustrates the value- the necessity, in fact- of thinking for oneself, of questioning the status quo, of challenging oppressive authority. Universal in its themes, the notable absence of any European characters puts the political focus not on what has been inflicted upon Africa from without, but on how some of Africa's present ills may have emerged from within. The film was a tremendous box-office success in France, thanks partly to the score by Senegalese superstar Youssou N'Dour, but also the narrative and stylistic authenticity realized by [Michel] Ocelot [writer/director], a French citizen who grew up in Guinea. France/Belgium/Luxembourg, 1998, color, in French with English subtitles, 70 min, 35 mm, Not-rated.

L'Ennui
Based on the novel by Alberto Moravia (THE CONFORMIST, CONTEMPT), L'ENNUI tells the story of a forty-something philosophy teacher, Martin (Charles Berling - DRY CLEANING, RIDICULE) who is driven to the brink of insanity by his desire for a girl half his age. He is also disturbed by the happiness of his ex-wife (Arielle Dombasle, PAULINE AT THE BEACH). His crisis takes a turn when he meets Cecelia (Sophie Guillemin), a young woman suspected of driving an artist and colleague of Martin's to his death. His compulsive carnal desire for her eventually leads to obsession with the enigmatic Cecelia..... "Brilliant! Emotionally harrowing. Explores not just the physical and psychological but the philosophical ramifications of sexual obsession." -- Stephen Holden, New York Times. France, 1998. Color, in French with English subtitles. 120 mins., 35mm. Not rated.

L'Humanite
"L'Humanite" is not an easy film and is for those few moviegoers who approach a serious movie almost in the attitude of prayer. A great film, like a real prayer, is about the relationship of a man to his hopes and fate. The man this time is named Pharaon De Winter. He is played by Emmanuel Schotte as a man so seized up with sadness and dismay that his face is a mask, animated by two hopeless eyes. He lives on a dull street in a bleak French town. Nothing much happens. He once had a woman and a child, and lost them. We know nothing else about them. He lives with his mother, who treats him like a boy. Domino (Severine Caneele) lives next door. She has an intense physical relationship with her lover Joseph that gives her no soul satisfaction. It is impossible to guess if Joseph even knows what that is. The film won the grand jury prize at the 1999 Cannes Film Festival; Emmanuel Schotte won as best actor, and Severine Caneele shared the best actress award. Onstage, Schotte seemed as closed-off as in the film. Perhaps Bruno Dumont cast him the way Robert Bresson sometimes cast actors--as figures who did not need to "act" because they embodied what he wanted to communicate. (Excerpt by Roger Ebert.) France, 1999, Color, French with English subtitles, 148 min, 35 mm Cinemascope, Not-rated. This program was made possible with the support of the Cultural Services of the French Embassy and the French Ministry of Culture (CNC).

La Ciudad (The City)
Those who leave their native land and immigrate to another are often, almost by definition, the boldest and most capable to imagine a new life for themselves. Arriving in a new land without language or connections, they are likely to be shuttled into low-paying jobs and scorned by the lucky citizens who are already on board. They earn their living by seizing opportunities. Consider the puppeteer (Jose Rabelo) who is one of the subjects of David Riker's "The City" ("La Ciudad"). He lives in a station wagon with his daughter (Stephanie Viruet). He supports them both by performing Punch and Judy shows for city kids, whose video games must make this entertainment look quaint. His daughter loves to read, is bright and wants to go to school. He tries everything to get her accepted. Every child is guaranteed a place in school, he has been told, but there is a hitch: He needs a receipt for rent or telephone to show where he lives. And of course he lives in a car. His story is one of four in "The City," a direct, spare, touching film developed by Riker during six years of acting workshops with immigrants in New York City. (Excerpt by Roger Ebert.) US, 1998. B&W, in English, 88 mins, 35mm. Unrated.

LA VIE DE JESUS
Bruno Dumont's first feature, a study of small-town boredom and desperation, adopts the title of the most famous work by the unorthodox theologian Ernest Renan. This 1863 historicising of Christ's biography presents him as human, a great leader around whom supernatural narrative have been spun. Dumon reveals himself as an uncompromising new talent by sticking to the film title's invocation of Renan's spiritual humanism. In an early sequence, twenty-year-old Freddy (an unemployed epileptic) and his friends stand silently in a hospital room around the comatose AIDS sufferer Cloclo until one of them seeks solace in a nearby biblical print of the raising of Lazarus. It is the film's one explicit reference to Renan, who considered the miracle a deliberate fraud. Cloclo does not rise from the dead... La Vie de Jésus is centrally concerned with physical being and unrecognized spiritual needs. Dumont emphasizes throughout the bodies of his protagonists and their involuntary distresses and ecstasies. (Richard Falcon, Sight & Sound) Winner of both the 1997 Prix Jean Vigo for best first feature and the International Critics Prize, 1997 Chicago Film Festival. French, 1997. In French, with English subtitles. 96 minutes, 35mm.

The Last Cigarette
This has been the smoking century. Cigarettes got big as the century began, and in the '20s a whole generation of young women announced their liberation by taking up the habit. In the '30s and particularly the '40s, smoking was associated with good things -- glamour, sex, even heroism. All the good guys smoked back then, including world leaders: Franklin Roosevelt, Winston Churchill. Hitler, conversely, not only didn't smoke but also made his girlfriend Eva Braun quit. The fuhrer believed that kissing a fraulein who smoked was like licking an ashtray. He was that kind of guy. The Last Cigarette is about the mystique, controversy and many associations surrounding tobacco, mainly cigarettes. Directors Kevin Rafferty (Atomic Cafe, Feed) and Frank Keraudren use Hollywood movies, '50s TV commercials, '60s anti-smoking films and "smoke porn" videos of recent vintage to create a kind of poem or fever dream on the subject. (Mick LaSalle) US, 1999. Color/B&W, in English. 82 mins., 35mm. Unrated.

The Last Mahadevi and Burma, Endangered Land
An extraordinary, true tale of cultural border crossing, political activism and endurance in exile. A fundraiser for Burma. Wednesday at 7 & 9pm $8/$6 A double feature benefit showing for Burmese refugees. This is the first Boulder screening of THE LAST MAHADEVI, a German-made documentary about the life of Inge Sargent, a long-time Boulder resident and co-founder of Burma Lifeline, a refugee relief organization. Interviews, home movies and still images take us to Austria, Burma and Colorado to tell Sargent's fascinating story. A shortened German-language version of the film has been widely viewed on television in Europe. Germany, 2000, color, English, 86 mins, VHS, not rated. Inge Sargent will be present during the break between films to answer questions from the audience. BURMA, ENDANGERED LAND, is a political, cultural and human travelogue produced and directed by Boulder resident Trung Nguyen. It is in many ways complementary to the first film. This beautiful film takes us into today's Burma (including Hsipaw, where Sargent lived) and winds up in one of the refugee camps along the Thai-Burma border. Trung Nguyen will also be present for questions. USA, 2001, color, English, 73 mins, VHS, not rated.

The Last Wave
A young lawyer, David Burton (Richard Chamberlain), lives the bourgeois life to which so many male law students aspire. He's a tax lawyer with a handsome wife, two beautiful little girls, and nice house in the suburbs of Sydney. He even does a little pro bono on the side, representing indigents in the criminal courts. Legal Aid asks Burton to represent four Aborigine youths accused of killing another Aborigine in a drunken brawl. Burton accepts the case and then layer after layer of "law" starts to unpeel until we get to even more interesting questions regarding the connection between the temporal secular law of Australia and the law of "dream time" - the atemporal psychic space which the Aborigines feel to be more "real" than temporal reality. Chamberlain pleads with one of the defendants to tell the truth so he can get him off and makes a comment any liberal western lawyer might make: "Surely people are more important than the law." But the Aborigine quickly corrects him: "No, the law is more important than man." He of course is not talking about the penal code, but law in some more ultimate sense. Finally Burton finds out that he too has a connection to that larger "law" with which we seem to have lost touch. Should we be searching for it? Or is it just a dream? (John Denvir) Directed by Peter Weir. Australia, 1977. Color, in English. 106 mins., 35mm. Rated PG.

Latcho Drom
For centuries the Gypsies have traveled the Earth, taking with them only what they could carry on their backs. But by the end of Latcho Drom, Tony Gatlif's visually arresting tribute to Gypsy culture, you may feel as if you've walked every single mile with them. Plotless and without dialogue, Latcho Drom (Safe Journey) traces Gypsy music back through all its origins and permutations. The movie shows Gypsies as a scorned people who are run out of pastures and apartments as undesirables. Some are so poor that in one eastern European locale they are forced to endure the winter living high up in the branches of trees. For many of them, music is their one true resource. Passed on from generation to generation, their songs function as a sort of folk history. Ageless and at the same time flexible enough to include comment on recent politics (as one Romanian ballad about Ceaucescu illustrates), the music changes with each country, along with the styles of the people too. But, as the movie points out, the song remains essentially the same. ­Hal Hinson, Washington Post Staff Writer 1993, France, French w/ English subtitles, Color, 103 min

Legend of 1900
The Legend of 1900 (originally titled The Legend of the Pianist on the Ocean) stands as Tornatore's best and most accessible film since his Oscar-winning "Cinema Paradiso," a magical, allegorical tale of a world-class pianist whose entire life is spent on board a trans-Atlantic cruise liner, never once setting foot on dry land. Named for the year of his birth by the ship's furnace worker (Bill Nunn) who found him as a baby, Nineteen Hundred (Tim Roth) lives a life of both superhuman joys and desperate pains... No less than real-life Jazz great Jelly Roll Morton (Clarence Williams III) even shows up to test the man's legendary abilities in a "piano duel" that is one of the film's more spectacular moments....Thanks to eye-popping production values and a bracingly romantic score by Ennio Morricone, it's hard to protest even flaws that seem to have remained from the original version. (The film was cut by 35 minutes due to contractual obligations to the distributor.) (Excerpt by Wade Major, Box Office Magazine) Italy, 1998, Color, in English, 123 min., 35mm. Rated R

Les Bonnes Femmes
A film of immense importance and beauty - its ending is one of the most haunting in all cinema - the legendary Les Bonnes Femmes returns to circulation in a brand new print after decades of being unavailable. Godard chose Femmes as the best film of 1960, and Fassbinder cited it as a personal favourite - "the most tender of Chabrol's films." (It is easy to discern in the film's denouement the source of the famous sequence of Mieze's death in Fassbinder's Berlin Alexanderplatz.) Les Bonnes Femmes is the cruel, moving portrait of "shop girls" searching for happiness in Paris. (It was called Good Time Girls on its original North American release.) They escape their repetitive lives of lies, work, and mechanical sex in different ways: one in a boring marriage, one in relentless partying, and, this being Chabrol, one in death. Both poetic - Henri Decae's cinematography is superb, especially his shots of the Champs Elysees in the rain - and highly formal in its structure, Les Bonnes Femmes "is generally regarded as Chabrol's most important film during this period... the best of his early films" (James Monaco). France, 1960. B&W, in French w/ English Subtitles, 100mins, 35mm, unrated.

Life is to Whistle
A Love letter from a Cuban director to his own country, this uniquely Cuban blend of visual flair, absurdist humor and mystical realism is set to the pulsating music of Bola de Nieve and Benny More. The Narrator, 18-year-old Bebe, guides us through the romantic mishaps of the three characters whose lives intersect on the Day of Santa Barbara, at the end of the century. Like many characters in Latin American literature, the three major characters in Life Is To Whistle walk around with an awareness of the supernatural that simultaneously inspires and oppresses them. As these passionate, troubled residents of Havana, all three of them orphans, go about their lives, we have an acute sense of their being haunted and held back by the religious and ancestral specters. The director's master stroke is his portrayal of their internal conflicts as a metaphor for the political and economic anxieties gripping Cuba in the twilight of the Castro era. Cuba, 1998, color, in Spanish with English Subtitles, 106 mins, 35mm, Not Rated

LIKE WATER FOR CHOCOLATE
An enchantingly cinematic expression of magic realism, this irresistible Mexican movie is based on a popular Mexican novel in which each chapter begins with a recipe. Like Babette's Feast, it's a celebration not only of food but its life-enriching qualities. The meals are prepared with love as well as grief, as the central character, an unmarried woman named Tita, is forced by circumstance to make the kitchen the center of her life. Those who share in the dishes she prepares must also share, sometimes quite literally, her joy and tears… The title, Like Water For Chocolate, which refers to the agitated state of water boiled with cocoa, is a metaphor for Tita and Pedro's frustrated passion, which becomes all-consuming precisely because they've been restrained from expressing themselves. A veteran actor-filmmaker who has appeared in several Hollywood Westerns, Alfonso Arau has been directing Mexican films for 25 years. He's been loaded down with prizes for his meticulous direction of this film, which quite faithfully and imaginatively follows his wife's novel. (Excerpt by John Hartl, FILM.COM) Mexico, 1992. Color, in Spanish with English subtitles, 113 mins., 35mm. Rated R.

Limbo
At first glance, "Limbo" seems to be precisely the kind of ferociously independent and passionately original film one would expect from the reigning king of independent cinema, John Sayles. In the tradition of "City of Hope," "Passion Fish," "Lone Star," "The Secret of Roan Inish" and "Men With Guns", the director's latest is yet another unconventional character study set in an exotic, distinctive locale--in this case a remote, pastoral Alaskan settlement. Similarities to Sayles' previous efforts, however, abruptly end there.  For "Limbo" takes added risks that may surprise even the most ardent Sayles admirers--risks that demand as much of the audience as the audience is likely to demand of the film. For the better part of its first half, "Limbo" is a straightforward ensemble piece, painting a portrait of a rural village struggling to find middle ground between the economic need for change and the fervent desire of its citizens to keep things as they've always been. As the story progresses, three players emerge more forcefully and drive "Limbo" to its powerful, provocative conclusion. (Wade Major) Official Selection, 1999 Cannes Film Festival. US, 1999. Color, in English. 126 mins., 35mm. Rated R.

The Limey
The Limey, which is Steven Soderbergh's follow-up to Out of Sight, is a first-rate crime thriller and further proof that Soderbergh is one of our great contemporary film stylists. Taut, imaginative and complex, this is one of the best American films of the year and a wonderful antidote to the numbing sameness of movies like Random Hearts. Terence Stamp plays Wilson, a brutal British thug, just out of prison, who flies to Los Angeles to avenge his daughter's death. Nothing is quite what it seems to be, and the film is told from inside Stamp's head -- riding a wobbly line between past and present, delusion and Stamp's fevered thoughts. There's nothing orderly, nothing linear in the way Soderbergh constructs this tale. Information comes at us in shards and little blips, from odd directions.  Soderbergh has had a spotty career since his 1989 breakthrough in sex, lies, and videotape. Kafka misfired, the wonderful King of the Hill was ignored and Out of Sight redeemed him. With the brilliant The Limey, it's time we the breadth and the vigor of his talent. (Excerpt by Edward Guthmann, San Francisco Chronicle) US, 1999, Color, in English, 90 min., 35mm. Rated R

The Little Thief and Alone
Erick Zonka, the French filmmaker of ``Dreamlife of Angels,'` has a passion for young, marginalized characters who face the world alone and struggle, with mixed results, to improvise a means of survival. ``Dreamlife'' was the story of two lower-class women, one angry and one sanguine, who meet in the city of Lille. ``The Little Thief,'' Zonka's follow-up, is a lean one-hour portrait of a working-class kid who, disgusted with his job in a bakery, opts out for a life of crime. Played by Nicolas Duvauchelle (``Beau Travail''), ``S'' is naive and angry and full of empty bluster. ``The Little Thief'' is co-billed with ``Alone,'' a 1996 short by Zonka. It's a stunner: a heartbreaking look at a young Parisian waitress who loses her job and apartment on the same day and, lacking family or support, rapidly descends into homelessness and crime. Florence Loiret, who looks a bit like Isabelle Adjani, is fantastic as hard-luck Amelie. In its theme and spareness of style, it's a precursor to ``Dreamlife'' and ``Thief'' -- but in no way inferior. (Excerpt by Edward Guthmann, SAN FRANCISCO CHRONICLE) France, 1999, color, French with English subtitles, 100 min, 35 mm, not-rated. This program was made possible with the support of the Cultural Services of the French Embassy and the French Ministry of Culture (CNC).

Live Flesh has an attempted murder at its heart and is loosely structured as a who-and whydunit. However... the film's focus is on lushly accented emotions. The Spanish title (Carne Tremula) is more descriptive than the novel's original English title: 'carne' in Spanish means 'flesh' but it also means 'meat,' while 'live' does not quite convey the connotations of trembling and pulsating that 'tremula' does. This is only worth indicating because the Spanish title so perfectly describes the film's emotional pitch: raw, fearful, passionate, possibly deadly, but possibly delicious... Live Flesh is arguably Almodovar's best film since Women on the Verge of a Nervous Breakdown. The films in between have all had brilliant moments or sections, but Live Flesh is a fully realized work, a sustained examination of how betrayal, guilt, revenge, desire and loss relate to love. It is a complex and moving film that is beautiful to look at. You'll want to see it again. (Jose Arroya, Sight & Sound)

Live Nude Girls Unite!
Whether dancing to earn a meager living or make a political statement, the subjects of this aptly titled documentary (many of whom are queer) put aside their differences in order to accomplish one goal: to be treated with respect by their employers. For years, unknown to the public or their clientele, strip club entertainers faced labor problems that went unaddressed. Deciding to unionize, the dancers faced a seven-month struggle to come to terms with club owners. LIVE NUDE GIRLS UNITE! illustrates the tribulations of these courageous women, considered second-class citizens by many Americans, who fought the odds to improve their lot. The inspiring struggle depicted here has galvanized nationwide changes for workers in the sex industry and other fields, and has helped legitimize an industry too easily neglected and demonized by law enforcement. ­SeattleQueerFilm.com. USA, 2000, color, English, 75 mins, 16mm, not rated.

LOVE IS THE DEVIL
When George Dyer, amateur boxer and part-time burglar, breaks in through the skylight of a painter's studio in swinging London, it is his misfortune that the artist is most definitely in residence. "Take your clothes off," says Dyer's intended victim, who turns out to be the painter Francis Bacon, "come to bed, and you can have whatever you want." So begins the tortured love affair between Bacon, the late 20th century's premier visual interpreter of charnel house romance, and the younger man who would become his muse, model, and millstone. Dyer's three roles make up a miserable triptych in Love Is the Devil, a first feature by British writer-director John Maybury... Though Maybury was denied the use of Bacon's paintings, Love Is the Devil evokes the artist's visual signature with astonishing and disturbing results: actors' faces, distorted by barroom mirrors and cracked windows, morph into twisted masks; their bodies seem to be ripped open, as if consumed by fire... Despite an uncomfortable intimacy with Bacon's visions, Love Is the Devil is in the end, as the subtitle says, "a study for a portrait" of a maddeningly elusive artist, who recognizes the destructive demon within himself and then watches, transfixed and delighted, as the beast runs wild. (Justine Elias, Village Voice) UK, 1998. Color, in English. 90 mins., 35mm.

Lovers of the Arctic Circle
Palindrome, n.: word, verse, sentence, etc., that reads the same backward as forward (e.g., madam, radar)... There is a certain kind of mind that enjoys difficulties. It is not enough to reach the objective; one must do it in a certain way. We begin by not stepping on the cracks in the sidewalk. Some never stop. Ernest Wright wrote an entire novel without using the letter "e." Hitchcock made a film without a single visible edit. There are paintings made of dots, piano compositions for one hand, and now here is a strange and haunting movie that wants to be a palindrome. "Lovers of the Arctic Circle" tells the story of Ana and Otto, whose names are palindromes, and whose lives seemed governed by circular patterns. Events at the beginning are related to events at the end. The movie is about love--or, rather, about their grand ideas of romance. It is comforting to think that we can love so powerfully that fate itself wheels and turns at the command of our souls. (Roger Ebert) Spain, 1998. Color, in Spanish, with English subtitles. 112 mins., 35mm. Rated R.

Lovers on the Bridge
Leos Carax's The Lovers on the Bridge arrives trailing clouds of faded glory. It was already one of the most infamous productions in French history when it premiered at Cannes in 1992, where some were stunned by its greatness and more were simply stunned. Its American release was delayed, according to Carax, because its distributor vindictively jacked up the film's asking price. Now it has arrived at last, a film both glorious and goofy, inspiring affection and exasperation in nearly equal measure. The story could have been told in a silent melodrama, or on the other half of a double bill with Jean Vigo's great L'Atalante (1934), which was Carax's inspiration. Carax's film begins on the ancient Pont-Neuf, the oldest bridge in Paris, where two vagrants discover each other. One is Michele (Juliette Binoche), an artist who is going blind. The other is Alex (Denis Lavant), a drunk and druggie who supports himself by fire-breathing. This three-hander could have made a nice little film in other hands, but Carax's production costs became legendary. His permission to shoot on the Pont-Neuf ran out while delays stalled his production... Thrown off the real bridge, Carax moved his entire production to the South of France and built a giant set of the Pont-Neuf, including the facades of three buildings of the famous Samaritaine department store. (Excerpt by Roger Ebert) France, 1991, Color, in French with English subtitles, 120 min., 35mm. Rated R

Lumumba
Raoul Peck's Lumumba is a rich and sorrowful portrait of an idealist who, against the greatest odds and with courage unknown to the rest of us, fought in vain for his country's independence. Patrice Lumumba, a man who made a living most of his adult life as a beer salesman in the Congo/Zaire but whose avocation was clearly to be a leader. It was his work as head of the Congolese National Movement that eventually landed him in prison but also secured him a place at a round-table discussion about the Congo's independence. And it was Lumumba's advanced way of thinking and his ability to articulate his goals that would not only catapult him, at age 36, to the position of the Congo's first elected prime minister following its ostensible independence from Belgium in 1960, but would also seal his fate as a man whose intelligence was too dangerous. The film does not stress his preordained failure as much as it depicts the vicious betrayals that did him in. (Excerpt by Joe Baltake, The Sacramento Bee). A coproduction of France, Belgium, Germany, Haiti, 2000, In Frencah and Lingala with English subtitles, Color, 115 min., unrated. Join other urban indie-film lovers at the 3rd Denver Pan African Film Festival, April 25-29 at the Starz Encore Film Center at the Tivoli on the Auraria Campus. For more information on DPAFF events go to www.panafricanarts.org or call 303.595.3456 x303.

MA VIE EN ROSE
Ma Vie en Rose is the first film of a very talented, funny and tender filmmaker named Alain Berliner. Its extraordinary hero, 7-year-old Ludovic, is a boy quite certain that when he grows up he will be a girl. His unshakable conviction, not to mention his habit of dressing in girl's clothing, throws his suburban bourgeois parents into a tizzy. Their son's difference is a problem for everyone but Ludo himself, the calm center of a storm that shakes the family, and their angry scandalized community, to its roots. The issue of gender is a delicate one, and Berliner and screenwriter David Ansen navigate this tricky terrain with charm, tact and sudden bursts of whimsy as the film takes us inside Ludo's candy-colored, TV-inspired fantasies. Young Georges Du Fresne may be the most enchanting child actor to come along in years. Ludo's story, told with the bold strokes of a fable, will break your heart and make you smile, often at the same time. (David Ansen, Newsweek) Belgium, 1997. Color, in French with English Subtitles. 88 mins., 35 mm.

Madadayo
Made in 1993, MADADAYO was the last film by the Japanese master Akira Kurosawa, who died in 1998. And yet the very title of the film argued against death; "Madadayo" means "not yet!" That is the ritual cry which the film's old professor shouts out at the end of every one of his birthday parties, and it means that although death will come and may be near, life still goes on. There were times when I felt uncannily as if Kurosawa were filming his own graceful decline into the night. It tells the story of the last two decades in the life of Hyakken Uchida, a writer and teacher who retires in the war years of the early 1940s. He was the kind of teacher who could inspire great respect and affection from his students, who venerate him and, as a group, help support him in his old age. The movie is as much about the students as the professor; as much about gratitude and love as about aging. Kurosawa said his movie is about "something very precious, which has been all but forgotten: The enviable world of warm hearts." ­Roger Ebert, Chicago Sun Times.Japan, 1993, color, Japanese w/English subtitles, 134 mins, 35mm, not rated.

Maelström
MAELSTRÖM is probably the first romantic drama ever narrated by a smelly dead fish. What might a dead fish have to do with love? It has something to do with the ocean whence life springs. And as it turns out, fish figure prominently in the symbolic structure of this fine French Canadian film, written and directed by Denis Villeneuve. Its protagonist, Bibi Champagne, is a beautiful and successful 25-year-old businesswoman. Virtually overnight, Bibi's sleek yuppie existence unravels, and she faces an acute spiritual crisis when she has a series of personal disasters. Commenting on her travails, the craggy-voiced fish, the movie's philosophical voice, periodically punctuates the soundtrack of a movie whose strategy is to surprise us by taking abrupt surreal sidetracks. At one point in the story, when a character in a restaurant complains about the toughness of her octopus, the film goes on a wild tangent as the waiter complains to the cook who in turn calls his supplier, and we follow the path the octopus took to reach her plate. As weird as it may sound, the movie's aquatic fixation is integral to its concept. For above and beyond telling a story, MAELSTRÖM is a meditation on the disconnection between the glossy surfaces of high-end urban existence and the life-and-death realities they camouflage. (Excerpt by Stephen Holden, The New York Times). Canada, 2001, in French with English subtitles, Color, 88 min., unrated.

Man of the Century
The smashing, dangerously charming Man of the Century follows Johnny Twennies, a fast-talking, stogie-chomping Depression-era newspaperman out of time, strangely (and brilliantly) oblivious to the modern world of sex, television, and other late-20th-century amenities swirling all around him. Played to the nines by the wondrously physical Gibson Frazier (who also co-wrote and co-produced with director Adam Abraham), Johnny whisks around the city, rescuing the occasional damsel in distress, cleft chin jutting out, wide eyes brimming with glass-half-full enthusiasms, caring not a flip for all our dour-faced, existential Nineties cynicism. Don't think such a gimmicky premise could possibly sustain a full-length narrative? Banana oil! Although reminiscent of the silver-screen homages of Woody Allen, Steve Martin, and even Mike Meyers as shagadelic out-of-timer Austin Powers, Abraham and Frazier's film still feels totally fresh and original. Man of the Century is an unforgettable movie experience, a remarkable debut just brimming with unforgettable characters and moments -- and that, my friends, is a real-life happy ending. (Excerpt by Sarah Hepola, Austin Chronicle) US, 1999, B&W, in English, 80 min., 35mm. Rated R

The Man Who Wasn't There
The Man Who Wasn't There is the best adaptation of James M. Cain's gritty noir hellscapes as I've ever seen, and never mind that Cain had nothing to do with it. Shot on color film and then processed into stark-as-nightmares black-and-white by cinematographer Roger Deakins, this is the most visually striking of all the Coen Brothers' films to date. Blacks as dark as midnight collide with rich grays and subtle variations of shading, imbuing the whole film with the kind of psychological chiaroscuro not seen since the heyday of film noir, and before that, German film expressionists such as Lang and Murnau. It's that beautiful. The story, too, is rife with the Coens' ripe ambivalence, a black seriocomic opera of fouled-up American dreams, and a meditation on ambivalence that is itself at times as ambiguous as the emotional meanderings of its protagonist, the small-town barber (Billy Bob Thornton). It's the best-looking film of the year, hands down, and Thornton is dazzling, a dull diamond in the gutter rough. (Excerpt by Marc Savlov, The Austin Chronicle.) USA, 2001, English, B&W, 116 min., Rated R.

Me And Isaac Newton
A warm and cuddly sage or a wild-eyed egomaniac demonically tinkering with the balance of nature? Michael Apted's documentary on seven scientists lets you decide. A warm and cuddly sage or a wild-eyed egomaniac demonically tinkering with the balance of nature? The image of the scientist in the popular imagination usually tilts toward one of these extremes. And in Me and Isaac Newton, a glossy group portrait of seven noted scientists, the documentary filmmaker Michael Apted places his chips on the warm, cuddly side of the table. The movie's seven subjects, who represent a cross section of scientific endeavor, are interviewed sequentially in cinematic chapters that begin with chatty thumbnail biographies and broaden to include topics like "the work" and "the future." They offer a largely comforting vision of collective genius balanced by compassion, humor and judicious self-assessment. A number of these biographies are personal stories of triumphing over difficult odds. Me and Isaac Newton is inspiring. All seven of its subjects are fascinating, and most are extremely likable. Mr. Apted has done them all a huge favor. -Stephen Holden, New York Times. country, 2000, English, 110 minutes, Color, not rated

Me You Them
The heroine of Andrucha Waddington's Me You Them is a force of nature who holds men in her thrall and deftly reshapes them to suit her life. Without knowing it, they fall prey to her charms, her spirit, her very scent. Darlene's strength, like any earth mother's, resides in mystery. When first we see her she's perched on the back of a donkey in a dusty rural hamlet, wearing a smudged bridal dress and obviously pregnant. Director Waddington, a 30-year-old veteran of music videos, TV commercials, and one feature film, set the film to some of the most gorgeous music on the planet -- written by the Brazilian master Gilberto Gil. Written by a young woman named Elena Soarez, this wry and extremely witty tale of practical polygamy could stand happily on its own as a kind of rustic feminist fantasy, set to the infectious rhythms of bossa nova, even though it is based on an actual person. This lovely movie, simply and beautifully shot in Brazil's northeastern countryside by cinematographer Breno Silveira, is satisfying from start to finish.-Bill Gallo, New Times Los Angelas. Brazil, 2000, Color, Portuguese w/English subtitles, 106 min., 35mm, rated PG-13.

MERRY WAR
Adapted from George Orwell's 1936 novel.  (Keep the Aspidistra Flying) the story examines the class struggle that ensues when an aspiring poet turns his back on the bourgeois institutions the keep him, at best, just one step ahead of abject poverty.  A wonderfully inventive actor who tackled similar issues in 1989 as the pimple-cream promotional wizard of Bruce Robinson's How to Get Ahead in Advertising, Richard E. Grant portrays another wage slave toiling at an even earlier British version of Madison Avenue.  Gordon's level-headed sweetheart, Rosemary is played by Helena Bonham Carter, a veteran of various costume dramas who is refreshing here as a relatively modern working woman.  Director Robert Bierman who gave the Nicholas Cage-starring Vampire's Kiss a harrowing intensity in 1988, skillfully balances the humor and sorrow of Gordon's predicament, which is a timeless, universal dilemma.  The film's rich look, even while depicting destitution, is provided by cinematographer Giles Nuttgens and art director Philip Robinson.  Orwell's social commentary presents the aspidistra as a popular house plant symbolizing the very respectability that Gordon loathes.  This witty, wistful movie keeps it not only flying but soaring.  (Susan Green) USA, 1998. Color, in English. 110 mins., 35mm.

MICROCOSMOS
At first glance, MICROCOSMOS looks like just another nature film. Super close-ups of screen-size insects reveal a grasshopper licking a leaf, the last stages of the metamorphosis of a butterfly, and the plight of a lone beetle as it trudges across a terrain that looks like a John Ford Western landscape. But with a sensibility that recalls the awe of 19th-century evolutionists, coupled with advanced technology that allows for remarkable access, this documentary is anything but standard. Biologists-turned-filmmakers Claude Nuridsany and Marie Pérennou set out some six years ago to make the film; it required developing new equipment and it took many, long hours of patient shooting while waiting, like the famed still photographer Henri Cartier-Bresson, for "the moment." And these moments are beautifully captured: a ladybug does a back-flip when a raindrop hits the leaf it is gingerly perched on; a grisly battle between spindly-legged bugs puts the creatures of NAKED LUNCHto shame. And then there is the beetle. It struggles with a piece of dirt twice its size, up and over tiny bumps our own bare toes could not detect, until a small twig snags the orb. Suddenly, it becomes all too apparent this black arthropod has an engineering mind - and its deft triumph inspires cheers. It's clear the filmmakers are devoted to their creatures, but it doesn't stop them from making good fun of the insects. (Excerpt by Pamela Cuthbert, EYENET) France / Switzerland / Italy, 1996. Color, no dialogue, 80 mins., 35mm. Rated G.

Mifune
Let purists argue about whether Mifune lives up to the vows of the Danish Dogma 95 collective of filmmaking. Fact is, the new import is a vital, sexy and touching movie that goes to the heart of what human caring is all about. Mifune is the third film to come out of Denmark's Dogma school after Thomas Vinterberg's The Celebration and Lars Von Trier's The Idiots. The Dogma collective emphasizes a "pure" cinema: the mandatory use of handheld cameras, no artificial lighting or props, a story taking place in present time-in general, a drive to make films natural and spontaneous. Mifune stands up as a memorable and heart-warming film, no matter its schooling. The title refers to Toshiro Mifune, the late legendary Japanese actor, and his great performance as a phony samurai in Akira Kurosawa's The Seven Samurai. In Mifune, the lead character, Kresten, engages in samurai-style antics to entertain his mentally handicapped brother, Rud. But the samurai metaphor plays out in other ways, too. Mifune has a naturalness, freshness and warmth that is often so transporting it's magical… (Excerpt by Peter Stack, THE SAN FRANCISCO CHRONICLE) Denmark, 1999, color, in Danish with English Subtitles, 99 mins, 35mm, Not Rated

THE MIGHTY PEKING MAN
Prepare yourself as Quentin Tarantino's Rolling Thunder Pictures unleashes this strange tale from the golden age of  '70s Hong Kong cinema! Backed by a sleazy promoter, an explorer leads an expedition into the Indian jungle in search of a legendary apeman. After the rest of his crew succumbs to wild animal attacks or abandons the mission altogether, the lone adventurer is captured by the Peking Man – a gigantic, prehistoric primate. Fortunately, he's rescued by the simian's stepchild, a buxom blonde (played by the incredible Evelyne Kraft) who survived a jungle plane crash years before. The explorer falls for this female Tarzan, and soon talks her into returning to civilization with Peking Man in tow. A city is no place for an oversized Yeti, however. Originally made to cash in on the dreadful 1976 remake of King Kong, this production by the Shaw Brothers (famed for martial arts flicks like Five Fingers of Death and Shaolin Avenger) is much better than the film it sought to rip off. Equal parts monster movie, matinee serial and soft-core sexploitation (you won't believe the erotic jungle romp set to the slow-dance disco tune, "I'm Falling In Love...Maybe" ), The Mighty Peking Man explodes on the screen again in all its savage fury!  (Brock McDaniel) Hong Kong, 1977. Color, Dubbed in English. 91 mins. 35mm.

THE MIRROR
The Mirror is an ingenious piece of cinematic gamesmanship  a neo-realist drama that’s also an elaborate Candid Camera stunt and a wry commentary on the nature of documentary filmmaking. And if all that wasn’t enough, Jafar Panahi (who also directed The White Balloon) has wrapped a surprisingly blunt political critique inside the layers of his deceptively simple film. The Mirror opens with a gorgeous, slow 360-degree pan of a bustling intersection in Tehran; then the camera singles out its subject  Mina (Aida Mohammadkhani), a button-cute first-grader sporting a pink windbreaker and a broken arm. Her mom has mysteriously failed to pick her up from school that day, so Mina begins the tricky process of trying to get home on her own via the city’s bus system, which segregates passengers by sex. On a bus, she overhears woeful tales of female suffering within the confines of Iran’s conservative social structure. At a transfer point, she receives a lecture for using the men’s entrance on a new bus. And then an event transpires (to describe it in depth would ruin the experience) that intentionally shatters the cinematic illusion, call the formulas of narrative filmmaking and documentary into question, and leaves the viewer scrambling for solid ground. Dr. Shireen Hunter, Director of Islamic Studies at the European Policy Studies in Brussels, will introduce and afterwards discuss the 7 PM show on Thursday only. Iran, 1997. Color, in Farsi with English subtitles. 95 mins, 35mm.

Moe No Suzaku
Moe no suzaku is the first feature film by director Naomi Kawase (27). It won the Golden Camera award at the Cannes Film Festival in 1997. Prior to Moe, Kawase had made a number of interesting documentaries about her family and life in her native village, but nothing had prepared critics for the power of this feature. Like many Japanese narrators, Kawase is concerned less with plot than with mood and setting as she relates the story of a family disintegrating under economic pressures. The film, made with only one professional actor in the cast, is a nostalgic elegy to rural Japanese life. The director, who is now working on her second feature film, will be on the Boulder campus participating in the Japanese Women Filmmakers colloquium, October 5-7.

A Moment of Innocence
A Moment of Innocence is a brilliant film, one of the festival's (Toronto) finest. Here Makhmalbaf continues his examination of reality and art, documentary and fiction, social and personal life. At seventeen Makhmalbaf attempted to take a policeman's gun away from him. In the struggle he stabbed the policeman and was shot in turn. The director comments: "He was sent to the hospital and I was sent to a torture chamber." Twenty years later the same policeman showed up for an audition for Makhmalbaf's film, Salaam Cinema! The filmmaker writes: "Among the thousands of candidates there was my policeman. Since I had been disappointed by politics I didn't need his weapon any longer. Now he needed mine--the weapon of the movies!" Makhmalbaf takes a camera and provides the policeman with one too. They set about independently rehearsing young versions of themselves as part of a dramatic reconstruction of the original event. What emerges is an astonishing consideration of history, memory, regret and possibility. Makhmalbaf says: "We are merely seeking for the secret of 22 years of our lives lost to us." (Excerpt by David Walsh, WSWS). Iran, 1996. Color, in Farsi with English subtitles, 78 mins., 35mm. Not rated.

Motherland Hotel & Journey on the Hour Hand
Omer Kavur is one of Turkey's most prominent directors. Motherland Hotel (Anayurt Oteli) is his eighth film. On the surface there is a story about a hotel manager, Zebercet, who is haunted by loneliness. Below the surface, however, there is Kavur's fascination with objects, time, dreams, and the meanings behind them. Thus, an opening image of a woman is more important than it first seemed when it later falls in place as a memory of a real visitor, or perhaps a phantom one that, in one or the other form, haunts Zebercet and the hotel. (Turkey, 1986, color, Turkish with English subtitles, 115 mins., 35mm, not rated.) Journey on the Hour Hand (Akrebin Yolculugu) is organized like a mystery story, but set in a landscape out of time. Karem is a clock mender who is given a key and instructions on how to find a distant clocktower that needs to be repaired. The clocktower is owned by the femme fatele wife (Esra) of an aggressive businessman (Agah) and beneath this narrative are mythic currents of profound significance. Kavur's fascination with time rivals that of Alain Resnais, but whereas Resnais‚ characters are afraid they will forget, Kavur's can not stop remembering. (Turkey, 1997, color, Turkish with English subtitles, 115 mins., 35mm, not rated.) This program was made possible by the Anthology Film Archives and New York MayFest Executive Committee.

MUSIC AND FILM - M2F
The Modern Music Festival '99 presents 8 short films in two evenings of screenings and open discussions with filmmakers and composers. Music and Film explores the integral nature of art music and experimental film and the subsequent landscape they create. Print I (Thursday) begins with Stan Brakhage and composer James Tenney. The duo speak about their more than forty-year collaboration as depicted by the films Interim, Ellipsis..., and Christ Mass Sex Dance. Brakhage's film incorporating the music of John Cage, In Between, is also screened. Print II (Friday) offers a second night of screenings that include Phil Solomon's Remains to be Seen (music of Charles Ives), and The Exquisite Hour (music of Ives and Renaldo Hahn, sound design by Solomon). Russ Wiltse and Hobart Bell collaborate in the Boulder premiere of Trilogy, blending the musical score of Charles Eakin, the poetry of American Kenneth Patchen, and the lithographs of German artist, Paul Wunderlich. The electronic music score of John Drumheller merges with the visual images of Robert Schaller's A Trip to the Beach in this brief set of three vignettes. Five filmmakers and three composers will be on hand for one-on-one discussions with audience members in this Modern Music Festival first. The festival is dedicated to the creative works of living artists bringing together

My Best Fiend: Klaus Kinski
Werner Herzog's "My Best Fiend", an affectionate but far-from-whitewashed ode to his frequent collaborator (the late) Klaus Kinski. A reflective Herzog takes us through vintage footage of Kinski's blaphemous "Jesus" tours, candid behind-the-scenes footage, reminiscences from costars and lovers, and visits to past locations to paint an engrossing picture of a true showman and borderline madman who remains as fascinating as any special effect. But, you'll understand why South American natives offered to kill Kinski for free (as a favour to flustered Herzog) when you see him tear into an on-set caterer during one of his patented "raving fits". (Excerpt by Catriona M MacKenzie, MovieForum). "This documentary, a gallivanting time trip through a bolder film era, is Herzog's final collaboration with Kinski: an act of love and exorcism. - RICHARD CORLISS, TIME. Germany, 1999. Color, in German and English with English subtitles. 95 mins., 35mm.  Unrated.

My Son the Fanatic
My Son the Fanatic, directed by Udayan Prasad and written by acclaimed screenwriter Hanif Kureishi (My Beautiful Laundrette, Sam and Rosie Get Laid), is a film about a man living in a liberal society, who frees himself of repressive traditions and estranges himself from his intolerant family. The story is set in England where Parvez, a taxi driver, works tirelessly to bring better fortune to his wife Minno and his son Farid.  As his work takes him to the streets, Parvez befriends Bettina the local prostitute, and his new customer Schitz (played by Stellan Skarsgard), a German business man who is out nights searching for unrestrained fun. In spite of its title, My Son the Fanatic does not focus on the relationship between father and son. Rather, it uses the close ties of these two characters to create in them an urgency which tempts them to conquer each other's ideologies.  Parvez's own line of defense, "There are many ways of being a good man" becomes the film's central premise: it serves to justify Parvez's liberation, stripping him of culturally-based prejudice without denying his foreign ethnicity. In this manner, My Son the Fanatic stresses the difference between ethnic and ideological diversity. (Excerpt by Yazmin Ghonaim, Cinephiles) England, 1998, Color, in English, 87 min., 35mm. Rated R

The Mystery of Picasso
A filmed record of Pablo Picasso painting numerous canvases for the camera, allowing us to see his creative process at work. Using a specially designed transparent 'canvas' to provide an unobstructed view, Picasso creates as the camera rolls. He begins with simple works that take shape after only a single brush stroke. He then progresses to more complex paintings, transforming the entire scene at will, until at last the work is complete. (France 1956, 78 min Color)