Father Geek here in Austin along with our editor in Rome, Robert, annnnnd another cool helping of our regular Euro-AICN weekly report... buuuut first I have a couple of bits that came directly to me here at the AICN World Geek Headquarters Compound in the heart of the Texas Hill Country... The first one deals with the nominations for The European Film Awards...

Haven't seen this mentioned on the site yet nor on any of the major film news sites yet so I figured I'd share. I'm particualrly excited about Spirited Away being nominated for Best Non-European Film! The inclusion of 8 Mile and My Big Fat Greek Wedding should give the haters something to whine about for at least a few weeks. The full list can be found here: Click Right Here

Meier

Father Geek Back with this...

I'm a little late, but I thought it might be relevant to drop you a line about Irreversible. I saw it at the NFT in London, with a Q&A afterward with Vincent Cassell and Gaspar Noe.

I don't know what the score is in the US, but the BBFC have announced that it is going to be released uncut in Britain, which is a victory for film, but only if they stress how graphic it is.

Clearly artistic in intent and important in style, Noe's film is thought provoking, challenging and hard-to-stomach. Cinematically is a virtuoso display, full of dizzying motion and structural trickery. Told in reverse chronology, a la Memento, the film truly charts an emotional development that is far more revelatory about human nature because it is told backwards, pinpointing our own assumptions and pre-conceptions, waiting for us to make judgements on violence before slapping us in the face with tenderness and sensitivity. I really don't like spoilers so I won't reveal any plot, but I will say this: Irreversible contains the most gut-wrenchingly, gorily realistic act of violence I have ever witnessed on celluloid and the most traumatising violation since Straw Dogs. Anyone seeking titillation from Monica Belluci should steer clear: it gets nasty, unpleasant and acutely harrowing.

But the thing is, you leave the film optimistic, refresehed, invigorated by the bravura film-making, which is invaluable nowadays. I will say no more, because if people want to discover details GO AND SEE IT, because a film of this nature needs SUPPORT.

A harrowing must.

Ricos

Now... Here's Robert and our report from Europe for this week...

Hi people. As expected, Italy designated Roberto Benigni’s Pinocchio as the official contender for our country in the race to the Oscar for the best foreign movie. Even if, from an artistic point of view, I don’t agree with this choice (I adored Emanuele Crialese’s Respiro, starring Valeria Golino. Don’t miss it if you have the opportunity to see it). But I can understand that, considering the Miramax distribution in the States, this is the only italian title which can compete for the Oscars. Other contenders were designed this week in Iceland, Spain, Iran and Bangladesh. You can read the full list by clicking here: Just Click Now.

Now, we can start with the regular column, which boasts Two Towers news, reviews of 28 Days Later (including one negative) and of Rabbit-Proof Fence, and an incredibly complete report from the Raindance Indipendent Filmfestival... Enjoy!

Two Towers News

I received a couple of great Decipher cards ads of The Two Towers by our reader Naquercio. You can see them by clicking here: Do It Right Now! They are at the top right of the page and you can see larger versions by clicking at the thumbnails.

The first ad (the one with the Saruman's hand over the palantir) means "Embrace the Power"

The title in the second ad is a quote of Gandalf and means: "His betrayel is stronger than you can imagine" (sorry, I haven't a copy of LOTR in english, so I'm not sure this is exact)

And now, The Two Towers mania is devastating Norway, as reports our contributor Maxpierre…

Hei, you guys !!!

Did you know that already more than 40 000 tickets for The Two Towers have been sold in Norway, in just a couple of days, meaning that already 1 percent of the whole population in Norway has tickets to see the movie. Imagine what that would be in the States; 2,8 million sold tickets in advance. Kind of cool though. People slept in tents and they created tent cities ahead of the relase of ticket sales.

By the way did you know that "Bowling for Columbine" won its first award here in Norway under the Bergen International Film Festival (BIFF), it won the Audience Film Award prize, in a competion with more than 100 other films. It received more than 25 percent of the votes. The next in line had less than half of that again.

Anyway, keep the good work up on the site.

Greatings from Maxpierre

Stanley Martin attended the Raindance Indipendent Filmfestival and saw a lot of cool movies, as Spider, Tadpole, El Bola and many others…

Hello AICN readers!

I haven’t had anything to report for a while, but I have now just returned home from London where I attended the RAINDANCE INDEPENDENT FILMFESTIVAL. So here is my report on what I believe is Europe’s cutting edge in showcasing independent films. I have seen 15 features, some of which I am going to write about here. I have also seen quite a few short films and documentaries as well as attended panels on issues ranging from financing to politics. Let me also briefly summarise those panels: It is becoming harder in Europe to finance films. Not even star actors and directors are a guarantee to get a film made – Cronenbergs Spider was apparently very hard to get the money for. But then again “films are not made, they are forced into existence!” Also, the German television market collapsing has erased a big source of revenue for filmmakers! Quite surprisingly nobody has had anything to say about the internet and how it will affect distribution and making money in the (near?) future, neither on piracy nor on self-distribution.

Before I start my comments on TADPOLE, MANITO, THE CLOUD OF UNKNOWING, BIKINI BANDITS, BRITNEY BABY ONE MORE TIME, FAMILY, MR. INBETWEEN, TUSSENLAND, SPIDER, STRASS, GETTING MY BROTHER LAID, ALL THE LOVE YOU CANNES, COASTLINES, EL BOLA and DIVERTIMENTO I have to point out that I don’t know if any of these films have started in the US yet and maybe some of them will not be news to you. Also, to get an idea what kind of movies I like, let me tell you that some of my favourite movies are DAS BOOT, UNDERGROUND, DR. STRANGELOVE, AMADEUS, VERTIGO, THE SHAWSHANK REDEMPTION and more recently FIGHT CLUB, MEMENTO, MOULIN ROUGE and the wonderful LOTR. I like STAR WARS mainly for the reason that one can discuss the series with many people who are emotional about them (otherwise I think it’s really just become the catalogue of what ILM can do), and I think PSYCHO, CASABLANCA and THE MATRIX are hopelessly overrated.

The opening night film was TADPOLE. It felt like an odd choice as compared to other films, with stars and Miramax attached, this movie does not really feel all that independent. TADPOLE is the nick-name of the main character of the film, who is actually called Oscar. He falls in love with his step-mother played by Sigourney Weaver, but accidentially sleeps (he is drunk and she gives him a massage) with her best friend. John Ritter plays his father, and his character alone makes it worth seeing. MIRAMAX also had the nerve to put a trailer of Full Frontal in front of the film – even though it was a gala premiere. Apparently Harvey recently got an award for supporting independent film and used that ceremony to show of trailers to his latest releases!!! I find the tactics of Miramax fant! astic – any movie that could be any good they try to buy. They just want to make sure no one else has a shot at trying to distribute it, so that no one can become serious competition to them. They keep a lot of movies on their shelf, just so that no one else can distribute them. What a great way to support independent film!

The next movie I saw was called MANITO. It felt a lot like HBOs REAL WOMEN HAVE CURVES, only without the upbeat feel of it at the end. It is the story of a mexican high school graduate in LA, and takes place in the night before he is of to college. While that of course is also nearly the outline of AMERICAN GRAFFITI, this movie could not be further away from it. College for this boy is possible on a full scholarship only. We get to know his family and that there would be no other way they could afford it. But life ain’t fair and the US is not that great a place when you are not white, that’s what Manito will learn that night. The film won a special Jury Price at Sundance for best group performance. It is also a beautiful film shot on DV and that alone would make it worth a look for anybody who wants to make a digital feature. (I believ! e VARIETY called it this years “most ambitious debut DV feature film.”)

THE CLOUD OF UNKNOWING, written and directed by Richard Sylvarnes and produced by Hal Hartley is a ghost story and DV feature. Shot on a shoestring budget (13.700 US $!) it tells a Bergmannesque story nearly without words. A doctor has lost his wife in a car accident. She was very happy just before she died, and it seemed that her last wish, “I wish this day to last forever” is becoming true. Shot on the godfather of digital cameras, the Sony VX1000, this is a wonderful example of technology having become so simple that it gives way to a new, or maybe just forgotten, kind of storytelling. I hope this film will show the ability of the director and there will be more from him. Also this movie screams out to other film makers: “Concentrate on the storytelling, the technical and financial side are not the issue any more. If you really want! to make your movie - just do it!”

I also got to see a “movie” called BIKINI BANDITS. Sex sells must be the lesson learned from this screening, as unlike most other screenings this one was well visited. There is no story, just episodes, not unlike the classic “Amazon women from the moon”, but not as good as that one. It shows a lot of beautiful women and somehow Corey Feldman (“I was in the goonies”) was pulled into this venture, apparently believing they were making art. They are all having a great laugh at themselves, and when you put enough commercials in between episodes this film will feel long enough to seem like a feature film, and not just like a 60 minute compilation of sketches and semi-nudity.

BRITNEY BABY ONE MORE TIME is the story of the greatest Britney Spears fan. No please, don’t skip this paragraph, read on. At a contest for a Spears Immitator the main price to be won is to meet Britney, and as it turns out the best impersonator is – here it comes – a man! A transvestite of asian origin! He is actually quite convincing. When he is kicked out of the venue where he is supposed to meet Britney because they think he is an impersonator, a camera crew picks him up and drags him around to the next concert venue. Following him they think they can shoot original footage and their director hopes to finance his next movie. The best moment must be when Punks want to kidnap Britney, and the impersonator pulls them on his side quoting Britney Spears Lyrics. With “my loneliness is killing me” they start to listen, and when he gives t! hem “Hit me baby one more time” they are all convinced that Britney really is quite dark. At a few moments like this the movie is hilarious, but unfortunately the idea is better than anything else. It is based on a real charakter, the impersonator actually did exist. The movie is well worthing seeing, but don’t expect too much and you will have a good evenings’ worth of entertainment.

FAMILY, a dutch movie playing in the Austrian mountains feels a lot like THE CELEBRATION, the great Dogma 95 film. Unlike in THE CELEBRATION the bad one here is the mother, and the family reunion is played out against her. Shot on Film, this movie is worth praising for its simplicity and strong characters. (I once heard an interesting interpretation of THE CELEBRATION: It is a turned over Oedipus Story; instead of the sun killing the father to be with the mother, in THE CELEBRATION the father kills the daughter and sleeps with the son? Sick, ain’t it? Oh, those Danes.)

Having just mentioned a Dogma 95 movie I will now write about STRASS which is Dogma 95 #20. This belgian movie seems to have jumped the queue, as many lower numbered Dogma movies have not yet been released. Shot on DV, this movie is a fake documentary about an acting school. The documentary tries to portray a “method” of acting which is based on living your emotions rather than just showing them. To be really, really upset the teacher will try to make you really upset, so once you have lived through that emotion you can act it. The one teacher that uses this method takes this as an excuse to harass women, and he doesn’t mind the camerateam. He thinks it will give his method credibility. It is hard to believe at points that people can be so self-destructing and so open when they know they are being filmed. It feels unbelieveable that pe! ople would want to give that kind of access, but then again I guess it would be possible. But being real and feeling real is not the same thing, and this movie did not work for me.

MR. INBETWEEN is another British Gangster movie, based on a novel by Neil Cross. It is not very original or good, but for one thing. The main character finds a long lost love and the reality of a relationship nearly pulls him out of his gritty and dark world of crime and violence. Otherwise there aren’t really any memorable moments and while the acting and directing is good, the movie just feels like we have seen it all before – too many times. What is the fascination with professional Hit Men? And why do film makers think anybody would be fascinated by then any more? Maybe if I met one in real life it would be different – maybe the director of this movie will send one out for me after writing this, then I’ll know…

GETTING MY BROTHER LAID aka MY BROTHER THE VAMPIRE is a sick German movie. It deals with a collection of serious issues and handles them very lightly and in a comic way. But the beautiful immages and simple answers to serious issues feel very disturbing. If the aim is to loose your virginity as a young girl and that of your handicapped brother, is sleeping with him really such a great answer? I am sure there are many countries where this would be considered acceptable, but to me it just feels sick. But 10 points to the title, that alone will surely sell the movie!

TUSSENLAND aka SLEEPING ROUGH is the winner of a major award at the Rotterdam Film Festival. It was also the highlight of this festival for me. It is the story of a grumpy old man and a young refugee from Sudan. Originally the old man wants to chase the young guy from the bench in has back-yard, but when his neighbours want him to leave too, he switches to the side of the young man, because his neighbours he can stand even less. A film about little changes, friendship, compromise. It feels real and beautiful! If you have a chance to get to see it, please do! Shot on beautiful 35 mm, this film is more than a feature film. The director comes from a background of documentaries and suceeds in telling a little story without effects or artifice – very much the opposite of what Spielberg usually does. If you too felt that Minority Report was ! patheticly bad, then go see this movie and you will be reminded what a good movie is!

SPIDER is David Cronenbergs latest film. It stars Ralph Fiennes and has critics hailing it as the best Cronenberg work yet. Spider is the nick-name of the main-character. He is mentally challenged and we watch him deal with his past from his perspective. Spiders’ past is played out as he watches on and Byrnes plays his father. The cast is wonderful and there is little one can write without giving too much away. It is certainly a great film for Cronenberg fans, I however found Fiennes not convincing in this role. The movie is quiet intense and has divine acting by Gabriel Byrnes that has a great impact on the story – without his ability to portray an exact emotion, an important point of the story could not be made.

Troma made a documentary about how they promote themselves, entitled ALL THE LOVE YOU CANNES. It is cheaply made and fun to watch for a while, but really just drags on. You find out that they have no boundaries and their stupidity is endless. HARRY KNOWLES is in the movie as the parade of Troma Volunteers (They pay for their own flight, to come to Cannes to promote Troma by doing things no film maker should have to do.) passes him by and screams “TROMA!”. If you have been to Cannes and are amazed how Troma gets attention, you might want to watch this doc. Otherwise if you realise that anyone who runs around naked will get press coverage from hundreds of bored journalists if he is in the right place at the right time, then maybe you need not be bothered with this.

COASTLINES is a DV feature from Florida by the director of Ulees Gold Victor Nunez. It explores a triangle relationship and is well crafted. However it shows that script teachers in the US tell their students to “put sex and violence into the script and it will be interesting” – well, it won’t necessarily. [It’s not sex and violence, it’s passion and force!] This is a feature film by an experienced director, who knows the rules and has a good cast – but the story is not going into any unfamiliar terrain, doesn’t come up with new ideas and feels in many ways like a big studio film – a sure bet, boring and predictable. If the director had some stars in it, this film might sell well even though it would not make it any more interesting. Like this however I don’t see how anyone would be interested in this production.

EL BOLA. This film is supported by Unicef for a good reason as it daringly touches on subjects of violence against ones own children. It does not preach, but rather shows the predicament an outsider to the family can come into when trying to help. It is a well acted film that feels frighteningly real. A young boy makes friend with a new student at school. When bored, the group plays a game of chicken – with a train. But the important part is how to deal with abuse, and looking at this well made and entertaining film is a valuable contribution to discussions on that topic.

And finally, the last film I went to see at this years RAINDANCE FILM FESTIVAL was the wonderful Spanish feature Film DIVERTIMENTO. It stars an aging TV star who finally wants some respect from the critics and not just success with the audience. To get it, nearly no price is too high and he hooks up with what turns out to be quite a psycho of a theater director. The director plays him expertly and lets him go through the emotions that he will need to play the role – but how far will the director go to let him know the emotions one feels about witnessing a murder. Will he just stage it or will he want everything to be real? Quite a movie, though in the second half it looses its edge.

So that was Raindance #10. I can highly recommend coming to London for this festival and getting a look at what is the state of independent cinema, especially in Europe. The name of course tries to counter the name of Sundance, London being rainy and all. But then, wouldn’t they have to call Sundance Snowdance, taking place in winter? Anyway, I know I don’t review much but I hope you liked my ideas and thoughts on the movies. Again I seriously recommend SLEEPING ROUGH, EL BOLA and BRITNEY BABY ONE MORE TIME. But that’s just me. Sorry as always for writing horribly long sentences.

Stanley MARTIN

P.S. I just checked in to www.raindance.co.uk. It looks like two of the movies I did not like at all, “Getting my brother laid” and “Strass” won awards at the festival. So much for my career as a critic.

Our great James Bartlett has seen Rabbit-Proof Fence and 28 Days Later and sent his thoughts. Instead, Tarn was very disappointed by Danny Boyle’s movie…

Rabbit-Proof Fence review by James Bartlett (spoilers)

d. Philip Noyce Everlyn Sampi, Tianna Sansbury, Laura Monoghan, Kenneth Branagh, David Gulpilil

The relationship between the Aboriginals and the settlers of Australia has always been a complex one - and continues to be to this day. Directed by Philip Noyce, Rabbit-Proof Fence looks at a story from a particularly dark period in its history.

In1931, Molly, Daisy and Gracie (Everlyn Sampi, Tianna Sansbury, Laura Monoghan) were forcibly removed from the arms of their mother on Government Order from "Protector of the Aboriginals" AO Neville (Kenneth Branagh) - because they were classified as "half caste".

The Australian Government reckoned that the mixing between white and Aboriginal people would eventually mean the end of the Aboriginal race, so AO Neville ("Neville The Devil" as the kids called him,) catalogued and judged every single child from a mixed relationship.

Those who were not "fair" - Molly, Daisy and Gracie in this case - were sent to Moore River, a camp for education and training. Fed on bread and water, they would be discouraged from speaking their own language, worship God and learn the delights of being a maid, servant or butler. And they would never be allowed to return home ever again.

So, quite apart from the obvious thoughts that such brutal separation and segregation brings to mind, thus ran the plan that the Aboriginals and the Australian could now live together in harmony.

Understandably, many children tried to escape and return to their families, but all were tracked and brought back by Moodoo (David Gulpilil), who suffers greatly as well as his own daughter is at the camp; his capture of runaways is the only hope he has to maybe get some mercy for her and have her returned to him.

Led by Molly (the oldest at 14 years old,) the three children make a run for freedom and set off on a long walk through the Outback to their home in Jigalong. The only guide they have is the Rabbit-Proof Fence, one of several huge fences that criss-crosses the country.

Unbelievably, two of them made the 1500 miles walk home and avoided capture by the Police and Neville's men, though their story did get out and Gracie alone was tricked into being re-captured.

Tragically, as we see in real footage of Molly and Gracie at the end of the film (and hear her tell us in voiceover) is that Molly later married and had two children - who were then also taken to Moore Rover with her a few years later. Astonishingly, she escaped and made the same momentous walk home AGAIN with one of her daughters - though she never saw her other daughter again.

Most shockingly of all, this plan of removing children carried on into living memory - 1970. Shame on you, Australia. No wonder these thousand of children are known as The Lost Generations.

Philip Noyce is better known for his high-budget films - films that often contain a level of good work; Patriot Games, Dead Calm, Clear and Present Danger and the soon-to-be-released The Quiet American.

But here, Noyce, an Australian, has taken a sad story onboard and worked with a passion to produce a restrained and even film. To his - and the writers - immense credit, it never lapses into Hollywood cliché or goes for the heartstrings in an easy way.

Instead, it is almost a paean to Australia and the beauty of the country - a sharp contrast with the story of the Aborigines, who were in Australia to see its beauty grow before anyone else even knew the country existed. Even Branagh, crisp as AO Neville, gets some sympathy - he was no outright villain; if he hadn't cared about the children he could have easily left all the escapees to die in the desert sun.

Also worth a mention is the music by Peter Gabriel - making another welcome rare excursion into films. His soundtrack is a perfect mix of Aboriginal music, soundscapes and harmonies - in fact, the sounds of the outback form such a major part of this short-on-dialogue film that almost very little needs to be said in the end; which is why we fittingly start and end with the voice of Molly.

Rabbit-Proof Fence is almost Oscar-worthy in many areas; certainly in the way it is directed (almost like a documentary, often shooting from child height), the way it is shot (Australia looks vast and beautiful) and even the performances - heart-breakingly naïve and determined as the same time.

Rabbit-Proof Fence is a highly moving film and one that all involved with it can be justifiably proud of - it's a shame that few people will be interested enough in the subject to go and see it.

28 Days Later review by James Bartlett (Spoilers)

d. Danny Boyle Cillian Murphy, Naomie Harris, Brendan Gleeson, Megan Burns, Christopher Eccleston

The latest film from the people who bought us the superb Trainspotting and Shallow Grave (before going to Hollywood and losing it a bit with A Life Less Ordinary and The Beach), here Boyle et al give us an apocalyptic zombie horror film. Like you do.

28 Days Later starts when Animal Rights Activists break into a laboratory to release monkeys who are undergoing unusual experiments; prolonged exposure to scenes of war, rioting, lynching and bombing.

A Scientist begs them not to release the monkeys; they are all infected with a bizarre "rage" virus due to the experiments and this virus is highly contagious - if you are exposed to it, it turns you into a raging zombie within seconds.

28 days later, Jim (Cillian Murphy) wakes up in hospital, just recovered from a car accident. As he blinks back into life, he sees that the ward.. the hospital.. the roads.. the streets .. the whole of London is deserted. Something very, very bad has clearly happened.

After being saved from zombies that he stumbles upon in a corpse-ridden church, Jim and knife-wielding Selena see fairy lights in a tower block window - and there they find two other survivors - Frank (Brendan Gleeson) and his daughter Hannah (Megan Burns).

Taking Frank's taxi, the intrepid gang make their way North after hearing a repeated army radio transmission that says there is a safe blockade outside Manchester. After a close shave in the Dartford Tunnel - where they see thousands of rats fleeing from the infected people - they arrive at the blockade and meet Major West (Christopher Eccleston).

But the blockade and the soldiers are not what they seem; totally cut off from the outside world in a specially fortified manor house, the normal rules don't apply anymore in their apocalyptic world.

Unsure of what to do but keep the zombies away from the house (and they come every night,) they keep an infected soldier chained in the grounds to see how long it takes him to starve to death - what else can they do to work out when they can try and start again? Though to rebuild the country they also need women - and West has done a deal with his men.

28 Days Later is an absolutely cracking film. You cannot tear your eyes away from the screen from the first scene and the scary moments keep coming in the best tradition of horror films.

Aside from the action and pace - both of which are fast and effective - the sheer scope and ambition for the look of the film is awesome; god alone knows how they got all those scenes of an empty London - nothing stirred or flickered, just a few birds flew by. It was almost a surreal and beautiful postcard of the capital.

The acting too was played just right; Murphy and Harris outstanding, with solid cameos from Gleeson and Eccleston.

Sure, it was shot on digital - which, I'm sorry, still looks crap - but every now and then it really worked as it lined up perfectly with the panicky story and the barren landscapes, though it seems that the ending (shot on film) was clearly tacked on to be more upbeat - a shame.

That said, you are on the edge of your seat all the way through and 28 Days Later is one of the best films of the year - and the best British film for a long time.

James Bartlett

28 Days Later review by Tarn

Having read the overwhelmingly positive reviews for 28 DAYS LATER, I felt compelled to give you my view on what I thought was an incredibly disappointing film. So here goes...

There are several problems with the film. To begin witih, it has one of the worst scripts I've ever had the misfortune to experience, which drags down the entire rest of the film. Ludicrous plot twists, stupid and unconvincing character development and actions, and astonishingly bad dialogue. It really is terrible. How some people think it is an excellent and innovative effort really perplexes me.

On top of that we have really bad acting. When it's at its best it is only ok, and when it is at its worst it is mind-bogglingly poor. The young girl 'actress' is probably the least talented person I have ever known to exist.

Then there's the facts that the pacing is completely off, the humour is unfunny and inappropriate, and the cinematography and editing renders much of the action incomprehensible. Ah yes, the cinematography. Much has been made of the fact that most of this movie was shot using miniDV. How they were able to make it cheaper because of it. More flexible. Etc etc.

Well. This is the ugliest, most horrendous-looking film I have ever seen. It looks disgusting.

Not in a grittily realistic, grainy way, like dodgy film stock sometimes looks. This is just downright ugly. It gave me a headache just to watch it, with the shimmery, overly-compressed picture sliding all over the screen as if someone had smeared vaseline all over it. In big wide shots, where you see the main character wandering through London, you can't make out any detail, because there *isn't* any detail. You can barely spot the main character, as he's just a pixelly blue smudge somewhere on the screen.

A supposedly grand shot later in the film, where you see a large expanse of fire, is so badly shot that you can barely make out what you're looking at.

They switch to using traditional film at the end of the movie. So presumably they were deliberately going for the horrible miniDV aesthetic. Huge, huge mistake.

Oh, and the music is poor and inappropriately used.

And it portrays zombies in a silly way, and yet purports to be a Big Serious Film (don't get me wrong, I love zombies. But the way these are portrayed is just daft. Everyone goes on about how amazing it is to see zombies running...but it really isn't all that special in the movie).

I was really quite shocked at how bad it was. It was made by the guy that did Trainspotting for god's sake.

Best (British) horror film for years? Not by a long shot. That honour quite evidently goes to Dog Soldiers.

Tarn

That’s all for today See you next week

Robert Bernocchi

rob.bernocchi@caltanet.it

http://www.caltanet.it/2003/index.php?id_arg=2003&desc=CINEMA