Death of a Prophet ëLumumbaí a Chilling Political Thriller About Congo Leader by Ky N. Nguyen On June 30, 1960, the Congo declared independence from Belgium, following the independence of other European colonies across Africa. Patrice Lumumba, a 36-year-old self-taught nationalist, lasted a mere two months in office as the Congoís legendary first prime minister. With "Lumumba," director Raoul Peck presents a chilling political thriller that summarizes the quick rise and fall of the "politico of the bush"óas Lumumba was dubbed by the press. Lead actor Eric Ebouaney (known to area audiences for "When the Catís Away" and "The Children of the Marshland") carries the film, bringing to life the mythical leaderís charismatic spiritual and internal conflicts. Alex Descas (Olivier Assayasís "Late August, Early September" and "Irma Vep" as well as Claire Denisís "I Canít Sleep") delivers a quietly effective supporting performance as Joseph Mobutu, Lumumbaís friend turned Brutus. Mobutu later became the countryís infamous dictatorial president, renaming the country Zaire. It has now reverted back to its former name of the Democratic Republic of the Congo, or simply Congo. Peckís meticulous research pays off in the det ailed production design. The shots in "Lumumba" feel entirely authentic. Because of the ongoing conflict in the Congo, the film could not be shot there with any guarantee of stability. Initial footage was shot in Zimbabwe before insurance costs became astronomical. Most of the exteriors were shot at the port of Beira in Mozambique, where Peck "felt myself transported back to LÈopoldville in the í60s. Streets, houses, facadesóit was all there, in dilapidated condition, but as I would have dreamed it." Other scenes were filmed in Belgium. "Lumumba" is Peckís second crack at the subject. He made the award-winning 1991 documentary, "Lumumba: Death of a Prophet." For Peck, the line between a documentary and a dramatic film is arbitrary. He describes the 2000 feature: "This film is not an ëadaptation.í It aims to be a true story. I want to extract the cinematic narrative from the reality by remaining as true to the facts as possible." While writing the script, Peck was forced to "reduce the reality because it was so complex." He said: "In this literary mass, it is hard not to lose track of the large cast of characters." Unfortunately, thatís exactly what happens to the viewer. The somewhat muddled final impression ultimately weakens the impact of "Lumumba." Italian director Valerio Zurlini took a different approach when he tackled Lumumba in1968ís "Black Jesus (Seduta Alla Sua Destra)." Rather than tell Lumumbaís life story, Zurlini simply focused on Lumumbaís final days under incarceration before his execution. Starring American actor Woody Strobe, the contemplative character study played earlier this year as part of the Zurlini retrospective at the National Gallery of Art. Peck grew up in the Congo, the son of Haitian teachers recruited to replace the Belgians who fled after independence. After working as a journalist, he studied filmmaking in Berlin and has made a number of features and documentaries. He just received the Lifetime Achievement Award from the Human Rights Watch Festival in New York, where he also received the Nestor Almendros Prize in 1994. "Lumumba" (French and Lingala with subtitles, 114 min.) opens July 13 at Visions Cinema Bistro Lounge. A Modern Fairy-Tale "The Princess and the Warrior" is the highly anticipated return of director Tom Tykwer and actress Franka Potente following "Run Lola Run," their international kinetic sensation. This time, the film moves along what Tykwer calls a "slow-motion rollercoaster," with simmering tension reminiscent of his debut, "Deadly Maria." He creates a dreamy fairy-tale that takes the viewer into the protagonistís world, where her own logic and rules apply. Sissi (Potente) is a naÔve nurse living a sheltered life working in a mental asylum. Sheís injured in a freak accident caused by Bodo (Benno F¸rmann), an ex-soldier who saves her life. She believes Bodo is the man of her destiny, but he rebuffs her advances. Potente takes a risk by playing a mousy character that isnít glamorous. She largely succeeds in anchoring the film. The viewer never thinks of her as a movie star. F¸rmann, Joachim KrÚl (who plays Bodoís brother Walter), and the rest of the cast deliver solid performances. As usual with Tykwerís work, the photography, editing, and score are distinctive and integral components. The ambitious construction is engaging but falls short of total completion. The viewer is kept somewhat at a distance, preventing full absorption into Sissiís meditative mind-set. "The Princess and the Warrior (Der Krieger und die Kaiserin)" (German with subtitles, 134 min., scope) is now playing. Coming Out Audiences in the United States have become accustomed to seeing the great actor Daniel Auteil in rather somber roles ("The Widow of Saint-Pierre," "Thieves"). In the breezy comedy "The Closet," he still plays the straight man, but this time itís for laughs. Following up "The Dinner Game," writer-director Francis Veber delivers another very "French" comedy of errors. Veber devises tragic situations that provide the seeds for comic social commentary. FranÁois Pignon (Auteil) is a staid accountant whose life is in a rut. After he inadvertently finds out he will soon be fired, his new neighbor, a retired industrial psychologist, suggests that he plant evidence suggesting heís homosexual. The plan is intended to deter his firm from firing him to avoid accusations of discrimination. Pignonís behavior stays the same, but everybody looks at him in a new light. As their perceptions change, Pignonís situation takes a turn for the better. Auteil does a difficult job portraying a serious character in a wild farce. The outrageous comedy is enlivened by fine performances from the ensemble cast, including GÈrard Depardieu, MichËle Laroque, Thierry Lhermitte, and Michel Aumont. "The Closet (Le Placard)" (French with subtitles, 84 min., scope) opens July 6. What Price Glory? Directed by Dominique Deruddere, "Everybodyís Famous!" amusingly satirizes the celebrity-obsessed culture that has become pervasive worldwide. Itís a humorous light comedy befitting its midsummer opening. At certain points, the film stalls a bit and tests the viewerís patience watching the charactersí stupid actions. In the end, however, the story eventually delivers a satisfying payoff reinforced by the infectious soundtrack. Jean is a factory worker who dreams that his teenage daughter Marva will become a big pop star. He has untiring faith in her talent despite her ambivalence and repeatedly lackluster results in local singing contests. A prototypical stage father, Jean will do anything to bring Marva the success he believes she deserves. A chance encounter provides him with an appropriately outlandish scheme. "Everybodyís Famous!" is the final 2000 Academy Award Best Foreign Language Film nominee to be theatrically released in DC. It follows the late June releases of "Divided We Fall" (Czech Republic) and "The Taste of Others" (France) as well as the earlier "Crouching Tiger, Hidden Dragon" (Taiwan) and "Amores Perros" (Mexico). Itís very unusual for all five nominees (and any Flemish film) to receive U.S. distribution. "Everybodyís Famous! (Iedereen Beroemd!)" (Flemish with subtitles; 99 min.) opens July 13. Repertory Notes The Freer Gallery of Artís Made in Hong Kong film series (www.asia.si.edu/programs/film.htm, (202) 357-2700) includes area premieres of Gordon Chanís action thriller "2000 A.D." and Wilson Yipís romantic drama "Juliet in Love." The National Gallery of Art (www.nga.gov/programs/film.htm, (202) 842-6799) presents New Canadian Documentaries. In conjunction with the Italian Cultural Institute, it also begins two programs featuring director Ermanno Olmi and the "king of comedy" TotÚ. The Capitol Hill Arts Workshop (www.filmsonthehill.com, (202) 547-6839) shows early British thrillers: Hitchcockís "Blackmail" (1929) on July 20 and the Hitchcock-like "Non-Stop New York" (1937) on July 30. "Blackmail" is silent and will have live piano accompaniment by Ray Brubacher. The Maryland Arts Festival (www.towson.edu/centerforthearts, (410) 704-2787) includes three programs at Towson Universityís Center for the Arts Concert Hall: Anime of Hayao Miyazaki, Men Remaking Women (including 1938ís "Pygmalion" and 1990ís "La Femme Nikita"), and Opera Film Series. Ky N. Nguyen is the film reviewer for The Washington Diplomat.