Unlucky in Love ëAuditioní Is Slow-Brewing Cauldron of Japanese Horrors by Ky N. Nguyen Also on this page: ï Repertory Notes ï Thai Volleyballóin Drag ï ï Come Undoneí Growing Up ï Feminism of ëFat Girlí ï ï ëGloomy Sundayí in Budapest ï Perils in the ëForestí ï Takashi Miikiís disturbing "Audition" is a true art film, very unlike the typical horror movie. In fact, no clear act of horror is depicted until after 70 minutes. Before then, Miiki carefully constructs a complacent atmosphere depicting Japanese middle-class life. Even without intimate knowledge of Japanese culture, you should be able to grasp much of the social commentary, which focuses on the imbalance between the sexes while addressing the repression of both. Miikiís measured pacing, precisely composed frames, and distant perspective have been compared to Yasujiro Ozu ("Tokyo Story"). Within a modern context, however, the e arly partís tender romance seems almost French in its casual nature. Further defying categorization, "Audition" could be considered a neo-feminist horror film. In this slow-brewing psychological thriller, Shigeharu Aoyama (RyÙ Ishibashi), who owns a video production company, is a lonely widower raising a son alone. Heís persuaded by a friend, Yasuhisa Yoshikawa (Jun Kunimura), to hold mock auditions to meet a potential wife. Even if they wind up making the movie, a suitable actress wouldnít make an appropriate spouse, who would have to be chosen from the rejects. This reflects a tension inherent in todayís Japanese society, where the conceptual image of a traditional docile housewife conflicts with that of a modern woman. Aoyama is intrigued by the striking application he receives from the mysterious Asami Yamazaki (Eihi Shiina). His interest is piqued after her quietly charming audition, which stands apart from the extroverted grandstanding of the other would-be actresses. While Aoyama is entranced, Yoshikawa suspects something is wrong. As the romance develops, Miiki drops small clues supporting Yoshikawaís suspicions. Suddenly, the straightforward narrative becomes fractured with scary flashbacks and hallucinations, blurring reality into phantasmagoric chaos. An assistant to Shohei Imamura, Miiki has been prolific for a decade. "Audition," his first film released in Washington, D.C., has caused a stir in Japanese theaters, film festivals and art houses worldwide. While certainly not for the squeamish, itís a meaty reward for the adventurous cineaste. "Audition (Odishon)" (Japanese; 115 min.) plays Nov. 30 to Dec. 2 at Visions Cinema/Bistro/Lounge. Thai Volleyballóin Drag "The Iron Ladies," directed by Youngyooth Thongkonthun, is the first Thai film in memory to receive American release. Even more so than "Audition," itís like nothing ever seen. The sweet comedy is based on a true story about a Thai menís volleyball team, contending for the 1996 national championship, made up mostly of gays, transvestites and transsexuals. The story begins when the new Coach Bee (Shiriohana Hongsopon)óa lesbianótakes the helms of a menís team. She holds new tryouts and chooses two homosexual players, Mon (Sahaphap Tor) and Jung (Chaicharn Nimpulsawasdi). All of the existing teammates quit in protest except for the captain, Chai (Jesdaporn Pholdee). The two new members then recruit their mostly flamboyant friends to fill out the roster. In real life, the team developed a large and faithful following. If the characters were straight or Western, the movieís familiar sports plot, campy acting, and message of tolerance would be much less interesting. Within its unfamiliar context, however, the second highest grosser in Thai history is easily digestible by global audiences. "The Iron Ladies (Sa Tree Lex)" (Thai; 104 min.) plays Dec. 14 to Dec. 16 at Visions Cinema/Bistro/Lounge. It premiered at Reel Affirmations in October. ëCome Undoneí Growing Up Directed by SÈbastien Lifshitz, "Come Undone" is, in many ways, a typically French coming-of-age story. Its detached perspective permits the charactersí actions to unfold without judgment. Still, their emotions are on full display, showcasing their internal and external conflicts. Mathieu (JÈrÈmie ElkaÔm)óa confused, introspective 18-year-old boyóis on vacation in Brittany with his troubled family. He discovers his sexual orientation when he meets CÈdric (StÈphane Rideau of "Wild Reeds"), someone whoís more experienced and assertive. Mathieu questions where his life is going. Instead of going to college in Paris as expected, he decides to stay in northern France with his new lover and enroll in school there. Unfortunately, troubles lie ahead for the young man. Lifshitz transcends the standard fare by shifting perspectives in time, telling the story in parts. He also avoids displaying many conflicts, revealing only the emotional results on screen. The lead actors vividly depict them with raw but subtle intensity. The spare technique is challenging but rewarding for an active viewer willing to hunt for buried treasure. "Come Undone (Presque Rien)" (French; 100 min.) plays Dec. 7 to Dec. 9 at Visions Cinema/Bistro/Lounge. It premiered at Reel Affirmations in October. Feminism of ëFat Girlí "Fat Girl," directed by Catherine Breillat (the controversial "Romance"), is a provocative, unusual feminist tale (just banned in Ontario). AnaÔs (AnaÔs Reboux) is an introverted, bulimic 12-year-old girl with a beautiful 15-year-old sister, Elena (Roxane Mesquida). The sisters share an intense love-hate relationship. AnaÔs is a passive spectator of life while her sister is busy coming of age. While the family is on vacation, Elena meets Fernando (Libero De Rienzo), a handsome law student. Fernando employs his verbal skills to persuade Elena into bed in the room she shares with AnaÔs, who cries herself to sleep during the episode. Fernando continues to seduce Elena with linguistic and material devices. When the girlsí mother (ArsinÈe Khanjian) finds out about the affair, she furiously cuts the vacation short, but the familyís adventure is not over. Unlike a typical coming-of-age story, the filmís main perspective is that of a bystander, AnaÔs, whose insights are dead on. The frankness of the filmís action and dialogue provide a raw truth, reinforced by documentary-like detachment and natural acting. With an unexpected ending, Breillat lives up to her reputation for shocking viewers and forcing them to think. "Fat Girl (¿ Ma Soeur!)" (French; 93 min.) is now playing in Washington, DC. ëGloomy Sundayí in Budapest Inspired by the iconic hit song of the 1930s, "Gloomy Sunday," directed by Rolf Sch¸bel, hauntingly depicts a tragic love story in Budapest before and during World War II. Beautifully photographed, the film seductively brings to life a prosperous time before the war and the shattered aftermath of the warís outbreak. Played repeatedly, the title track is unforgettable, complementing both positive and negative images. The story involves a Jewish restaurant owner (Joachim KrÛl), his beautiful female assistant (Erika Marozs·n), and a young composer (Stefano Dionisi) who are involved in a tense but stable love triangle. With the arrival of a German businessman (Ben Becker), the conflict increases when he also becomes romantically interested in the young woman. When the German returns as an SS colonel during the occupation, he assumes a position of power. The filmís flashback structure delineates the interpersonal entanglements among the characters, well portrayed by the primary cast. The eloquent story shows the conflicts often inherent when balancing competing interests of friendship, love, loneliness, power and survival. "Gloomy Sunday (Ein Lied von Liebe und Tod)" (German; 114 min.) plays at the Washington Jewish Film Festival Dec. 8 to Dec. 9. It premiered in the New Films from Germany series at AFI in January 2000. Perils in the ëForestí "Facing the Forest," directed by Daniel Wachsmann, is a steadily paced film noir set in the Carmel forest near Galilee. The atmosphere amid the eerily lit woods is full of uncertain tension. The intelligent script quietly comments on the his torical and modern interplay between Muslims, Christians, and Jews in the area. Alex (Gal Zayad), a history doctoral student, takes a stress-free job as a firewatcher to allow time to finish his thesis on the Crusaders of the region. He stumbles across the ruins of a castle of the 12th-century Christian knight Eduard La Grand. Intriguing evidence, including an ancient coin, indicates that the Christian hero may have converted to Islam. Alex also finds a dead body that later vanishes. Alex is pulled in multiple directions by mysterious forces representing divergent interests. The actors effectively depict roles portraying different elements in modern Israel: a quiet academic, an ultraconservative Jew, a working-class Arab, a driven capitalist and a police official. However, the characters arenít fully developed, somewhat weakening the impact of the made-for-TV drama. "Facing the Forest" (Hebrew; 96 min.) plays at the Washington Jewish Film Festival Dec. 3 and Dec. 9. Repertory Notes With 39 films from 22 countries, the Washington Jewish Film Festival runs through Dec. 9 (800-494-8497, http://www.wjff.org). The closing night French feature, "Once We Grow Up" (with director Renaud Cohen), is followed by wine and music. The epic political thriller "Zar Gul," which premiered at Filmfest DC, is the first international Pakistani film in more than 20 years. At a time of heightened interest in Pakistani politics, it returns to Washington at Visions Cinema Bistro Lounge on Dec. 11 at 5:30 p.m., with director Salmaan Peerzada and star Imraan Peerzada in attendance. Also catch the Visions Film Feast, presenting 12 films in 21 days ((202) 667-0090, http://www.visionsdc.com). The celebration of Marlene Dietrichís 100th birthday winds up with screenings at the Capitol Hill Arts Workshop, Library of Congress and National Gallery of Art (http://www.goethe.de/uk/was/md_film.htm). German-born chanteuse Karen Koehler performs a musical tribute to Dietrich Dec. 6 to Dec. 7 at 8 p.m. at the German Embassy ((202) 625-2361, http://www.embassyseries.com). The retrospective of Japanese director Kon Ichikawa, master painter of wide-screen images, finishes at the Freer and Sackler Galleries ((202) 357-2700, http://www.asia.si.edu/programs/film.htm) and the National Gallery of Art ((202) 842-6799, http://www.nga.gov/programs/film.htm). Ky N. Nguyen is the film reviewer for The Washington Diplomat.