Film Reviews ï Transcendent Rhythm of ëRunnerí ï Director's Uncut ï 'Late Marriage': Duty Calls ï Repertory Notes Transcendent Rhythm of ëRunnerí Ancient Inuit Tale of Atanarjuat Told with Modern Means by Ky N. Nguyen For his debut feature, Canadian Inuit director Zacharias Kunuk followed the sage advice often given to first-time independent filmmakers: "Make a film about what you know." For countless generations, elders in the Nunavut Territoryís hamlet of Igloolik (population 1,200) have kept the legend of Atanarjuat alive through oral history, teaching young Inuit the dangers of setting personal desire above the needs of the group. "The Fast Runner," the first feature using the unwritten Inuktitut language, uses digital video technology to express the ancient story within a mode rn visual medium. The innovative result constitutes a surprising reinvention of cinema, transcending cultural boundaries with a universally accessible tale. American cinematographer Norman Cohn (a resident of Nunavut since 1985) uses widescreen digital betacam technology to capture memorable images of the otherworldly Arctic North, particularly well suited for the video mediumís distinctively harsh look. Transferred to 35mm film, the compositions exquisitely capture the vastness of the brilliantly white landscape, sky and sea. The Igloo interiors are glowing with light from the daytime sun and nighttime fire. The thrilling action sequences are full of kinetic excitement. The late screenwriter Paul Apak Angilirq adapted the oral legend to the screen from eight versions told to him by Igloolik elders. Kunuk fleshes out the story on camera with examples of everyday life: food preparation, clothes making, igloo construction, seasonal migration, etc. Extensive work was required to recreate the documentary-like details. The naturalistic acting by nonprofessionals (in the vein of much modern Iranian cinema) helps make the alien setting seem entirely believable in a neorealistic fashion. Like Stanley Kubrickís "Barry Lyndon," a vastly underrated period piece, "The Fast Runner" thrusts the viewer into the methodical rhythms typical of life in the filmís setting. Just like a traveler who crosses time zones to enter a foreign land, the viewer soon adjusts to the new environment and becomes fully absorbed but not entirely complacent. Ethnographic film pioneer Robert Flaherty first placed the culture of the Inuit (which means "a man, preeminently") on screen with 1922ís "Nanook of the North." The groundbreaking silent film, told from an outsiderís perspective, seems quaintly dated compared to the vivid experiences lived by the Inuit in "The Fast Runner." An evil shamanís curse has divided the people into two clans, putting in place an inevitable clash when two infant boys (one from each clan) grow up to want the same woman. The congenial and fleet-footed Atanarjuat (Natar Ungalaaq) loves Atuat (Sylvia Ivalu), but she is betrothed to Oki (Peter-Henry Arnatsiaq), the jealous and hot-headed son of the chief. To complicate matters, Okiís sister Puja (Lucy Tulugarjuk) lusts after Atanarjuat. As expected, endless violent troubles ensue. The film won the CamÈra díOr (Best First Film) at Cannes last year and picked up six Genies (Canadian Oscars), including Best Picture and Director. Throughout the worldwide festival circuit, it has been a smashing success. After screening at Filmfest DC, "The Fast Runner" returns for a welcome Washington, D.C., area engagement. "The Fast Runner" opens with the caveat, "I can only sing this song to someone who understands it." Remarkably, legions of non-Inuit viewers can now follow that song. "The Fast Runner (Atanarjuat)" (Inuktitut with subtitles; 172 min.) is now playing at Landmark Bethesda Row, Cineplex Odeon Shirlington and Visions. ëCinema Paradisoí: Directorís Uncut Unfortunately, longer is not always better. "Cinema Paradiso: Directorís Cut" adds deadening bloat to one of the most beloved foreign-language films of all time in the United States. The two-hour release that won the Best Foreign Language Film Oscar succeeded on director Giuseppe Tornatoreís skillful manipulation of the audienceís emotions through predictable, if well-executed, sentimentality. That sweet cream puff fails to stay fresh and intact over the nearly three-hour length of the more serious extended version. After nearly 30 years, Salvatore (Jacques Perrin), a famous Italian film director, returns home to his Sicilian village for the funeral of his surrogate father figure Alfredo. The visit brings back memories of Salvatoreís life as a child (Salvatore Cascio)ówatching movies that inspired him and learning the art of film projection from Alfredo (Phillipe Noiret). The added length primarily fleshes out the story of the adolescent Salvatoreís (Marco Leonardi) doomed romance with his higher-class girlfriend Elena (Agnese Nano). The directorís cut explains how Salvatore wins over the reluctant Elena using an unconvincing stalker-like technique. Further insidious details regarding their romanceís collapse are revealed when the adult Salvatore encounters Elena (Brigitte Fossey) after Alfredoís funeral. Though they tie up loose ends, the dark tone and implied message of this supplemental section fail to effectively mesh with the rest of the movieís light touch. Already shortened from its original length for the Cannes premiere, the film received additional cuts by the time it reached U.S. shores. The American release of "Cinema Paradiso: Directorís Cut" restores those missing scenes to viewers in the United States. (Tornatoreís preferred full-length version has been previously available on video in Europe.) "Cinema Paradiso: Directorís Cut" (Italian with subtitles; 173 min.) is now playing at Cineplex Odeon Dupont Circle and Cineplex Odeon Outer Circle. ëLate Marriageí: Duty Calls Israeli director Dover Kosashvili, born in Soviet Georgia, uses his debut film "Late Marriage" to studiously depict the Georgian ÈmigrÈ community of Tel Aviv. With unflinching realism, the dramatic comedy analyzes the painful tensions between following oneís heart and fulfilling oneís expected duties. The clash between the Old World and the New World is still a part of life in many areas of the world. Zaza (Lior Ashkenazi), a 31-year-old philosophy doctoral student in Tel Aviv, is under pressure from his Georgian immigrant family to marry a proper bride. In the meantime, heís having a passionate affair with Judith (Ronit Elkabetz)óan older divorced Moroccan Jew who has a 6-year-old daughteródefinitely an unsuitable candidate. The script works on many levels, portraying a variety of situations illustrating the tragic comedy of Zazaís situation as a dutiful son. Kosashviliís deliberate direction and the ensemble castís nuanced performances prevent the film from becoming a hysterically melodramatic TV movie-of-the-week. The on-screen chemistry between Ashkenazi and Elkabetz lends authenticity to the love and affection between their characters. "Late Marriage" premiered at Filmfest DC. "Late Marriage (Hatuna Meuheret)" (Georgian and Hebrew with subtitles; 100 min.) opens Friday, July 5, at Visions. Repertory Notes The popular annual Hong Kong film series returns to the Freer Gallery of Art. Highlights include Wong Kar-Waiís ravishing romantic drama "In the Mood for Love" (Sun., July 21, 2 p.m. and Fri., July 26, 7 p.m.), Jeffrey Lauís delirious comic-action epic "A Chinese Odyssey" (Fri., July 12óPart 1: 3 p.m., Part 2: 7 p.m.), and Andrew Lauís blockbuster martial arts fantasy "The Stormriders" (Sun., July 14, 2 p.m. and Fri., July 19, 3 p.m.). ((202) 357-2700, http://www.asia.si.edu/programs/film.htm) At the National Gallery of Art, heralded Canadian animator FrÈdÈric Bach receives a tribute showcasing his work (Sun., July 6). New Canadian documentaries run from July 7 to 20. ((202) 842-6799, http://nga.gov/programs/film.htm) On Tuesdays from July 2 to 23, four recent Italian films make their Washington premieres at the Italian Cultural Institute. Selections include Claudio BondÏís "Giulioís Education," Mimmo Caloprestiís "I Prefer the Sound of the Sea," Luciano Emmerís "A Long, Long , Long Night of Love," and Marco Pontiís "Santa Maradona." Ky N. Nguyen is the film reviewer for The Washington Diplomat.