Turbulent ëWingsí Israeli Filmmaker Bergmanís Story Focuses on Disintegration of Family by Ky N. Nguyen In the cinematic world inhabited by ìBroken Wings,î the ongoing Israeli-Palestinian conflict has no place. Israeli filmmaker Nir Bergman astutely depicts a disintegrating family too concerned with their own pressing problems to worry about events beyond their control. Bergman focuses on dissecting the personal interactions among the family members. After the sudden death of her husband, the widow Dafna (Orli Zilberschatz-Banai) climbs out of bed-ridden depression to work as a low-paid midwife on a hospitalís night shift. Financially strapped, she entrusts the care of her 11- and 6-year-old children to her 17-year-old daughter and 16-year-old son. The four children also have troubling personal issues that are explored. Bergmanís surname and familial subject matter make one think of legendary Swedish writer-director Ingmar Bergman, a comparison heightened by the charactersí surname of Ullman. That family name recalls Ingmarís frequent star actress, Norwegian Liv Ullmann, who recently directed films written by the Swedish master. Especially for Bergmanís first feature, the comparison to his namesake is an h onorable one. ìBroken Wings (Knafayim Shvurot)î (Hebrew with subtitles; 87 min.) opens Friday, April 16 at Landmarkís E Street Cinema. Hong Kong Action Reality Hong Kong cinemaís supercharged action sequences have made a lasting impact on films throughout Asia, America and elsewhere. Its hyperrealism is enhanced by the seemingly mad risks taken by stuntmenóoften the actors themselvesóthat would never be allowed in American films. ìRed Trousers: The Life of the Hong Kong Stuntmenî provides an illuminating portrayal of these unsung workmen on screen. The original cinema stuntmen were trained in the Beijing Opera, learning acrobatics, martial arts, dancing, singing and stylized acting. They were nicknamed red trousers after their loose pants. Famous Beijing Opera alumni include Jackie Chan and Sammo Hung, whose training is evident in their onscreen personas. They rose from stuntmen to acting, action choreography and directing. Robin Shou, a handsome stuntman-turned actor (ìMortal Kombatî), directs and narrates his first film with enthusiasm. His history lessons are educational if a bit diffused. Letís face it: What would this documentary be without clips of eye-popping action? Shou doesnít fail to deliver, demonstrating how stunts are designed. These segments are followed by their execution in ìLost Time,î a short science fiction fantasy film-within-a-film. ìRed Trousers: The Life of the Hong Kong Stuntmenî (English and Cantonese with subtitles; 93 min.) opens Friday, April 2 at Landmarkís E Street Cinema. YSL: Fashion Double Feature ìSeduction has replaced elegance.î The words of Yves Saint Laurent appropriately describe his provocative fashion philosophyómost known for its androgynous elements in the glam-rock era of the 1970s. David Teboul directs two complementary documentaries about the iconic French fashion designerówho seems to both love and hate himself. ìYSL: His Life and Timesî is a standard biography enhanced by Saint Laurentís own musings and Teboulís close access to Saint Laurentís trusted associates. These include enlightening stories from his partner Pierre BergÈ, muses Loulou de la Falaise and Betty Catroux, supermodel Laetitia Casta, and actress Catherine Deneuveóherself a French icon. ìYSL: 5 Avenue Marceau, 75116 Parisî provides a fascinating examination of the creation of Saint Laurentís final collection in 2001. Teboulís cinÈma-vÈritÈ technique eschews commentary in favor of the cameraís observations of the dressmakers, models and others in action. Saint Laurent drops in during the process to make refinements, creating a palpable tension in the air. ìYSL: His Life and Timesî (French with subtitles; 77 min.) and ìYSL: 5 Avenue Marceau, 75116 Parisî (French with subtitles; 85 min.) open Friday, April 9 at Visions Cinema/Bistro/Lounge. Blockbuster Independent ëPassioní Much discussed around the water cooler, ìThe Passion of the Christî has become a surprisingly successful cinematic phenomenon. Before it was ever seen, ìPassionî raised accusations of anti-Semitism because of its negative portrayal of the Jewish high priests who had Jesus arrested for his revolutionary ideas. After ìPassionî was ignored by the major studios, indie distributor Newmarket is distributing it in collaboration with Australian-American director Mel Gibsonís Icon Productions. His fiercely independent vision was produced with $25 million of the international superstarís own money. Originally, Gibson planned to release the film without subtitles in the dead languages of Aramaic and Latin, figuring his primary audience already knew the story of Jesusís final 12 hours before his Crucifixion. Even with subtitles, the plot and characters may be confusing to audiences. ìPassionî jumps right into the action, providing little context and intellectual discourse. With Caleb Deschanelís exceptional cinematography, Gibson succeeds in creating an intense visceral experience, visualizing an ancient story that may have been made abstract at times by its ubiquity. However, the prolonged, close-up violence may be distracting to viewers overwhelmed by the emotionally jarring atmosphere. James Caviezel provides an exceptional performance as Jesus, deeply suffering for nearly the entirety of the movieís running time. Other fine acting comes from Monica Bellucci as Magdalene and Maia Morgenstern as Mary. ìThe Passion of the Christî (Aramaic and Latin with subtitles; 127 min.) is now playing at the Avalon, AMC Mazza Gallerie, Cinema Arts and other area theaters. Repertory Notes Filmfest DC 2004, the Washington DC International Film Festival, begins April 21 with films from Australia, Brazil, Canada, China, the Czech Republic, Denmark, England, France, Germany, Iceland, Iran, Italy, Lebanon, Peru, Russia, Spain, Sweden, Switzerland and Turkey. The two special series are Argentinean Cinema Now! and Politics in Film. ((202) 628-FILM, www.filmfestdc.org) At the National Gallery of Art, the Milestones in Mexican Cinema series begins April 18 with Fernando de Fuentesís ìEl Compadre Mendoza.î Filmmaker Ignacio Dur·n Loera, director of the Mexican Cultural Institute, introduces the opening film. On March 3, NGA Film Curator Peggy Parsons received the Lifetime Achievement Award from the DC Independent Film Festival. ((202) 842-6799, www.nga.gov/programs/film.htm) AFI Silver Theatreís Cinema From the East series continues with Japanese writer-director Hirokazu Kore-Edaís films from April 2 to 15, including the U.S. theatrical premiere engagement of ìDistance.î Eight Senegalese features from Ousmane Sembene, considered the father of African cinema, play April 16 to 21. The review of Danish filmmaker Lars von Trier (ìDogvilleî) concludes with the theatrical run of ìThe Kingdom IIî from April 3 to 7. U.K. director Tony Richardsonís ìTom Jonesî plays from April 2 to 15. ((301) 495-6700, www.afi.com/Silver) The complete retrospective of Japanese auteur Yasujiro Ozuís existing films concludes at the Freer Gallery of Art, National Gallery of Art and AFI Silver Theatre. ((202) 357-2700, www.asia.si.edu/events/films.asp) In cooperation with the South African Embassy, the All Roads Film Project observes 10 years of democracy in South Africa from April 16 to 17. The Banff Mountain Film Festivalís Radical Reels program debuts in D.C. on April 30, featuring adventure sports from around the world. ((202) 857-7700), www.nationalgeographic.com/lectures/2004spring/filmfest.html) On April 15 at 7 p.m., the Smithsonian Associates present Jean-Luc Godard, the Man Who Revolutionized Filmóa lecture with film clips about the founder of the French New Wave. Speaker Colin MacCabe, of the University of Pittsburgh and the British Film Institute, was a protÈgÈ of Godard. ((202) 357-3030, www.residentassociates.org/rap/otoapr/godard.asp) April 9 marks the deadline to enter the DC 48 Hour Film Project competition, taking place May 7 to 9, followed by screenings at AFI Silver Theatre. (www.48hourfilm.com) Ky N. Nguyen is the film reviewer for The Washington Diplomat.