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Beat Film Festival 2015
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May 28 - June 07
Formula Kino Horizon 
 The 6th Beat Film Festival will take place in Moscow from 28 May to 7 June 2015. In this year the festival will feature music documentaries and a one full-length film about William Burroughs and a last film by American classic Albert Maysles. The festival 2015 is organised with the support of Mikhail Prokhorov Foundation. The festival will take place at some venues: Formula Kino Horizon cinema hall, Documentary Movie Center and Open Museon Park.
The programme includes Russian premieres of international movie fastivals' hits, films about music phenomenons, youth subcultures and cult figures of generations whose names are contemporary pop-culture. The main event of the festival will be a premiere of "Burroughs: The Movie" (1983) by Howard Brookner. The film explores the life and times of controversial Naked Lunch author William S. Burroughs, with an intimacy never before seen and never repeated. It's the first and only feature-length documentary to be made with and about Burroughs. The film was restored and reissued by Aaron Brookner, the nephew of the director who will come in Moscow with the support of USA Embassy and present the movie personally.
Among films about music will be a hit of the last Berlinale, "B-Movie: Lust & Sound in West-Berlin" by producer and director Klaus Maeck, the ally of Fatih Akin and producer of such his works as "Soul Kitchen" and "Auf der anderen Seite". The film tells about music, art and chaos in the wild West-Berlin of the 1980 where Nick Cave, Tilda Swinton, Blixa Bargeld have lived. Klaus Maeck will visit the festival in Moscow with the support of Goethe Institute in Moscow.
The British program of the Beat Festival will be presented with the support of British Soviet. Its headliners are "Orion: The Man Who Would Be King" by Jeanie Finlay about a double of Elvis Presley and "The Possibilities Are Endless" about Edwyn Collins, a Scottish musician, producer and record label owner, widely known for his 1994 song "A Girl Like You". Edwyn Collins has survived after his cerebral hemorrhage.
Besides main program the festival includes two another sections: "Welcome to New-York" and "diy xxi". The headliner of the first one will be a documentary film "Banksy Does New York" chronicling the famed street artist's "31 works of art in 31 days" in New York city. The "diy xxi" showing diy culture in XXI century includes three films: "Salad Days" which examines the early DIY punk scene in the Nation's Capital; "Austin to Boston" about a travel of some folk bands across United States in a small minibus; and finally "All We Have Is Now" by Alexandra Dahlström about punk band Vulkano. It will be an international premiera of the movie at the Beat Film Festival, and Alexandra Dahlström and Vulkano's keyboards Lisa Pyk-Wirström will come in Moscow with the support of Sweden Embassy.
The films will be demonstrated on English with Russian subtitles.
Festival Films
Burroughs: The Movie. USA 1983, 90 min. Directed by Howard Brookner. Starring: William S. Burroughs, William S. Burroughs Jr., Allen Ginsberg, Patti Smith, Brion Gysin. The only feature doc about the legendary author, born just over 100 years ago, exploring Burroughs's life with an intimacy never before seen and never repeated. It was initially released in 1983, but just over two years ago, the late director's nephew Aaron Brookner launched a Kickstarter campaign to restore the film. Covering Burroughs' time in New York, Tangier, London and Mexico, following him in unconventional travels across continents, and witnessing him turn from "full out junkie" into a literary legend, the documentary is notable for its experimental style and unprecedented access to Burroughs. Allen Ginsberg and Patti Smith are just a few on the list of illustrious cast of the feature. Among other quirks, the technical credits include illustrious classmates of director Howard Brookner: Jim Jarmusch as sound recordist, and Tom DeCillo as principal cinematographer. "A wholly transparent visual biography of a literary giant," - The Slant. "Rarely is a documentary as well attuned to its subject as Howard Brookner's "Burroughs", - The New York Times, 1983 review.
 B-Movie: Lust & Sound in West-Berlin. Germany 2015, 92 min. Directed by Klaus Maeck, Jörg A. Hoppe, Heiko Lange. Starring: Blixa Bargeld, Gudrun Gut, Annette Humpe, Nick Cave, Tilda Swinton. Music, art, and chaos are intertwined in the documentary that features young Nick Cave, Tilda Swinton, Blixa Bargeld, and New Order. These are just a few among the now internationally-known musicians who came to Berlin in 1980s, when the city became a melting pot for both sub- and pop-culture. "B-movie" is a fast-paced collage of mostly unreleased rare footage from a frenzied but highly charged creative decade: there is Blixa Bargeld, skinny as a rake, getting people drunk in the bar "Risiko", and an earnest-looking Nick Cave collecting "German Gothic" on a wall of his room in a Berlin flat. The story is told by Mark Reeder, British musician, label-maker and military fetishist came to Berlin at the end of the 70s to witness the adrenaline rush of a city. It all starts with punk and ending with the Love Parade, in Berlin where the days are short and the nights are endless. "…highly engaging" - The Hollywood Reporter. "We enjoyed <…> worth seeing if you get the chance" - Pet Shop Boys (on their official page). "…fast, raw, wild" - Der Spiegel. Awards and festivals: Berlin International Film Festival - Heiner Carow Prize.
The Possibilities Are Endless. UK 2014, 83 min. Directed by James Hall, Edward Lovelace. Starring: Edwyn Collins, William Collins, Grace Maxwell, Yasmin Paige. The celebrated lyricist and the author of the 1990s Top Of The Pops super hit "A Girl Like You", Edwyn Collins could only say two phrases after suffering a stroke, "Grace Maxwell" and "Possibilities Are Endless". Edwyn's endeavors lay the foundation for the indie music as we know it, particularly in Scotland, with bands like Primal Scream, Belle And Sebastian, and Franz Ferdinand acknowledging the fact. In February 2005, Edwyn suffered a stroke and was rushed to hospital. Days later, he suffered another, and it was so catastrophic that his wife was told to stoke on Kleenex and prepare for the worst. This is an incredible story of a songwriter who had the contents of his mind effectively erased. Placed inside Edwyn’s mind, we embark on a journey to retrieve his language, music, and love, with the help of his wife Grace. An intimate and life-affirming film about rediscovery, and about the determination against all odds. "Romantic and terrifying. A remarkable film," - The Guardian. "Moving… Beautiful, mesmerizing… "The Possibilities Are Endless" is full of hope," - The Sunday Telegraph. Awards and festivals: British Independent Film Awards - nominated, Cinema Eye Honors Awards, US - nominated.
Heaven Adores You. USA 2014, 104 min. Directed by Nickolas Dylan Rossi. Starring: Elliott Smith, Rossie Harris, Jon Brion, Chris Douridas, Autumn DeWilde. The film is an intimate, meditative inquiry into the life and music of Elliott Smith (1969-2003), opening with his 1998 Oscar nomination for his song "Miss Misery", composed for Gus Van Sant's film "Good Will Hunting". By threading the music of Elliott Smith through the dense, yet often isolating landscapes of the three major cities he lived in - Portland, New York City, Los Angeles - the feature is mainly a visual journey through the singer's prolific songwriting and its impact. The film focuses on music legacy, and Smith best phrased it himself, "I don't care if I fit into anything, or if there’s anything to fit into to. It's just, I like music, you know?" The film has been dubbed "an archival triumph" by Pitchfork: it provides long-unheard music, and has a trove of photos, from professional pictures shot by Elliott's first band manager and onetime girlfriend J.J. Gonson, to photos with family and friends. "Loving tribute to the brief but blazing career and legacy," - The Hollywood Reporter.
 Iris. USA 2014, 78 min. Directed by Albert Maysles. Starring: Iris Apfel, Carl Apfel, Billy Apfel, Alexis Bittar, Mickey Boardman. The last film of the late legendary filmmaker Albert Maysles features Iris Apfel, a 93-year-old interior designer, businesswoman, and style maven whose impact on New York fashion scene can be traced back decades. She is a singular women, quick-witted and flamboyantly dressed, who reminds us that an outfit - and one's life in general - may be nothing but a bold experiment. Despite the abundance of glamour in her life, Iris still embraces the values and work ethic established during a middle-class Queens upbringing during the Great Depression. More than a fashion film, the documentary is a story about creativity, and how a soaring free spirit continues to inspire. "I feel lucky to be working. If you're lucky enough to do something you love, everything else follows," - Iris says. "A captivating salute to the proud flag-bearer for individuality," - The Hollywood Reporter. Awards and festivals: Hamptons International Film Festival - Best Documentary Feature.
A City Is an Island. Canada, UK 2014, 72 min. Directed by Timothy George Kelly. Starring: Mac DeMarco, Xarah Dion, Tim Hecker, Spencer Krug, Chloe Lum. A few decades of recession left Montreal scattered with cheap and abandoned warehouse space in the early 1990s, and while rent prices skyrocketed everywhere else, the city turned into a haven for independent music and creation. The film focuses on the vibrant noise-rock scene of DIY communities, record labels, and loft venues. The Anglophone immigrants among them formed a discrete cultural community in that of Francophone Montreal. "A City is an Island" explores this loud body of people, temporary migrants and permanent outsiders, and provides intimate interviews and performances, undigging the beauty, hope and contradictions of an influential music community. The film is an uncompromising exploration of an independent music scene unintegrated with the culture surrounding it, made with the same DIY ethos that its subjects apply to their music. "…ambitious film that colourfully portrays the freaks and forever-kids who have chosen this city as a base to create their weird musi," - Cult Montreal.
Lee Scratch Perry's Vision of Paradise. Germany, UK, Switzerland, Jamaica, Ethiopia 2015, 100 min. Directed by Volker Schaner. Starring: Lee "Scratch" Perry, Adrian Sherwood, Thomas Lauterbacher. A thrilling, poetic narration with the legendary Lee Scratch Perry, this movie is a unique project in many ways: it's not a biography but rather a fairytale documentary. The director followed Lee Perry for 13 years and discovered a story that is almost impossible to believe: a revelation, told about and with one of the major protagonists of contemporary music. It is a mind-blowing encounter with "The Prophet" of the international Rastafari movement, one of the icons of the Black Power movement and "the" inventor of reggae and dub and it is also a humorous adventure of epic dimensions. The movie can be seen as a guide for how to change the world with music - with a positive attitude, mindset or, as Lee Perry calls it: "vibration". Volker Schaner says: "I was 14 when I discovered the music of Lee Perry and Bob Marley, and as a German teenager, it changed my life. Since then it has always been my greatest dream to make a film with Lee Perry, whose mastery also lies behind so many Bob Marley songs. Now, 30 years later, we are about to finish this very extraordinary project and finally fulfill this dream. For the past 13 years I have been going to his house regularly, equipped with my camera and microphone. Over the years we became friends and now we are looking at an immense collection of intimate footage full of surprise, excitement and poetry. The making of this movie has been a long and deep process revealing a shy and extravagant artist who is commonly regarded as a genius. The movie will always be the most intimate, extensive and fascinating adventure you can possibly have with Lee Perry, one of the most special and influential artists of all times. This project is unrepeatable. Prepare yourself for this unique experience: the "Vision of Paradise"!
Sume - Mumisitsinerup Nipaa. Greenland, Denmark, Norway 2014, 74 min. Directed by Inuk Silis Hoegh. Starring: Erno Aronsen, Per Berthelsen, Hjalmar Dahl, Per Danker, Hans Fleischer. In 1973 Greenland had been a part of the Kingdom of Denmark for over 200 years. The only formal education available to the country's inhabitants was 4,000 kilometres away in Denmark. Here, far away from home, a young generation of Greenlanders found their voice. Malik Høegh and Per Berthelsen met as students in Copenhagen and founded Sumé, the first rock band to sing in Greenlandic. Their political songs decried the social injustices in Greenland and were soon to be found on every turntable in the former colony. The charismatic Malik's poetic texts made their listeners want to use their marginalised native mother tongue and become politically active. Sumé's songs became the soundtrack of the first protests of young Greenlanders against the Danish administration and for autonomy. After tours of Greenland and Scandinavia and an offer from Procol Harum, the two musicians decided not to continue their professional career. The three albums they released before 1979 were to accompany Greenland as it became an autonomous country within the Kingdom. As this atmospheric documentary from Greenland demonstrates, Sumé's anti-colonial message remains relevant and worth listening to today.
 Lambert & Stamp. USA 2014, 117 min. Directed by James D. Cooper. Starring: Kit Lambert, Christopher Stamp, Roger Daltrey, Pete Townshend, Robert Fearnley-Whittingstall. Lambert & Stamp tells the remarkable story of Chris Stamp and Kit Lambert, aspiring filmmakers, set out to make a cinema vérité documentary about the mod world of rock and roll, but sidetracked instead into managing and developing the sonic powerhouse that came to be called The Who. Their gorgeously propulsive footage - the rock documentary that was never completed - lays a foundation for director James D. Cooper's kaleidoscopic study of an era and a rare friendship’s creative bond. Present-day interviews with the surviving principals, now grown older, reflect thoughtfully on their relationships and life trajectories. Lambert and Stamp were "chalk and cheese": Chris Stamp, the son of a tugboat captain, was a Cockney East Ender and "rough tough fighting spiv," as described by his elder brother, actor Terence Stamp. Lambert, the son of a celebrated symphony orchestra conductor, was Oxford-educated, multilingual, impeccably dressed, and possessed of an unmistakably highbrow accent and manner. Chris Stamp came to his interest in performing arts and cinema via the roundabout route of a backstage job at the ballet (an occupation suggested by his brother Terence because Chris's only real interest till then seemed to be girls, and the ballet theater was a good place to find them). Kit was as open a homosexual as one could be in an era when homosexuality was still illegal and the closet was the norm. As young would-be cineastes, however, the two Shepperton assistants shared a love of jazz, literature, and the French New Wave films that reflected their own restless impatience with the dreary grey of postwar society. Kit had seen the world as an Army officer and as cameraman on a perilous and grueling expedition into the Amazon. Recognizing Kit’s fundamental courage, Chris credits him with "widening my angle of awareness on possibilities." "They complemented each other, like two and two make six," says Terence Stamp. Realizing that they"d never break out as directors at Shepperton, they hatched the plan to find their rock and rollers and film the very process of creating a hit group, thus providing their own directorial calling card. Chris Stamp - still handsome as an elder gentleman as he was in his rakish youth - recalls that "Kit and I looked everywhere at these bands to put in our so-called movie… we didn't know what we wanted, but we absolutely knew what we didn't want: if we found the people doing the music to be smart and neat and jumping up and down, they weren't what we wanted. What we wanted - it was really about us. It was going to be some mad fucking concoction of stuff that looked like Lambert and Stamp." They finally struck gold in 1964 when Lambert spotted a long line of mods and scooters outside the "sordid and grotty" Railway Hotel, where the jam-packed dance crowd was mesmerized by a distinctly un-smart and un-neat foursome, the High Numbers: streetfighter Roger Daultry on lead vocals, art-school nihilist Pete Townshend on lead guitar, surly genius John Entwistle on bass, and Keith Moon on drums. "I fell in love literally with both of them immediately and they completely and utterly and totally changed my life," says Pete Townshend, whose songwriting, composition, and musicianship flourished under Lambert's erudite tutelage. "Kit was the only posh guy I'd ever spoken to who was actually interested in me and wasn’t talking down to me," says Roger Daltrey. "Chris was always off working on a film set to make the money to pay for the guitars we were smashing." The duo's outside perspective brought canny ideas; for example, where conventional management might have formed a fan club of adoring cleancut teenagers, Stamp and Lambert wanted sharp faces with visual impact in their documentary footage. Members of the "100 Faces" club such as Irish Jack, seen as a scrappy young mod and as a snaggletoothed elder, had mugs to match those on stage. Somehow, the alchemy of personalities, talent, energy, time and place yielded spectacular success for a time, as The Who became world-famous and Stamp and Lambert created a thriving record label, Track Records, producing Jimi Hendrix, among others. Bank accounts grew fatter and ambitions loftier. Townshend and Lambert set their sights on making history by creating the first "rock opera" - which eventually became Tommy. But Lambert and Stamp never fulfilled their original goal of vérité-filmmaking, and Lambert felt excluded and rejected when the film version of Tommy bypassed him. Ironically, The Who - post-Lambert - ended up owning Shepperton Studios. That the story ends sadly - with business conflict, estrangement, addiction, and an early death for Kit Lamber - does not detract from its resonance. As Chris Stamp remembers of the early, seat-of-the-pants days: "I'm gasping for breath, I’m doing the usual mirrors work, balls in the air, but underneath all that I had - purpose. Meaning. Kit and I. Relationship. All those things. There was an undercurrent in our personalities that was real."
 Orion: The Man Who Would Be King. UK, USA 2015, 88 min. Directed by Jeanie Finlay. The whole America was shocked by the news of Elvis Presley's untimely death, so some went as far as to believe that The Kind is alive. Then, enters the mysterious masked performer Orion, whose voice is the carbon copy of Elvis's. "A name you will never forget," the posters said. First appearing in 1979, Orion recorded 11 albums and performed live across the US - but who was the man behind the mask? "Orion: The Man Who Would Be King" provides a stark answer to the question of whether success has more to do with skill or luck, and the documentary engages with its oddity, as well as a whirl of vivid characters. The film is a stylish mystery story, aiming to give a name and a face to the performer who couldn’t have them during his career. "…catchy, engaging documentary," - Variety. "Intriguing," - Indiewire. Awards and festivals: Nashville Film Festival - Grand Jury Prize (Gibson Music Films/Music City Competition).
Banksy Does New York. USA 2014, 79 min. Directed by Chris Moukarbel. On October 1, 2013, the elusive British street artist known as Banksy launched a self-proclaimed month-long residency in New York City, posting one unique exhibit a day in an unannounced location, sparking a 31-day scavenger hunt both online and on the streets for Banksy's work. Capturing this month of madness, Banksy Does New York incorporates user-generated content, from YouTube videos to Instagram photos, from New Yorkers and Banksy hunters alike, whose responses became part of the work itself, for an exhilarating, detailed account of the uproar created by the mysterious artist. With installations spanning all five boroughs of New York City, and including a mix of stencil graffiti, sculpture, video and performance art, Banksy touched on such wide-ranging subjects as fast-food wages, animal cruelty in the meat industry, civilian casualties in Iraq and the hypocrisy of the modern art world. Daily News reporter Beth Stebner, who covered Banksy's residency, was struck by the wide array of people drawn to his work, noting, "You had art students, you had plumbers, you had gallery owners. It just brought New Yorkers out." A pair of Banksy hunters and dog walkers using the handle @twowaytraffic chronicled their month-long search on camera, while Stephan Kezler, owner of a Southampton gallery that buys and sells the street artist's unauthorized, illegal, public work, sought out new - and valuable - pieces. From Queens and Staten Island to Bushwick and the Lower East Side, each new piece was revealed daily on the artist's @BANKSYNY Instagram account and website, but the exact locations of the pieces remained secret. "He made a treasure hunt where you needed to go and find something in a part of the city you've never been in before," notes Steve P. Harrington, founder of the Brooklyn Street Art Museum. Using Twitter hashtags and posts to Facebook, Instagram and Vine, art lovers and fans searched the streets for a new and often fleeting glimpse at Banksy's work. Banksy hunter Rebecca Encalad recalls, "We would post something and then hashtag it #TheBanksyPhenomenon. It trained us on how to find things on social media." Adding to the thrill of the chase for Banksy fans was the uncertainty of whether a work would be altered or removed before they arrived to see it. Local graffiti artists took to tagging over the pieces, while some property owners removed or obscured the works in hopes of cashing in on the Banksy craze. Eventually, the artist in residence drew the attention of Mayor Bloomberg, who stated that Banksy was defacing public and private property. Though the NYPD denied they were hunting the artist, as the press claimed, one day of the residency was canceled due to police intervention. On October 31, the final day of Banksy's residency, balloon letters spelling "Banksy" were displayed near 5 Pointz, the soon-to-be demolished graffiti landmark in Queens. As a crowd formed below the work, a group of men attempted to remove it, prompting an outcry captured by videos posted to Facebook and YouTube. "It's like the Internet's almost the graffiti wall," said one New Yorker, while another believed the residency could only be seen in person, arguing, "You can't re-blog this. You have to experience it." As the audio guide on Banksy's website observed, "The outside is where art should live, amongst us, where it can act as a public service, promote debate, voice concerns and forge identities. Don't we want to live in a world made of art, not just decorated by it?"
Salad Days. USA 2014, 90 min. Directed by Scott Crawford. Starring: Fred Armisen, Dave Grohl, Ian MacKaye, Thurston Moore, Henry Rollins. "Salad Days: A Decade of Punk in Washington, DC (1980-90)" is a documentary film that examines the early DIY punk scene in the Nation's Capital. It was a decade when seminal bands like Bad Brains, Minor Threat, Government Issue, Scream, Void, Faith, Rites of Spring, Marginal Man, Fugazi, and others released their own records and booked their own shows - without major record label constraints or mainstream media scrutiny. Contextually, it was a cultural watershed that predated the alternative music explosion of the 1990s (and the industry's subsequent implosion). Thirty years later, DC's original DIY punk spirit serves as a reminder of the hopefulness of youth, the power of community and the strength of conviction. Awards and festivasl: Little Rock Film Festival - nominated.
Austin to Boston. USA, Australia, UK 2014, 72 min. Directed by James Marcus Haney. Starring: Bear's Den, Ben Howard, Gill Landry, Ben Lovett, Nathaniel Rateliff. Five old VW camper vans. Four bands. Three thousand miles. Two weeks. One gloriously backwards tour. The adventure starts after a fire-fuelled final night at Austin's SXSW Music Festival, where the bands (Ben Howard, The Staves, Nathaniel Rateliff, Bear's Den) pile into their rides and head northeast. They play everywhere from bars to barns, rooms to rooftops, packing out tiny venues and wowing crowds with their unique sounds. But heavy rainstorms, multiple breakdowns, and cramped conditions remind them that to push through sometimes you need to pull together. Featuring Mumford & Sons' Ben Lovett and narrated by Gill Landry this documentary is about a modern tour, done the old fashioned way.
 All We Have Is Now. Sweden 2014. Directed by Alexandra Dahlström. Alexandra got her first acting role as the trend terrorist Fanny in the 1997 feature film Sanning eller konsekvens (Truth or Dare) when she was just 12-years-old. Lukas Moodysson had seen her performance in the film and decided she was a good fit for the starring role of Elin in his 1998 film Fucking Åmål (Show Me Love) which launched her into international fame as the movie became a huge success. Fucking Åmål went on to win a slew of awards including Best Screenplay and Best Actress which Alexandra shares with her co-star Rebecka Liljeberg. During the 1999 Guldbagge awards Alexandra tried to speak up about sexism and society’s obsession with appearances during her acceptance speech but was cut off by emcee Loa Falkman which caused a scene and Alexandra expressed her feelings by making some obscene gestures and by speaking about the event in subsequent interviews. Following Fucking Åmål she appeared in the 1999 film Tomten är far till alla barnen (In Bed With Santa) and one episode of the short-lived Swedish hospital drama series St. Mikael as Erika. Alexandra was not sure if she wanted to pursue a serious acting career as she was so young and decided to focus on school. During breaks from school she acted in some theater productions such as Kranes Konditori and short films like La Carpe. Following high school Alexandra starred in the 2004 Tova Magnusson-Norling feature film Fröken Sverige as Moa. She was not overjoyed about the film as it is somewhat of a romantic comedy but later on did not judge it so harshly. In 2004 she also got a gig as Kristian Luuk’s DJ and side kick on Sen kväll med Luuk (Late Night with Luuk). She had always had an interest in music and playing discs. At that point she already had a CD collection of around 700 discs. The first disc she ever bought being Forever Your Girl by Paula Abdul. Since then she's went on to DJ at dozens of events in the Stockholm area. In 2006 Alexandra got sick of living in Stockholm and was unhappy. She decided she needed a change and moved to Rome to study at the University to be an interpreter and to focus on her acting career. Her family had gone on holiday to Rome which caused her to fall in love with the city. While living there she worked as a tour guide at the Vatican and as a waitress at a pâtisserie. She auditioned and screen tested for a lot of films and was cast in the short film La Coda Del Serpente. In 2007 she made her directorial debut with her short film Lacrimosa, a story in which the protagonist reflects on unrequited love during a walk through Rome. It went on to win an honorable mention at the Stockholm International Film Festival. With a talent for directing she made her second short film Kom hit! (Come Here!) which won the 1km scholarship at the 2008 Stockholm International Film Festival which she invested into her next short film Because the Night which was released in 2009. In 2008 she had a supporting role in Manual Concha’s comedy Mañana as Petra. She has been a lot more active since then appearing in several short films such as Jenny ger igen (Jenny Strikes Back) and Player as well as some full length films like Blondie and Ömheten (Broken Hill Blues). Her passion for directing has not taken a back seat and she submitted her short film Fågel Fenix into the 2013 Stockholm Film Festival's short film competition. She has also recently released her first documentary film called All We Have Is Now where she follows the band Vulkano on their way to Los Angeles to get their big break. She is also set to appear in the third installment of Fia-Stina Sandlund's trilogy She's Wild Again Tonight.
Schedule:
May 29, Friday
20:00 - Heaven Adores You. Formula Kino Horizon
21:00 - All We Have Is Now. Documentary Movie Center
22:00 - Lee Scratch Perry's Vision of Paradise. Summer Cinema at Muzeon Park
22:00 - Lambert and Stamp. Formula Kino Horizon
May 30, Saturday
19:00 - The Possibilities are Endless. Documentary Movie Center
21:00 - Orion: The Man Who Would Be King. Documentary Movie Center
21:00 - B-Movie: Lust & Sound in West Berlin 1979-1989. Formula Kino Horizon
May 31, Sunday
17:00 - Iris. Formula Kino Horizon
19:00 - Banksy Does New York. Formula Kino Horizon
21:00 - Burroughs: The Movie. Documentary Movie Center
June 1, Monday
20:00 - Lambert and Stamp. Formula Kino Horizon
21:00 - A City Is an Island. Documentary Movie Center
June 2, Tuesday
19:00 - All We Have Is Now. Documentary Movie Center
20:00 - Heaven Adores You. Formula Kino Horizon
21:00 - Sumé - The Sound of a Revolution. Documentary Movie Center
June 3, Wednesday
19:00 - Austin to Boston. Documentary Movie Center
21:00 - Salad Days. Documentary Movie Center
June 4, Thursday
20:00 - B-Movie: Lust & Sound in West Berlin 1979-1989. Formula Kino Horizon
21:00 - The Possibilities Are Endless. Documentary Movie Center
22:00 - Burroughs: The Movie. Formula Kino Horizon
22:00 - Lee Scratch Perry's Vision of Paradise. Summer Cinema at Muzeon Park
June 5, Friday
19:00 - Orion: The Man Who Would Be King. Documentary Movie Center
20:00 - Iris. Formula Kino Horizon
21:00 - A City Is an Island. Documentary Movie Center
22:00 - Banksy Does New York. Formula Kino Horizon
June 6, Saturday
17:00 - Austin to Boston. Documentary Movie Center
18:00 - Salad Days. Documentary Movie Center
19:00 - Sumé - The Sound of a Revolution. Documentary Movie Center
20:00 - Burroughs: The Movie. Formula Kino Horizon
More info
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