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<FONT FACE="Verdana"><B>This week at the Kenworthy Performing Arts Centre-<BR>
<BR>
</B><I>Kenworthy Film Society</I> presents<BR>
<FONT COLOR="#800000"><H2>2046 (R)<BR>
</H2></FONT><B>Friday, December 2<BR>
7:00 PM<BR>
Saturday & Sunday, December 3 & 4<BR>
4:00 & 7:00 PM<BR>
</B>$5/Adults<BR>
KFS passes accepted for Sunday showings<BR>
<B>(see Review below)<BR>
* * *<BR>
<BR>
Next week at the Kenworthy Performing Arts Centre-<BR>
<BR>
<I>Sirius Idaho Theatre</I></B> announces <BR>
<FONT COLOR="#000080"><FONT SIZE="5"><B>Auditions</B></FONT></FONT><FONT SIZE="5"> for <I>Sight Unseen</I>, by Donald Margulies<BR>
</FONT>-- Obie award for Best New American Play in 1992<BR>
(Script available for preview at BookPeople of Moscow)<BR>
<BR>
<B>Open Auditions <BR>
</B><H2>7 pm - Thursday, December 8th<BR>
</H2>at the Kenworthy Performing Arts Centre, 508 S. Main St. Moscow, Idaho<BR>
<BR>
Prepared monologues appreciated, but not required<BR>
<BR>
Rehearsals begin the first week of January; performances February 2-4 & 9-11, 2006<BR>
<BR>
<B><U>Characters:<BR>
</U></B>Jonathan, 35-40<BR>
Patricia, 35-40<BR>
Nick, 40s<BR>
Grete, 25-30<BR>
<BR>
Jonathan and Patricia are American; Nick is English. Grete is German; her English is excellent, if accented. Jonathan has maintained his working-class Brooklyn accent; Nick’s rural, working-class speech finds its way into his University accent, particularly when he’s been drinking; and Patricia’s dialect suggests that of an expatriate New Yorker living in England.<BR>
<BR>
For more information about the play or to volunteer with <I>Sirius Idaho Theatre<BR>
</I>contact Pam Palmer, Managing Artistic Director, at 208-596-2270 <siriusidahotheatre@gmail.com><BR>
or visit the web site of <B><I>Sirius Idaho Theatre </I></B><FONT COLOR="#0000FF"><U>http://www.siriusidahotheatre.com/<BR>
</U></FONT><BR>
Sirius Idaho Theatre is a 501(c)(3) non-profit organization.<BR>
Tax-deductible donations are appreciated - and essential.<BR>
<BR>
“<I>Let the beauty you love, be what you do.”<BR>
</I>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
<BR>
<H2>Junebug (R)<BR>
</H2><B>Friday, December 9<BR>
7:00 PM<BR>
Saturday & Sunday, December 10 & 11<BR>
4:15 & 7:00 PM<BR>
</B>* * *<BR>
<B><BR>
Also in December at the Kenworthy Performing Arts Centre . . .<BR>
</B><BR>
<B>Serenity (PG-13)<BR>
</B>December 16<BR>
7:00 PM<BR>
December 17 & 18<BR>
4:15 & 7:00 PM<BR>
<BR>
Coming in January: The Squid & the Whale, Paradise Now, Oliver Twist<BR>
<BR>
Check KPAC’s web site for dates & times. <FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT><B>Regular Movie prices</B>: $5 adult, $2 child 12 or younger <BR>
KFS passes accepted year-round for Sunday movies!<BR>
<B>* * *<BR>
<BR>
This week’s review-<BR>
<BR>
</B><FONT COLOR="#800000"><H2>2046<BR>
</H2></FONT><BR>
Written and directed by Wong Kar-wai<BR>
Presented in Cantonese, Japanese and Mandarin, with English subtitles<BR>
Rated R (Under 17 requires accompanying parent or adult guardian). Contains nudity, sex scenes and some violence<BR>
Running time: 2 hours, 9 minutes<BR>
<BR>
<BR>
<B><I><U>As reviewed by Jeffrey M. Anderson writing for the San Francisco Examiner<BR>
</U></I></B><BR>
After years in production and countless re-shoots Wong Kar-wai's expensive and mysterious "2046" finally emerges as a fully formed and astoundingly beautiful masterpiece.<BR>
<BR>
Tony Leung more or less reprises his "In the Mood for Love" character, Chow Mo-wan, a pulp writer circa the late 1960s. After visiting an old flame in her hotel room, he returns several days later only to find that she has disappeared. Since her room is as yet unavailable, he checks into 2047 and proceeds to have a series of encounters and relationships with the several women who move in next door, to 2046.<BR>
<BR>
"2046" lurches back and forth within an elastic time frame. We meet Chow's various women, each with her own unique dynamic. The landlord's daughter (Faye Wong) is secretly in love with a Japanese man (Kimura Takuya), and Chow helps smuggle her love letters into the building.<BR>
<BR>
He also insinuates himself into the life of a lovely call girl, Bai Ling (Zhang Ziyi), and even gets her to pay him for his favors. Gong Li co-stars in a flashback as a woman with the same name as Maggie Cheung's "In the Mood for Love" character, spurning Chow's sad, dreamy advances. Wong inserts ghostly blips of Cheung to round things out.<BR>
<BR>
In a fantasy sequence — the visualization of Chow's in-progress pulp novel — we delve into the super-saturated futuristic world of 2046, where people go to retrieve lost memories. Stretching reality into Chow's pulp novel fantasy world, Faye Wong appears again as a robot that coaxes genuine feelings from a hapless human voyager, played by her Japanese lover Kimura Takuya. With its awesome colors and shapes, this astonishing section resembles the best parts of "Blade Runner."<BR>
<BR>
Endlessly impressive, "2046" is a culmination and an expansion of everything director Wong has done before, all of the lost loves and missed connections, crammed and scattered into one gorgeously detailed, richly textured film. Every cigarette, every dimly lit hallway, every scrap of color struggling to be seen against the golden gloom, feels deliberate and definite.<BR>
<BR>
<BR>
<B><I><U>As reviewed by Philip French writing for the London Observer<BR>
</U></I></B><BR>
There have been welcome sequels to two of the most romantic movies of recent years - <U>Before Sunset</U>, in which the lovers of Richard Linklater's <U>Before Sunrise</U> have a reunion in Paris, and Wong Kar Wai's <U>2046</U>, in which Tony Leung's Chow Mo-wan returns from Singapore to Hong Kong where he had his Brief Encounter-style affair with Maggie Cheung's Su Li-zhen in <U>In the Mood for Love</U>.<BR>
<BR>
The time is now the late 1960s, Hong Kong is undergoing a period of civil unrest and the career of Chow, the handsome philanderer, is on the skids, reducing him to writing serialized pulp fiction. Living in the rundown Hotel Oriental, where he is drawn through the death of a beautiful woman he's met in Singapore, Chow is fixated on Room 2046. This becomes the title of a sci-fi fantasy he's writing, in which people can take a mystical train (one leaves every hour) to the year 2046 where nothing ever changes and you can recover your fondest dreams.<BR>
<BR>
As Chow writes, he conducts affairs with a singer, a whore, a mysterious gambler and the hotel owner's daughter, who is forced to communicate with her Japanese fiancé through him because her father is a Nipponophobe. It's a swirling brew of lyrical images contrasting soft and acid colors, merging real-life encounters with their transformation into often bizarre fictions. <BR>
<BR>
With voice-over musings given as much prominence as what people actually say, one is reminded of the French cinema of the early 1960s and what we called 'the memory movies' of Alain Resnais and Alain Robbe-Grillet. It also has a kind of Groundhog Day quality in the way in which Christmas comes around and around, introduced each time by a rendition in extenso of Nat King Cole's 'Christmas Song'. <BR>
<BR>
A lovely, plangent film. <BR>
<BR>
<B><I><U>As reviewed By Carina Chocano writing for the Los Angeles Times<BR>
</U></I></B><BR>
A serial lover meditates on longing and the passing of time in Wong Kar-Wai's '2046.' "All memories are traces of tears," says Chow Mo Wan (Tony Leung) at the beginning of "2046," Wong Kar-Wai's long-awaited follow-up to "In the Mood for Love," and a gorgeous, fevered dream of a movie that blends recollection, imagination and temporal dislocation to create an emotional portrait of chaos in the aftermath of heartbreak.<BR>
<BR>
"2046," like the sequentially numbered story within it, is a lyrical, Proustian meditation on loss, regret, love and time — the marching on of time being the cruelly inexorable constant in both. "Love is all a matter of timing," Chow writes later, as his loves blend together in a music of free-associative rumination. "It's no good meeting the right person too soon or too late."<BR>
<BR>
Wong brilliantly blends musical styles and eras to create an intoxicating mood. Building on the theme created by Shigeru Umebayashi for "In the Mood for Love," the soundtrack mixes bel canto, 20th century Latin nightclub standards and lonely instrumental solos to create a feeling of nostalgia for eras gone by. The cinematography by Christopher Doyle, Kwan Pun Leung and Lai Yiu Fai is as lush as it is oblique, peering through doorways and screens, slowing to a stop at heartbreaking moments.<BR>
<BR>
Designed and edited by William Chang Suk Ping, "2046" evokes a lost time in a place — Hong Kong — already redolent of dislocation and evanescence. The title also refers to the closing of 50 years of autonomy promised to Hong Kong after its hand-over to China in 1997. "Nothing lasts forever," Chow says casually at the beginning of the movie, which then goes on to make a solid and haunting case for the permanence of his memory and longing, which clearly will.<BR>
<BR>
<BR>
<I>Film reviews researched and edited by Peter Haggart<BR>
</I><B>* * *<BR>
</B> <BR>
<B><I>Kenworthy Performing Arts Centre<BR>
</I>508 S. Main Street, Moscow, Idaho<BR>
</B>208-882-4127<BR>
Sign up for this weekly email on events and movies at the Kenworthy by logging onto our website <BR>
<FONT COLOR="#0000FF"><U>http://www.kenworthy.org<BR>
<BR>
</U></FONT>~~~~~~~~~~~~~~~~~~~~~~~~~~~<BR>
PAMELA PALMER, <B>Volunteer<BR>
</B>Mailto:ppalmer@moscow.com<BR>
Film and Events Committee <BR>
Kenworthy Performing Arts Centre<BR>
<BR>
http://www.kenworthy.org<BR>
To speak with a KPAC staff member, <BR>
call (208) 882-4127<BR>
Mailto:kpac@moscow.com<BR>
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