WHEN: First Friday night of each month (except Jan)

WHEN: 8pm [Doors open 7.20pm]

WHERE: The Gerringong Town Hall, Fern Street, Gerringong.

Cost: $10 per person or buy a personal subscription - 11 films for $60! 10-film multi-tickets also available for $75 - to share or use for yourself!

Any questions? Email us at picsandflicks@gmail.com

Wednesday, November 16, 2011


Bring all the family to our Christmas screening on Friday Dec 2, 2011, 8pm

Red Dog

Review by David Stratton                                         Rated PG

Tom, LUKE FORD, arrives at Dampier, centre of a huge mining operation in Australia's north-west. He discovers that a dog is sick and may have to be put down, but he can't understand why everyone's so concerned about it. The locals, including barman Jack, NOAH TAYLOR, tell him the story of the dog - how it was first seen some years earlier, how it hitched rides with people it liked and how it eventually attached itself to an American, John Grant, JOSH LUCAS, who soon after fell in love with Nancy, RACHAEL TAYLOR, who worked as a secretary for the mining company.

Initial misgivings about a film partly financed by mining giant Rio Tinto, and which therefore not surprisingly presents a very glowing view of a mining community in the Top End, soon evaporate thanks to the genuineness of this emotion-charged story of a dog that wormed its way into the hearts of a great many people - the fact that this is based on a true story makes it all the better. The dog itself, played by a woofer named Koko, is a great central character, and the humans are good value, too.

It was a lovely idea to cast LOENE CARMEN as Jack, the barman's partner, given that Carmen and Noah Taylor co-starred back in 1987 in the classic Australian film, THE YEAR MY VOICE BROKE, and it's also great to see the late BILL HUNTER in a small part. Terrific, too, are Arthur Angel, as an Italian from Abruzzi, and Keisha
Castle-Hughes as the nurse with whom he falls in love. But, apart from Koko himself, the star of the film is Dampier and the area around it, which has been lovingly photographed by Geoffrey Hall.

I was very disappointed by director Kriv Stenders' last film, LUCKY COUNTRY, but RED DOG makes up for it - it's hugely entertaining.

Further comments

DAVID: Margaret?

MARGARET: It is indeed a lovely Australian film and I've been ranting and raving lately about Australians not going to Australian films...

DAVID: You have.

MARGARET: ...and if they don't go to this one there's something very wrong, because this is so lovely. It celebrates the Australian spirit in a really beautiful way. It's funny. It's moving. I hate to tell you, I bawled my eyes out at the end of it and, it's sort of like, okay, you react against going to certain Australian films. Don't react against this one. This is lovely. It will pay off for everybody what you want from a movie. You want to be moved. You want to be entertained. You want to laugh. You've going to get all of that in this, and the dog is a winner. He's gorgeous.

DAVID: He is. And it's a film in the tradition of films that have, in the past, been very, very popular. Films like GREYFRIARS BOBBY and LASSIE COME HOME, films about the loyalty of dogs for their masters, which is a wonderful theme, I think.

MARGARET: But also that lovely laconic, individualistic spirit of...

DAVID: Of the dog?

MARGARET: ... this melting pot of Australia, and taking the piss like blokes do. There's something very celebratory about this film that I really, really responded to.

DAVID: Me too. I liked it. It's just a pity it didn't get screenings during school holidays, because it's a film the whole family could go and see and enjoy and they should.

MARGARET: It's absolutely a family film.

DAVID: Yes. Yes.

MARGARET: Look, I'm giving it four stars. I liked it so much.

DAVID: I loved it. I'm giving it four and a half.

Thursday, October 13, 2011



BAG IT: Is your life too plastic?

Bag It has been garnering awards at film festivals across the nation. What started as a documentary about plastic bags evolved into a wholesale investigation into plastics and their effect on our waterways, oceans, and even our bodies.

Bag It follows an ordinary man, Jeb Berrier, as he tries to make sense of our dependence on plastic bags. We can’t live without it so we need to learn how to live with it! T

The film explores how our daily reliance on plastic threatens not only waterways and marine life, but human health, too. Bag It aims to raise awareness of plastic pollution in our oceans and the simple things we can do in our lives to reduce our plastic footprint and prevent plastics entering the sea. 

 We have created a vast sea of floating plastic garbage, ensnaring and stifling sea life for miles and miles, and in several spots around the world. But does that affect any of us, who live in the mainland? Out of sight, out of mind, right?

But before you turn away shouting "guilt trip from the environmental tree-hugging extremists", this one is optimistic and hopeful, and certainly "must-see" viewing for anyone looking to educate themselves on the world and our unnecessary impact upon her.

Diverging from the simple plastic bag, "Bag It" also looks at plastics at large. Cheap, useful, and, in modern times, an essential part of our survival, this chemical-based building material has been a blessing and a curse on our culture. But as stated earlier, the likeable host here, Barrier (and his wife) provide enough comic relief and humility to make what could be heavy-handed easy-to-digest and to show that we have the ability, knowledge, and technology to make things so much better for our children. Do yourself (and your friends and family) a favor and see this!

Join the Bag It movement and decide for yourself how plastic your life will be.

PLUS!!!:  In July 2011, Tim sailed from Honolulu to Vancouver through the North Pacific Gyre to research plastic pollution in the Pacific Garbage Patch and is keen to share his experiences with locals in a Short Q & A after the film. 

Information: Warren McPherson 0427043621

Wednesday, October 12, 2011

ORANGES AND SUNSHINE - November 4, 2011


Oranges and Sunshine

Rated M

In 1986, Nottingham social worker Margaret Humphreys, (Emily Watson), is approached by Charlotte, (Federay Holmes), an Australian woman who wants to discover her true identity. Later, in a group therapy class, Margaret meets Nicky, (Lorraine Ashbourne), who laments the loss of her brother, Jack, whom she believes was sent to Australia as a small child, while she was brought up in an English orphanage. After further research Margaret discovers that Charlotte and Jack were just two of the many thousands of children who, in the 1950s and 1960s, were transported to Australia 'for their own good', told that they were orphans.

On her first research trip to Australia, Margaret reacquaints Nicky with her brother, Jack, (Hugo Weaving). She also encounters Len, (David Wenham), who masks his pain with his overbearing attitude.

This first feature from Jim Loach, son of Ken Loach, is a fine achievement. The story of the many thousands of English children who were illegally transported to Australia is a harrowing one, but Loach doesn't sentimentalise or over-dramatise it. The revelation that many of these children, who were placed in homes run by the Christian Brothers, were abused or forced into virtual slave labour, is an astonishing one - how could these things have happened in recent memory? Both Gordon Brown and Kevin Rudd, when they were Prime Ministers, issued formal apologies.

There are beautiful performances here from every member of the cast, and it's much to Loach's credit that he handles this potentially sensational material with such restraint. Above all, many scenes are incredibly moving.

David and Margaret say:

DAVID: Margaret?
MARGARET: Yes, it is. You're dealing with one of those primal bonds here, which is the parent/child thing and it's even more pathetic because these people are grownups very much into adulthood, and that pain is still there.

DAVID: Yes. Yes.

MARGARET: But, from both parents and the children.


MARGARET: It's the most outrageous thing that happened.

DAVID: It's an extraordinary story, isn't it? It really is.

MARGARET: And the fact that her delving into this was resisted so much by both the Australian and the British governments at the time.


MARGARET: This sort of like - they were forced finally to come out in the open about this scheme but, I totally agree with you. I think Ken Loach has really imbued his son with this idea of non-sentimentalisation of subject matter and he's really taken it to heart and it's such a heart-wrenching story that because of his restraint I just think it makes it more moving and I think Hugo and David are really outstanding, as is Emily Watson. They're all good.

DAVID: They're all good.

MARGARET: They all contribute to making this something really real.

DAVID: It's funny, when I was in Cannes last year, talking to Ken Loach, he said, "Oh, by the way, my son Jim has been making a film in Australia," and he said, "And I think it's pretty good." And I think he was right. I think it is pretty good.

MARGARET: I think he was right too. I'm giving it four stars.

DAVID: Me too. Four stars.

Wednesday, August 17, 2011



A tragi-comedy centered on the HR manager of Israel's largest industrial bakery, who sets out to save the reputation of his business and prevent the publication of a defamatory Article.

Review by Margaret Pomeranz   


THE HUMAN RESOURCES MANAGER was Israel's submission to the Academy for Best Foreign Language film. It's a wry, compassionate film about the human resources manager for a big bakery in Jerusalem, played by MARK IVANIR, who finds out that a woman who is working for them was killed a fortnight ago in a terrorist bombing. In order to avoid a scandal in the press, the owner of the bakery orders him to accompany the body back to an unnamed Balkan country to her relatives.
The bureaucratic processes make finding the relative that can sign the burial form complicated. It leads the Human Resources Manager accompanied by the woman's son, NOAH SILVER, and the journalist, GURI ALFI, who wants to expose him - into the wilds of the countryside.

The central performance from Mark Ivanir is enough to win you over in this movie, he grounds the film beautifully. And there's delight to be had from those around him, ROSINA KAMBUS as the Israeli Consul, and her driver husband, the Vice Consul, Julian NEGULSCO. But the core of the film is not just the physical journey taken by the Human Resources Manager but the emotional one. And that's true for the boy too.

It's a lovely film, a compassionate one that has a sense of humour about the world of Eastern Europe and yet a respect also. Four stars from me.

Monday, July 25, 2011

BABIES! Fri August 5, 2011

It's a film that's taken the world by storm, made across four continents, the four lead characters are on the ride of their lives. Thrills spills and adventures this film will hold you captivated from the very first frame but without a single word of dialogue. The film is called 'Babies' and it is directed by French Filmmaker Thomas Balmes.

BABIES is a French documentary by filmmaker Thomas Balmes. But you don't have to worry about subtitles with this one because all that you will hear are gurgles and occasional screams. It's about the first year of life of four babies in different parts of the world - Mari in Tokyo, Bayar in rural Mongolia, Hattie in San Francisco and Ponijao in Namibia. They are all just babies.

It doesn't matter where they're from or how sophisticated a life their parents lead, they're just babies.

This film has had audiences mesmerized in a way that is extraordinary. It's not as if there's a grand narrative, it's not as if we're being given penetrating and explained insight into cultural differences, although we do get that just by observing. It enters more powerful territory, because it reminds us of a time in life where the differences are actually non-existent, there are sibling rivalries in a couple of instances, mainly with the boys I might add, but that's it. These babies are remarkably similar in their development. Balmes has said that he made it as a One World parable. And that's what you come out of the film with. You might coo and goo during it, but you come out thinking that that's where the loss of innocence begins.

Further comments


DAVID: It's lovely. It's a very basic, very simple concept. I was slightly puzzled by the fact that, given that it's a French film, none of the babies are from Europe and that was interesting to me but they are beautiful children and it's totally fascinating - as you used the word "mesmerising", it's true. Just to see how they - and it's suspenseful too. There's that scene in Mongolia where the cockerel comes onto the bed where the child is and you think, oh, my God, what's going to happen here?

MARGARET: It's funny but if you say to people you're going to watch an hour and a half of babies in the first year of life with no dialogue, people go, I'd rather watch paint dry. No, you wouldn't. This is so fabulous. I really think it is amazingly insightful and poignant because it is a time of innocence and you grow up and you get all these things that make us cruel and horrible to one another and there's a sadness at the end.

DAVID: Yes, I think that's true. As I said it's a very small film but it's quite delightful in many ways.

MARGARET: I think it's grand in concept. Look, I'm giving it four stars. I think it's wonderful.

DAVID: I'm giving it three and a half.

Sunday, June 19, 2011

OUR GENERATION: "This is an important film that everyone must see...it will change your life," John Butler

Friday 8th July (NOTE: this months film is screening on the 2nd Friday of the month for July only!)

'Our Generation'
A documentary film by Sinem Saban & Damien Curtis

Hidden from the eyes of the world, Australia’s First Peoples are fighting for freedom. Our Generation is their call to the nation, a fresh and unflinching look at unresolved issues, driven by the Yolngu of Northeast Arnhem Land.

OUR GENERATION is a powerful and upfront documentary on the Australian Aboriginal struggle for their land, culture and freedom – a story that has been silenced by the Australian Government and mainstream media. Driven by the remote Yolngu of Northeast Arnhem Land, one of the last strongholds of traditional Aboriginal culture in Australia, as well as the voices of national indigenous leaders, historians and human rights activists, the film explores the ongoing clash of cultures that is threatening to wipe out the oldest continuing culture in the world. With music by John Butler Trio, Yothu Yindi, Xavier Rudd, Gurrumul, Archie Roach, Goanna, Saltwater Band and more.
Australia’s Aborigines have the worst health statistics and living conditions of any Indigenous group in the world, despite living in one of its richest countries. A strong focus of the film is on current government policies that, whilst purporting to close the gap between Indigenous and non-Indigenous Australians, are further disempowering Aboriginal communities and separating them from their lands, culture and languages. Despite the Government’s National Apology to the Aborigines in 2008, paternalism and assimilation continue to wreak havoc on their lives. The condemnation of the United Nations, by its Special Rapporteur on Indigenous Rights, James Anaya, the Committee to Eliminate Racial Discrimination (CERD) and most recently by the High Commissioner on Human Rights, Navi Pillay, has fallen on deaf ears. The Government is now talking about a second “Intervention” in the Northern Territory. Aboriginal lands and seas contain a large proportion of Australia’s precious natural resources, including uranium, which the Government and mining corporations are determined to exploit. The “Children of the Sunrise” are fighting for freedom. This is their untold story, and their message stick the world.
OUR GENERATION is a ground breaking new documentary on Aboriginal rights, which has ignited a people-power movement across Australia. 3 years in the making, it was made in collaboration with the Yolngu people of Northeast Arnhem Land in Australia’s remote Northern Territory.
Northeast Arnhem Land is one of the last heartlands of traditional Aboriginal culture and law in Australia, and the ancestral home of the yidaki, or didgeridoo.  It is also where the famous Bark Petition was handed to the Commonwealth Government in 1963, a demand for recognition of Aboriginal sovereignty which paved the way for such historic victories as the Aboriginal Land Rights Act and later the Mabo decision.
The pride and cultural power of the Yolngu comes through clearly from the start of the film, as the audience is taken deep into their communities, their ceremonies and their way of life. A rare privilege, which opens one’s eyes to the enduring traditional customs and laws of Australia’s First Peoples, still strong in remote parts of the country. But all is not well for the Yolngu. Like other remote Aboriginal communities in Australia, they face shocking third world conditions. Their health is rapidly declining, diabetes and other preventable diseases are sky-rocketing, and the extent of overcrowding is such that on average, a 4 bedroom house will accommodate around 30 people.
The film tackles these issues head-on, by taking us into the past, and showing how the rapid processes of colonization have left the lives of the Aboriginal nations like the Yolngu in turmoil. The imposition of a new diet, a new way of living, and the systematic undermining of their own cultures, languages and systems of law, have left them oppressed and disempowered. It shows how government policies to improve their conditions have consistently been made without any consultation with Aboriginal people. As a result, things have only got worse, and hidden from the eyes of Australia, the oldest living culture in the world is left to die out, as their heritage and lands are exploited.
The film is a powerful and unforgettable rollercoaster journey through Australia’s indigenous relations, from the landing of Captain Cook until today. It looks at the ongoing paternalism and assimilationist drive of successive governments, unveils the real issues underlying Indigenous disadvantage, and exposes the hidden agendas underlying recent government policies, such as the Northern Territory Intervention. Most importantly, it opens up dialogue on how Australia can move forward, with true dignity and respect for its First Peoples. In respect of cultural diversity, and their right to self determination; to genuine conversation around constitutional reform and a Treaty; and in the end, to a reconciled nation.
A movement is building to stand up to genocide against the oldest living culture on Earth. This film is at the heart of that movement.
Sinem Saban: Writer, Producer, Director. Sinem has had a lifelong passion for Aboriginal rights. With a degree in Media, Legal and Aboriginal Studies, she has been working in Aboriginal communities in Arnhem Land, Northern Territory, for the last 10 years, as a teacher and human rights activist. Previous filmmaking includes the documentary “I Know I’m Not Alone” (Dir. Michael Franti, 2006) on the human costs of war in Iraq, Palestine and Israel. She also co-wrote and directed the first feature length film made by an Australian school, entitled “Premonition” (2003).
Damien Curtis: Writer, Producer. Damien has been working for the last 10 years in empowering tribal peoples to protect their culture and ancestral lands. His previous experiences include working with indigenous communities in the rainforests of Guyana, the Colombian Amazon and in various parts of Africa, with the Gaia Foundation, UNESCO and others. With degrees in Anthropology and Environment & Development, he is committed to strengthening cultural diversity as the foundation for human and environmental wellbeing.

Thursday, May 12, 2011


Friday 3rd June

On Friday 3rd June Gerringong Pics & Flicks Inc. present “Barney’s Version” [Rated M]

Review by Margaret Pomeranz

The adaptation of Mordecai Richler's 1997 novel BARNEY'S VERSION was a project very close to the heart of Canadian producer Robert Lantos. This is about Barney, PAUL GIAMATTI, telling his story, his way. About his first marriage in Rome where he and best mate Boogie, SCOTT SPEEDMAN, live the artist life of ex-pats in 1974. And then there are the years back in Montreal where Barney becomes a successful producer of schlock television and where he meets the Jewish princess, MINNIE DRIVER, who will be his second wife. Unfortunately at his wedding he meets the woman he knows is the love of his life. She's Miriam, ROSAMUND PIKE, with whom his life will have enormous rewards and some terrible downs.

Barney is a chain-smoking, hard-drinking hockey fan. He's capricious, he's not exactly the greatest looking guy, but he has a zest for life that is incomparable and perhaps that's the reason so many women find him attractive. Creating that character has given Giamatti another great role after SIDEWAYS and HARVEY PEKAR and he runs with it, no wonder he won a Golden Globe for this. I thought he was a shoo-in for Best Actor in Venice last year where the film premiered. He's ably matched by ROSAMUND PIKE as Miriam and by DUSTIN HOFFMAN as Barney's father Izzy. The director was Richard J. Lewis who comes from a background in television. For film aficionados there are cameos by a royalty of Canadian directors - Ted Kotcheff, David Cronenberg, Denys Arcand and Atom Egoyan.

I did warm to this film enormously.
Further comments


DAVID: Oh, I did too. I think it's a lovely film and a wonderful character...


DAVID: ...as he unfolds his life story, but his version of it from his point of view and it's not just that; Paul Giamatti is really, really good. What a fine actor he is.


DAVID: But it's that all the characters around him are so interesting too. Boogie, his three wives and...

MARGARET: Because there is a mystery death in the film too that...

DAVID: There is a mystery death, which sort of adds to the intrigue.


DAVID: But I also - I love Dustin Hoffman. As I've always been a big Dustin Hoffman fan and I think he's just lovely as Izzy, the father, and his son, Jake Hoffman, plays the son of the couple in the film, so that's an added sort of bonus. But it's a film which is full of incident. There are some changes from the book. The early scenes in the book were set in Paris. In the film they're set in Rome but it's not - doesn't make a great deal of difference. But it's just a film brimming with life and...


DAVID: ...and this kind of wonderfully cynical sort of thing. I love the name of the production company that he's working for, TOTALLY UNNECESSARY FILMS.

MARGARET: Yes, I know. No, it's just exuberant and poignant.

DAVID: Yes, very much so.

MARGARET: And I think Rosamund Pike is just absolutely exquisite.

DAVID: Yes, she's lovely.

MARGARET: Oh, God, she's gorgeous. Four stars from me for this film.

DAVID: And four stars from me too.


Monday, May 2, 2011

MAY MOVIE - Fri May 6, 2011

Sarah's Key

Rated M
SARAH'S KEY is by French director GILLES PAQUET-BRENNER. The original title is ELLE S'APPELAIT SARAH.

Julia, KRISTIN SCOTT THOMAS, an American journalist married to a Frenchman and living with their teenaged daughter in Paris, becomes obsessed with the story of Sarah Starzynski, a Jewish girl who in July 1942, at the age of 10, was rounded by French police and, with her parents, confined with 13,000 others in a sweltering sports arena while waiting to be sent to concentration camps.

Sarah is particularly anguished because when the police came she locked her little brother in a secret cupboard in their apartment - the same apartment that, in 2009, Julia's husband is renovating.

Further comments

DAVID: Margaret, what did you think of this film?

MARGARET: David, do you know it's another one of those films like THE READER that looks at the horrific things that happened in World War II and the fact that those incidences reach beyond the generations to affect contemporary life. You cannot shake off stuff like that in a hurry. They reach down and touch you and this is a film that reminds you of that and I think it's got something very, very nice about it. Kristen Scott Thomas, managing that transition from American to French. She's really a fabulous performer in any language, with an accent.

DAVID: Yes. And the thing that surprised me about it, I expected to be moved on a certain level because the story of the Holocaust, of course, is an incredibly moving story but it moved me on levels I didn't expect in the modern story and I found that very effective. But I must say I have a feeling there's a little person somewhere in an office in Paris who changes the names of French films with really dumb English titles. The original title of this means "Her Name Was Sarah." What's wrong with that for an English title? I know Sarah has a key in the film but, why change it? He'd call CITIZEN KANE "The Man Who Wrote Newspapers" or something. I don't know.


DAVID: So annoying.

MARGARET: All right. Okay. Well, the little man is going to be very wary of you in future. He'll shape up. I'm giving this four stars.

DAVID: I'm giving it four, as well. I liked it very much.

Monday, March 28, 2011


Join us for the "IN THE BIN" Short Film Festival on Saturday April 9 from 7pm at the Gerringong Town Hall.

Bring your friends and family to this travelling short film festival, the biggest of its kind in Australia.

Films include:

Aphrodite’s Farm, directed by Adam Strange (15Mins).

When the Aphrodite’s Farm patriarch dies, the future of the farm is thrown into jeopardy,
and the arrival of young farm hand Friday creates even more chaos before finally bringing the family’s destiny full circle.
Country of Origin: Australia.

Awaken (right), directed by David Gould
(14mins 45secs)

Awaken is set in a time of war between humans and robots. A robotic soldier, whose
sole purpose is to kill, gradually learns that life is precious. Its newfound convictions are put to the
ultimate test in the film's dramatic climax.
Country of Origin: Australia

Boundless, directed by Stephen Kanaris (17mins 24 secs)

Craig, 35, has Downs syndrome, is single, lives with his parents, doesn’t work, drive or have a girlfriend. Cr
aig wants to be a businessman and with his almost super strength ability to imagine, he lives that dream everyday…until, one day
Craig’s imagination decides that it's time to make it all a reality.

Friday, March 18, 2011


The Pics and Flicks has a special treat on April 1 as part of the Kiama Jazz Festival!

Doors open 7pm and the cost for this special night is $15.

The Kid Stakes, made in Australia in 1927, is one of the greatest comedies of the silent era.

An original score will be performed on the night by Jan Preston, renowned composer, jazz and blues pianist.

The Kid Stakes is based on the comic strip, Fatty Fin, a scruffy 6 yr old leader of a gang of kids in the dockside suburb of Woolloomooloo in Sydney. Fatty enters his pet goat Hector in the annual
goat races, but his rival Bruiser Murphy tries to ensure that he won't win. Hector is let loose in the grounds of a Potts Point mansion where he eats a large portion of the prize garden. The comedy continues!!

Composer and performer Jan Preston is one of Australia’s leading film composers and a renowned jazz and blues pianist.

Her theme to the iconic ABC TV series, Australian Story can be heard every Monday night nationwide in Australia.
She composed the soundtrack for all five Australian Dynasties Series on ABC TV, the 4 part drama series Bastard Boys, and hundreds of documentaries and documentary series.
Jan has recently completed music for her 6th feature film, her sister Gaylene Preston's latest movie, Home By Christmas.
Jan has also composed and performed the music for 12 silent movies, including The Kid Stakes.

"I find the process of adding music to the sound effects and dialogue of a film endlessly fascinating and totally obsessive. The musical layers possible from the underscore can change the emotional impact and the meaning of the film to the viewer, and I love the way every film score I compose emerges from the world of the film." JP.

Tuesday, February 22, 2011


Don't miss our next movie:
An unflinching Ozark Mountain girl hacks through dangerous social terrain as she hunts down her drug-dealing father while trying to keep her family intact.
With an absent father and a withdrawn and depressed mother, 17 year-old Ree Dolly keeps her family together in a dirt poor rural area. She's taken aback however when the local Sheriff tells her that her father put up their house as collateral for his bail and unless he shows up for his trial in a week's time, they will lose it all. She knows her father is involved in the local drug trade and manufactures crystal meth, but everywhere she goes the message is the same: stay out of it and stop poking your nose in other people's business. She refuses to listen, even after her father's brother, Teardrop, tells her he's probably been killed. She pushes on, putting her own life in danger, for the sake of her family until the truth, or enough of it, is revealed.

Wednesday, January 19, 2011

When: Fri Feb 4, 2011

7.30pm for 8pm

With THE SECRET IN THEIR EYES, Argentinean writer—director—editor Juan Jose Campanella has created a multi—layered and poignant thriller interweaving the personal lives of a state prosecution investigator and a judge, with a manhunt spanning twenty—five years. Recently retired criminal court investigator Benjamin (Ricardo Darin), decides to write a novel based on a twenty—five year old unresolved rape and murder case, which still haunts him. Sharing his plans with Irene (Soledad Villamil), the beautiful judge and former colleague he has secretly been in love with for years, Benjamin’s initial involvement with the case is shown through flashbacks, as he sets out to identify the murderer. But Benjamin’s search for the truth will put him at the center of a judicial nightmare, as the mystery of the heinous crime continues to unfold in the present, testing the limits of a man seeking justice and personal fulfillment at last.

"This spellbinder will sneak up and floor you. It's that good. A supremely intelligent and deeply touching thriller. Thunderously exciting!"
-Peter Travers, ROLLING STONE

"Powerfully and richly imagines: A genre-busting movie. A finely wrought, labyrinthine entertainment whose corners and passageways will be discussed by moviegoers for hours afterward."
-David Denby, THE NEW YORKER

"The unsolved murder of a young woman is the root of this haunting, beautifully calibrated Oscar winner from Argentina"