Paramount 20-26 January

Visit www.paramount.co.nz for movie programme.

GAINSBOURG
This is an odd, unusual film that befits the life of Serge Gainsbourg, the singer whose life of lechery and degeneracy is as famous as his music. The film follows him from his precocious childhood in Nazi occupied Paris through to his downfall: producing a reggae version of the Marseilles. Through puppetry, music and other devices, director Sfar has created a dynamic and visually arresting piece. Eric Emosnino is a dead ringer for Gainsbourg and is the very definition of louche in every scene. With a cigarette hanging from his lip in every scene, he imbues his character with all the sleaze and charm the real man must have had. Not an attractive man, Gainsbourg had something that managed to lure some of the most beautiful women of his generation into his arms: Brigitte Bardot, Juliette Greco and Jane Birkin all fell to his charms. His duet with Birkin, Je t’aime—Moi non plus featuring a simulated orgasm from Birkin brought him international attention.

THE KING’S SPEECH
The film opens in 1925 with the Prince of Wales about to make his first speech to the empire. It is a disaster, the young royal unable to even stutter out the first line of his address. His loving and supportive wife, Elizabeth has tried every doctor and speech therapist in town, with no result. Bertie is about to give up when she convinces him to try the services of an unconventional Australian, Lionel Logue. Logue’s techniques are unorthodox, as is his refusal to treat Bertie as anything other than an equal. His method is as much therapy as speech therapy, and in Lionel, Bertie finds the friend he needs. Things become more complex when George V dies, and Bertie’s gad-about brother David is crowned Edward VII. David decides his twice divorced American mistress is more fun than being King, so abdicates the throne, forcing Bertie into the role he has dreaded his entire life. When the nation goes to war with Germany, Bertie must speak to the people, but this time, with Lionel’s help and support, he may just be able to choke out the words.

THE GIRL WHO KICKED THE HORNET’S NEST
The third and final part of the Millennium Trilogy picks up right after the Girl Who Played With Fire ends. Lisbeth is in hospital, fighting for her life. All kind of people want to get to her, but her doctor protects her from those who wish to kill her, as well as those who wish to question her. While still hospitalized, Lisbeth is charged with the murder of her father. The police acknowledge that she probably did not strike the blow that killed him, yet pursue her anyway.Meanwhile, others behind the scene are after her, including Millennium journalist Mikael who is investigating her himself. As he uncovers various layers of deceit and deception, he opens himself and his lover, Erika, to danger. He co-operates with an aggressive government agency tasked with finding out the truth.

DESERT FLOWER
Based on the bestselling autobiography of super-model turned activist Waris Dirie, Desert Flower tackles an important and discomforting issue: female circumcision. Circumcised at three and married off at thirteen, Dirie escapes to London. She’s befriended by a neurotic, but sweet dancer, Marilyn, and manages to find work as a cleaner in a burger bar. There, she catches the eye of a famous fashion photographer and hired by an icy agent to become a model. Transformed into a catwalk model, Waris takes the fashion world by storm, eventually using her fame to speak out about the brutality of female circumcision.

FOUR LIONS
A taboo-busting comedy following four wannabe jihadist terrorists who are complete dorks.

EXIT THROUGH THE GIFTSHOP
Thierry Guetta is a hyperactive Frenchman in LA who is obsessed with filming everything he comes across. On a trip to France, he hangs out with street artist Space Invader and discovers that he loves the thrill of street art. Back in LA he throws himself into meeting and filming as many street artists as he can, It is through these friendships that Guetta meets Banksy and the elusive artist allows Guetta to follow and film him as he does his work so long as his face is never exposed. Fascinated to see what Guetta has made out of the footage, Bansky asks to see the finished doco and is horrified at the result. He then urges Guetta to go out and make his own art and takes over the film project, following Guetta as he mounts the most insanely huge, self-indulgent and talentless art exhibition possible

LOVE CRIME
Isabelle (Sagnier) is the young ingénue assistant, while Christine (Scott Thomas) is the older woman, a senior executive in a multinational company doing deals around the world. At first they are friendly. Christine, the able executive, is happy to pass the grunt work along to the up-and-coming Isabelle as she learns the ropes. But when Christine starts to take credit or Isabelle’s ideas, and a fellow worker bee begins to fuel Isabelle’s growing doubts about Christine’s duplicitous “all-for-one” attitude, the ground is prepared for all out war. And all out war certainly ensues.

MATARIKI
It’s the Maori New Year, Matariki – a time for new beginnings – when the lives of eight people are affected by one random act of violence. Aleki, a master car thief, crosses paths with rebellious teenage girl, Spit. Rugby league star Tama saves the life of desperate Gunge – an act of heroism that brings tragedy to his own family. Rick, Tama’s brother, learns to stand up for himself and Megan, Tama’s wife, comes to accept the love that surrounds her; while Lisa, pregnant and wishing on angels, finds a real angel in Tyrone, a big-hearted man who sells Matariki icons in the weekend markets.

WINTER”S BONE
Winner of two awards at Sundance this year, Winter’s Bone is, quite possibly, the best film of 2010. The deceptively simple story of a young girl searching for her deadbeat father in the unforgiving Ozark mountains is a masterpiece of characterization. Seventeen year old Ree is raising her younger brother and sister and taking care of her mentally absent mother. Their father, well know meth-producer, is gone. When the sheriff shows up and tells Ree her Dad has put up the house as bond, and he must show up for a court date or lose it, Ree determines to find him. She treks the surrounding area, speaking to anyone and everyone who might have a clue as to her Dad’s whereabouts. Everyone seems to know him, but no one is willing to say anything. As her journey continues, Ree becomes increasingly certain that her father is dead, but without a body, she can’t prove it, and therefore will still lose the house.

ENDS

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