Four gorgeous daughters, Violeta, Clara, Rocio, and Luz.
The train has come here in the smell of my daughters.
You'll be a beast!
Beautiful!
Will there be civil war? Will the monarchy survive?
Just how many of the daughters will Fernando fall for?
The winner of nine Spanish Film Awards including Best Film and Best Director
Bella Poch, 9.30 Thursday on SBS.
Next on People, the original Phantom of the Opera.
Lon Chaney, the master of disguise and the man of a thousand faces, broke all the rules for movie glamour
but still became the best loved star of his day with the power to inspire epic productions.
The studio's army of carpenters and artists were ordered to recreate medieval France on the universal backlogs.
Lon Chaney, 8.30 Friday on SBS.
Get the most out of SBS with Aerial Magazine, your TV and radio commercial.
Every month Aerial features a complete guide to all SBS programs so you'll know exactly what's coming up.
Each issue is also packed with interviews, reviews and comprehensive program summaries.
So make the informed choice with Aerial Magazine, your essential guide to SBS TV and radio.
To subscribe dial 1300 303 028.
In a world first for pay television, World Movies.
The only pay TV channel dedicated to screening the finest films from around the world.
With an unrivaled library of more than four thousand films from over a hundred countries.
World Movies will carry the very best non-English language cinema.
Movies acclaimed by critics and audiences alike.
Films which push the boundaries of contemporary cinema.
World Movies, available on Foxdell and Galaxy.
You'll taste a different way of life.
You'll find a dress circle that's a long way from the theater.
And have front row seats for a show that runs day and night.
You'll love the streets of Melbourne. You'll love every piece of Victoria.
Tonight we flounce into the fashion world with designer Isaac Mizrahi in Unzipped.
Into espionage antics with Leslie Nielsen in Spy Hard.
And we pay a visit to the 43rd Sydney Film Festival.
Good evening. Hi.
We'll also meet Douglas Keeve, the director of Unzipped.
And take a look behind the scenes at the Australian film Zone 39.
First to Unzipped, which begins with Isaac Mizrahi's spring collection being less than enthusiastically received.
And he's down in the dumps about it.
Still he has his autumn collection to prepare.
And this entertaining documentary shows just how he sets about it.
As a film about the New York fashion business, this would be dull if not for Mizrahi himself.
He's a great, eccentric, larger than life character.
And we spend a lot of time with him.
Sometimes surrounded by his designers or by his ultra beautiful models.
Sometimes in the company of his adoring mum.
Sometimes at home alone in bed watching videos.
And it's while watching the silent documentary Nanook of the North.
That he gets an idea for an Eskimo look.
Only to discover later that another famous designer has had the same idea.
Do you believe this? Nanook of the North.
How could another designer have the exact same idea?
And they show before we do.
What?
Look at this.
Oh my god.
Do you believe this?
No.
Oh my god.
It doesn't look anything like...
Oh my god. Take it away. Take it away.
Oh, take it away.
This happens every season with people.
It doesn't mean that we can't do this.
We're obviously doing it.
You see, that's why I don't show these things to me.
I've not been looking at it, you know.
Just don't show it to me. You showed it to me.
It's like you took some kind of evil pleasure in it, you know.
Well, after this setback, we follow him through all the stages of drawings, designs and rehearsal.
Until the spectacular staging of the fashion show itself.
Filmmaker Douglas Keeve is obviously a fan of Mizrahi.
And was given seemingly total access to the designer.
Although the filming is very rough and ready.
And the grainy black and white images visually rather at odds with the chic world of fashion.
The result is an intimate and affectionate portrait of a man influenced by Hollywood.
But dedicated to his own particular art.
Unzipped is quite a lot of fun.
Even if, like me, you can take fashion or leave it.
Margaret, I know you can take it.
I certainly can. And I can take Mizrahi.
I think the final show is just delicious.
Is it?
I could walk off with a number of those outfits.
I'm sorry he's not sold in this country.
Was one of the first questions I asked Douglas Keeve.
I think it's fabulous.
Like reality is performance in this film.
He's a great performer.
You don't need to send up this industry because it's constantly parroting itself.
So I think, you know, despite the roughness.
And I think it sometimes suits the mood.
I think it's terrific. I laughed. I loved him.
I think he's really talented on a number of levels.
I'd give this one four out of five.
Well, I'd give it three and a half.
Ben, this, right?
Here, hold that, would you?
Oh, Naomi.
I won't have it. I'll take it out.
Oh, out.
Make sure that this doesn't show.
Okay, be impolite.
You shouldn't take off all models' own jewelry.
Except for models' own naval ring.
No, that's coming out.
No, the ring doesn't come out.
The chain and the little jewelry.
Mary.
I can't. It closes up. It closes up in an hour.
I have to get it redone again.
Well, 20 minutes, you'll be on the runway.
As soon as it gets, as soon as air gets to it, it starts to...
Ew, gross.
Now, listen, Naomi.
You don't understand.
You don't understand.
When I take my engagement ring off,
the newspapers say I'm not getting married.
So, I get scandal.
Unzipped opens in Sydney, Melbourne and Brisbane next week
with other states to follow.
Photographer turned filmmaker Douglas Keeve
takes his fashion seriously.
I don't know if you get this so much from the film,
but, you know, I'll just tell you,
fashion is the most important thing in the world.
Fashion drives everything.
I mean, we're here in Venice.
All this stuff comes from fashion, I think.
It's inspired by fashion.
It's what people, you know...
It's not just about making a shirt in a certain color or something.
Fashion is lifestyle and it's our lives
and it's what inspires us.
And it's what creates...
You know, it's...
These are the people who create the aesthetic of our lifestyles
or, you know, it all filters down to us one way or another.
Everything's frustrating, except designing clothes.
That's not frustrating.
Go music!
It wasn't so much,
let's find a good subject in fashion.
It was more like just Isaac was the most interesting person I'd ever met
and I'd met a lot of people from, you know,
Gore Vidal to, I don't know, Elizabeth Taylor or something, you know.
And it's very...
Isaac, you know, it's funny because he's so...
He's so compelling in the film.
Every minute of the film he's funny
and he's doing imitations
and he goes and goes and goes.
It wasn't like, let's look for funny moments with Isaac.
It's like every minute you're with him and you're around him,
it's just, it's a show.
Is that why you're going to make gowns for me?
Yes, I am. I'm going to make gowns for you.
That is how she referred to it.
She said, will you make me gowns?
I was like, are you kidding?
Will I make you gowns? I will make you nothing but gowns.
I mean, this is like, I can't wait.
She was like, you know, something where I can really move around.
You know, to do all sorts of crazy, wonderful things, you know,
so that it doesn't restrict me.
And it's got to be a dress that I can do everything in, you know.
Absolutely.
The editing process, I locked myself in a room for four months
and I worked every single day and every single night, all day, all night,
until we were finished.
And, you know, we made version after version after version of the film
to come out with this.
Because I wanted a very compelling movie.
Why do you always give me the fat and cheese
and you always give Miami McCamble the high heels?
You gave me slippers for my finale last season.
Every single time.
You have something against white women.
You have all this film and you don't know what to do with it.
And, you know, there isn't necessarily a story there,
or there are 50 stories there and you don't know which ones to choose.
And you have all these elements and all these things
and it's like taking all the cards and throwing them on the floor
and then having to pick them up and make some sense out of them.
Yeah, oh yes, five minutes. Five minutes.
Five minutes, that's good.
We're right about to start. Go get your seat.
We'll start in five seconds.
People who work in fashion know more about culture and history
and politics and art and religion and you name it, they know about it.
Because they have to know everything.
They don't have to know necessarily about fashion.
They have to know about the world and bring it into,
you know, filter it through their antennae or antennae or whatever,
and outcomes address.
And it's, you know, it's not just Beavis and Butthead saying,
you know, let's do a neon coat and it's going to be really cool.
There's a whole world of inspiration and influence and history
that comes through them that makes the clothes we wear.
Douglas Keeve talking about unzipped.
Well, on Friday of last week, the Sydney Film Festival
opened before a full house at the State Theatre.
The movie show spent the weekend meeting the filmmakers
and the fans of this 43rd annual film feast.
You select the best things you can find.
There are various different ways and places to shop.
There are festivals overseas.
There are films that are sent to us on tape, 900 or so this year.
And there are recommendations and you're looking for a range of things.
You know, there's films from 32 different countries this year
and it's not just geography and where the film was made.
In fact, a minor point in the whole thing.
It's the overall quality, it's the imagination,
it's the depth of understanding of the medium,
the ability to tell a new story.
It's like there's about a million different ways of choosing it.
The film festival season in Australia is kicking off.
The Sydney Festival is the first of the year.
Two weeks and three weekends of a solid diet of celluloid.
Life could be worse.
It's always great to see an Australian film opening the festival
and tonight at Scott Hicks Shine,
the story of Australian pianist David Helfgott.
Bravo, bravo, encore.
Oh, sock it to us, Liberace.
Well, I'm absolutely thrilled.
You know, this will be the biggest audience that's seen the film
and the first public audience in Australia.
So I'm really excited to see how it plays
and what people's reaction is afterwards.
And in this incredible venue,
I've found that sitting with an audience,
you can feel very quickly
whether they're sort of moving into the thrall of the film or not.
And so I'm really looking forward to the film.
I'm looking forward to it.
Whether I get that same sense that they want to go the journey.
Included in the 230 festival films are Peter Greenaway's The Pillow Book,
Mike Lee's Palme d'Or winner Secrets and Lies,
the first ever Australian retrospective of Roberto Rossellini films
and a specially curated season of popular Indian cinema.
One of the first films to screen was Frederick Thor Friedrichsen's Cold Fever
about a Japanese man on a quest in Iceland.
How much?
Only 300,000 kroner.
300,000?
Too much money for an old and frozen car, you know.
Old? This car has an aura. Can't you feel it?
One of the reasons I make films is
that for most Icelandic supernatural things are very natural.
Because everybody in Iceland believes in supernatural things, you know.
You can ask the president.
You know, it's so common that people have had some kind of experience
with supernatural things.
Many filmmakers, they don't see so much of films
because they think it's just like going to work, you know,
and they get fed up with films.
I think it's very important when you make films
that you are in love with films as well.
Australian films have a strong presence this year,
as well as the opening night film, There's Rolf to Hears the Quiet Room,
Shirley Barrett's camera door winner Love Serenade,
Clara Law's family drama Floating Life,
Emma Kate Krogan's Love and Other Catastrophes,
and Lawrence Johnston's Life.
You do some feat, the wilder the better.
Word travels, you get respect, a reputation.
Walk loose, look lean, you're laughing.
Life saw reputation and bluff.
Well, basically the best place to platform a film initially is a film festival.
It's the first exposure in Sydney of the film,
and the film will be released later on.
So, you know, it's sort of like just to do that enough
and then people will hear about it,
and if the word's positive, then that's really good.
It's only bad when you have, I think, a bad film,
and it's exposed and exposed in the wrong way.
There's enough of a prison genre in there to get you through that genre,
but essentially it's a, you know, it's a very strong performance film, really,
about, you know, love and life.
Also screening is John Hughes' What I Have Written,
an adaptation of John Scott's elusive novel About a Relationship.
Would you prefer if I slept in the study?
Do what you want.
That's what you want.
That's what you want.
What it was exactly that drew me to the book is not precisely clear.
It was a very strong experience.
It's an experience I hadn't had before,
and as I was reading this excerpt,
it just kind of announced itself as the next project.
I think that it was largely to do with the way
that the book was dealing with aspects of Australian masculinity.
You won't know Catherine.
Hello.
Hello.
Gillian's not with you this evening?
No.
Looked as though it was, I met her eyes,
and everything that I shall tell began.
Are you boys married?
Documentaries which don't often make it to the big screen
have their chance at the State Theatre.
Me and my matchmaker is about director Mark Wixler's relationships with his subjects.
I am after you.
I need to see you.
I am after you.
I need 20-year-old girls.
I got dentists and doctors and medical students.
How about we do a little exchange?
This was an issue in my life,
and I think it's important for an artist to choose
a subject that has some meaning for them,
some passion, some relevance to their life.
So I was kind of looking through that,
looking for ideas, what was going on in my life.
I didn't have a girlfriend.
So I thought doing a story about a matchmaker would kind of help me,
almost like self-therapy, expensive self-therapy, making a film.
My new goal in life is to get him married.
You like that face?
Sure.
We have better, but this is all the stock I have with me right now.
Here you work a long time on a film,
and you're just kind of working by yourself,
and suddenly you have 2,000 people,
hopefully laughing and clapping and responding.
So just to get that hit is something that I look forward to.
Tom Zabruski is also presenting his new documentary, Billal,
about the devastating effect of youth violence on a family.
It was an altercation between two families,
and it was actually quite unclear who was right and who was wrong.
But I focus on the victim and the victim's family.
I firmly believe that documentary cinema has a very important place in a film festival,
because of course it's part of our film culture and always has been.
Festival screenings can increase any film's chances of being distributed locally.
French filmmaker Claude Moulieras is here with his drama of childhood, Soundboss.
Mother! Mother!
Karim!
Hello Karim!
Hello Martin!
Hello!
What are you doing in the dark?
You're not doing anything wrong, are you?
We're laughing like this between us.
There you go.
This film is shown in little theaters because it's not a commercial one,
and so it's very wonderful for me to have such a large audience like that.
One's looking forward to the Australian films and the rest is extra.
It's a bit like a big banquet, you just grab what you want.
Documentaries and things that you don't normally see in a commercial cinema.
Looking forward to the fetish films.
They tend to blur into the one, sort of, they tend to merge, I guess, after all.
Everyone comes in, needs some sustenance to get through the next film,
and they come out and have some soup.
Nothing's stronger, that's a good idea.
Well, the time-lapse sequences in our story are from Adam Blakelock's
four-minute festival shot last year,
and it really captures the experience very effectively.
The Dendy Awards for Australian short films were announced on opening night,
and we're pleased to say that the documentary category was won by
Demons at Drive Time, directed by Kerry Brewster for SBS Independent.
Adam Blakelock's The Existentialist Cowboy's Last Stand
won the short fiction category.
Black Sun by Amanda Jane won best fiction over 20 minutes.
La Cloche, The Bell, directed by Bart Groen, took up the general category.
The Ethnic Affairs Commission Prize was awarded by New South Wales
Premier Bob Carr to Reema Tamu for Roundup.
Lovely Day won both the Yoram Gross Animation Award
and the Reuben Mamoolian Award for director Chris Backhouse.
The festival continues until the 22nd of June.
For bookings, call the box office on 320 9000.
Congratulations to the Dendy winners.
Well, watch out world, Leslie Nielsen is loose again in another spoof movie, Spy Hard.
He's entered the dangerous world of international espionage as Agent WD-40,
lured out of retirement by agency director and complete nutcase Charles Durning.
The daughter of the woman he loved and literally dropped a la Cliffhanger years ago
has been captured by his nemesis Captain Rancor, Andy Griffith.
But once again plot is spurious in this ridiculous series of situations
in which puerile humour is the keynote.
This is your standard state of the art G7 feel kit with three additions.
This is our latest development, microchip Z-ray lenses,
capable of penetrating a layer of clothing.
You'll be able to see if an enemy is carrying a weapon.
Director?
Now, Steel, should you find your hands bound,
what you can do is just reach down and pull this pin with your teeth,
put the tube in your mouth and you squeeze and it will emit a laser beam powerful enough to cut Steel.
Fire in the hole, Director.
Huh?
Well, it's not so much spot the film scene the filmmakers are sending up as count them,
they're not that subtle.
Leslie Nielsen contributes quite a lot to the success of this film,
balancing his performance between straight and beat.
Spy Hard isn't aiming for an Oscar nomination, it wants bums on seats.
There are proven audiences for this sort of film,
it's just a matter of whether this broad sort of humour appeals or not.
I giggled a few times, but I actually think I'd rather watch the grass grow two stars.
Well, Spy Hard opens nationally tomorrow.
Finally, to a look behind the scenes of the recently completed Australian film Zone 39,
a psychological science fiction thriller about a security officer haunted by visions of his dead wife while stationed at a remote complex.
It's a change of pace for director John Tatoulis, whose previous film was The Silver Brumby.
The movie show entered Zone 39 to find out more.
Science fiction is one of my favourite subjects.
I read a lot of science fiction and I like to think about where we're going to, where our society is moving towards.
I guess all of our films have had a long genesis in the sense that we've been working on them maybe for up to four or five years.
In this case, it's taken us about six years to get from the original script through to where it is now,
and it's gone through a lot of transformations in doing that.
This Ngo woman is troubled.
Call Leo, tell him to meet you at the station.
This Ngo woman is troubled.
Call Leo, tell him to meet you at the station.
I want you to go home now.
We've struck up a relationship with a German distributor called Foxtone.
This is our first feature with them and hopefully this will be the first of a number.
So once we got that presale and that interest, then it was back to Alan Finney at Village Roadshow and saying,
Alan, here's the script, the script report came back, Blade Runner meets Ghost, let's do it.
It is set in a not too distant future, a soldier, a man that has lived in a time of war all his life.
He has just developed a relationship and a strong love for his wife and she's taken away from him.
They live for each other. It's really quite a nice underneath all the action.
It's a really nice love story as well, I think, about commitment and support.
It's him having to deal with his grief, having to deal with the forces that have taken her away from him.
More a story about how one deals with grief rather than a love story.
Melbourne has fantastic locations.
We were lucky enough to find this location, the old treasury building, and it is many locations within one location.
We've used it almost as a large studio and bank lot and we've been very fortunate to have some space like this,
vast rooms in this particular room with metal shutters.
In this particular room we've got metal shutters and metal doors. It was a godsend.
I'm going to beat this, guys.
Womera has three or four large salt lakes around it and it also has the old rocket range we've been able to access and use existing rocket launch sites.
It's tough physically because there's a lot of stunts that I'm doing myself and we're out there in the outback,
which is just to take a film crew out there and the logistics of all that is pretty tough.
We've got three weeks out there in South Australia.
It's not a special effects film. There's a lot of that in it.
It's interesting for us because we don't see it because it's a post-production matter most of the time.
Unless you've got explosions around you within the scene, they add a lot.
Now post-production is amazing. They can do another film if they want.
It's just another challenge for us because you have to act to air.
We're stretching the budget to its absolute limit.
We've got a very versatile crew. We've got a very creative and dedicated crew.
Unlike other countries, we've got a crew that really puts in here in Australia.
We're able to get big dollars up on screen when in fact we've only got little dollars in the budget.
What do you expect me to do?
You can stop it.
It looks great. I'm really looking forward to seeing that one.
Well, that's the movie show. Next week we'll talk to Sean Penn about his second film as director, The Crossing Guard.
And much more. Join us then for now. Good night.
Good night.
Good night.
Good night.