Recommend ()  Comment E-mail Print

From Iran to New Zealand to Uruguay, from gritty to bittersweet to sublime, here are flicks to step out to.

20 FINGERS (Iran) Follow a modern Tehranian couple as they play head games on gondolas, motorcycles, cars, and boats. The woman, Ten actor Mania Akbari--who successfully takes that Abbas Kiarostami film's dashboard confessionals a step further in her directorial debut--torments her more conservative and chauvinistic husband with tales of flirtation and even sexual experimentation. The gimmicky format somehow works, achieving its own rhythm and providing both an intimacy and a metaphor for a society hurtling through cultural changes. See it for the intelligent conversation, the naturalistic acting, and the range of provocative subjects previously taboo in Iran. Granville 7, September 30 (6:40 p.m.) and October 3 (11:30 a.m.) * Janet Smith

ADDICTED TO ACTING (Germany) What kind of masochism drives a person to act? You won't necessarily find the answers in this documentary about four students vying to get into and then studying at Berlin's Ernst Busch Academy. But you will gain a new appreciation for the kind of sacrifice and ruthless criticism they have to go through. In fact, you may, like some of these subjects, lose a bit of a grip on reality as you watch acting exercise after excruciating audition; rest assured, these are not actors playing actors, but the real thing. Granville 7, September 25 (11 a.m.) and 28 (6:20 p.m.) * JS

L'AMANT (Japan) The latest provocation from Hiroki Ryuichi, the director of Vibrator and I Am an S&M Writer , is even thornier stuff. When three oddballs "buy" a 17-year-old schoolgirl for a year's worth of sexual services--her motivation, aside from money, is never explained--the relationships within this quartet keep shifting the definitions of power and sex, although not in ways that are easy to read, except as male fantasy. (Real nudity is avoided, by the way.) The Godardian effects, culminating in a strange ending involving a stuffed teddy bear, add to the opacity and also dilute the prurience. Granville 7, October 1 (9:15 p.m.), 3 (2:20 p.m.), and 7 (10 p.m.) * Ken Eisner

ARAHAN (South Korea) This delightfully silly, genre-blurring production is a special effects--heavy, supernatural, romantic, Keystone Kop, Taoist, martial-arts comedy. That Arahan somehow manages to pay equal attention to all its impossibly hybrid parts is the secret to its success. Watching it does not guarantee enlightenment, but even a bodhisattva would have to admit that it's a helluva lot of fun. Granville 7, October 2 (9:45 p.m.) and 3 (1 p.m.) * Mark Harris

ARKTIKA: THE RUSSIAN DREAM THAT FAILED (Canada) Gary Marcuse does a fine job of exploring the interlocking problems of rusting nuclear submarines, scorned Native communities, sulphur-stained snowscapes, and rotting industrial cities in this extremely concise look at Russia's troubled north. Not bad for 52 minutes. Granville 7, September 30 (9 p.m.) and October 3 (12:30 p.m.) * MH

AS LIFE GOES BY (France) If this doc is anything to go by, French peasants are now a lot less rustic than they were in Emile Zola's day (although, alas, no kinder to animals). Far from being instinctive slaves of the soil, the citizens of Najac, a village in the southwest, are interested in things as cosmopolitan as Bosnian politics, Palestinian dolls, and even aeronautical engineering. In sum, a useful corrective for the assumptions of hard-core city slickers. Granville 7, October 3 (7:15 p.m.) and 6 (12:30 p.m.) * MH

BAYTONG (Thailand) What starts out as a hard-hitting look at Muslim terrorism in Thailand--the film opens with a mother getting killed by a train bomb--turns mushy. A monk leaves his isolated monastery to care for the orphan seven-year-old girl who survives the disaster, and much of the cutesy humour relies on his clashes with the modern world, from learning the dangerous art of zipping up a fly to buying his first pair of sneakers. You have to look hard amid the sugar--or know Thailand pretty well--to notice subtle references to the cultural contrasts between the Buddhists and Muslims in a southern Thai town. Ridge, September 24 (7 p.m.) and Granville 7, October 1 (11 a.m.) * JS

BEAUTIFUL BOXER (Thailand) Attractively shot and endlessly sympathetic to its hero-cum-heroine, Beautiful Boxer is a dramatization of a story that wouldn't be believable if it were fiction. It follows the life of Nong Toom, one of Thailand's most famous kick-boxers, who paid for his sex-change operation by rising to the top in that country's most popular, macho, and viciously violent sport--often in full makeup and hair ornaments. The plot is told a little too conventionally through an interview and flashbacks. Still, the twists, from a stint in a Japanese version of the WWF to life as a Patpong showgirl, are never boring. Granville 7, September 23 (9 p.m.) and 30 (1 p.m.) and Vogue, October 6 (7 p.m.) * JS

BIG CITY DICK: RICHARD PETERSON'S FIRST MOVIE (USA) The parallels between Seattle savant Richard Peterson and Chicago's late Wesley Willis are striking, given their odd mix of limited musical skills (Peterson plays MOR trumpet, while Willis was a pseudo-rock keyboardist), wild-eyed musings, and architecturally detailed line drawings of the cityscapes around them. Dick gives a peek at Seattle's cultural underbelly, but we probably could have learned just as much in less time. Granville 7, October 3 (3:20 p.m.) and 5 (6 p.m.) * KE

THE BIG DURIAN (Malaysia) This okay doc, more interesting in its ambition than in the telling, details--through interviews, archival materials, and sometimes-iffy re-creations--what happened when an armed soldier went amok (a Malaysian word, as it happens) in Kuala Lumpur. It tells us a lot about the politically manipulated tensions holding the island nation's ethnic groups apart without really answering basic questions about the incident in question. Granville 7, October 1 (7:15 p.m.) and 2 (1:40 p.m.) * KE

BOATS OUT OF WATERMELON RINDS (Turkey) A Turkish Cinema Paradiso , Ahmet Uluçay's charming story of two poor boys who dream of opening a movie house has none of the sentimentality but all of the visual beauty of Bernardo Bertolucci's better-known work. Stuck in their country's strict apprentice system--one to a kind but broke watermelon seller, the other to a nasty barber--the friends try to build a projector out of a wooden box. Figuring out how to hand-reel old film scraps fast enough to make pictures move becomes their holy grail. At the same time, one of the boys is falling for a village girl who can't stand him, making this a coming-of-age tale that's bittersweet, but no less a Turkish delight. Granville 7, September 24 (11:30 a.m.) and Ridge, September 28 (7 p.m.) * JS

THE BOY WHO PLAYS ON THE BUDDHAS OF BAMIYAN (Great Britain) In case you don't recognize the name, the Buddhas of the title were the giant statues the Taliban blew up in Afghanistan. The picturesque cliffs surrounding them are filled with ancient caves that now house hundreds of poor refugees displaced by war. Phil Grabsky's documentary follows one of them, an ever-smiling eight-year-old boy named Mir, over a year--through a brutal winter, constant hunger, and family conflicts in the cramped and filthy quarters. He puts a human face on the conflict and offers a window on a hidden world no outsiders would otherwise see. Most of all, having the common folk explain the complicated political history of the tormented country makes it clearer than a year's worth of CNN reports. Granville 7, September 28 (10:30 a.m.) and October 3 (7 p.m.) * JS

THE COMPLETE JAPANESE SHOWA SONGBOOK (Japan) If one didn't suspect that the filmmakers shared at least some of the bone-deep misogyny they periodically mock, one could kick back and enjoy this black comedy about a bloody war of attrition between a bunch of young male singers and a group of divorced, middle-aged career women with identical names and a taste for karaoke. This doubt adds a discordant note to Shinohara Tetsuo's otherwise seductively mean-spirited "tunes". Granville 7, September 30 (9:15 p.m.) and October 1 (3:20 p.m.) * MH

CZECH DREAM (Czech Republic) A wry comment on fading national identity amidst the rising tide of globalization, this near-mockumentary follows two art students as they assemble a fake campaign for a fake "hyperstore" that will never open. The film, infused with the spirit of Andy Warhol and Marshall McLuhan, is not just darkly funny--check out that kitschy theme song with the Celine Dion--type warbler--it shows you the hidden nuts and bolts of consumer culture, wherever you live. Pacific Cinémathèque, September 24 (12:30 p.m.), Ridge, September 29 (7 p.m.), and Granville 7, October 4 (9:15 p.m.) * KE

DAME LA MANO (Netherlands) Dutch director Heddy Honigmann culls the New York community for Cuban ex-pats who are keeping the beat of the rumba alive. More interesting for its content than its straightforward style, the documentary features interviews with amazing conservatory-trained musicians and septuagenarians who are still shaking it--all in the rather incongruous settings of snowy streets and bland American buildings. Granville 7, September 24 (7 p.m.) and 27 (3:20 p.m.) * JS

DIFFERENT DRUMMERS: DARING TO MAKE PEACE IN THE MIDDLE EAST (USA) The ungainly title actually says a lot, as it takes a lot of chutzpah to cross literal barriers in Israel to understand and even advocate positions taken by the "other" side. Both Jews and Arabs are seen struggling, sometimes unsuccessfully, to comprehend their own motivations as well as the worth of their fitful endeavours. This has a value to us, anyway, as you come away from the movie with something vaguely like hope. Granville 7, October 2 (8:45 p.m.) and 7 (10:30 a.m.) * KE

DIGITAL SHORTS BY THREE FILMMAKERS (South Korea) Bong Joon-Ho's "Influenza" is the most dynamic of the highly individualistic panels making up this triptych, while Yu Lik-Wai's "Dance With Me to the End of Love" is the most stylish and Ishii Sogo's "Mirrored Mind" the most beautiful. Each of these minimalist dramas has its weaknesses, to be sure, but those are easily outweighed by its strengths. Who says filmmakers need money? Granville 7, September 26 (9:45 p.m.) and 28 (3:20 p.m.) * MH

DUTCH LIGHT (Netherlands) Meteorology, topography, and art history join forces in this fascinating attempt to explain why Dutch paintings look the way they do. Must-see viewing for all lovers of canvas and easel. Granville 7, October 3 (7:30 p.m.) and 5 (12:30 p.m.) * MH

ELLES ETAIENT CINQ (Canada) Manipulative pap masquerading as serious drama, The Five of Us --as it will be known if it heads our way again--tips its hand early by flashing forward to a grisly crime that disrupts the lives of five young Quebec women. After catching up with the survivors, it then flashes back to the event over and over again, with prurience taking the place of character development. With the shock cuts, actorly mugging, and Hollywood mood music giving all the cues, you'd expect at least a slick thriller, but the flabbily written film can't decide whether it wants to entertain or say something, anything , about women's lives. Granville 7, September 25 (noon) and 27 (9:15 p.m.) * KE

EVERYONE (Canada) A disappointing blend of sitcom dialogue, broad-strokes satire, and gay-movie clichés, this dull tale of a wedding from hell is better acted and directed than its script justifies. Writer-director Bill Marchant, who also has a smallish part, obviously has affection for the characters, but except for Brendan Fletcher's enigmatic hustler, who upends the event, they are just not all that interesting, or funny. Jane Weitzel's cinematography makes good use of small spaces, however. Granville 7, October 6 (6:40 p.m.) and 8 (noon) * KE

FALLEN ANGEL: GRAM PARSONS (Germany) This spectacularly disorganized biopic takes the Florida-born country-rock innovator--a trust-fund baby who never found his feet--and turns him into a crashing bore. Guess they have flailing film-student types in Germany, too, since the material here is incoherent, contradictory, and amateurishly presented, right down to the weak narration (in English). The presence of crucial veterans like Emmylou Harris, Chris Hillman, Bernie Leadon, and Keith Richards helps, but mostly reminds you what this thing should have been. Granville 7, September 27 (7 p.m.) and 29 (3:20 p.m.), and Pacific Cinémathèque, October 4 (9:30 p.m.) * KE

FOUR SHADES OF BROWN (Sweden) Four very different stories converge in this intricate Swedish dramedy. Highlights include a dead man dancing as a holographic ghost at his own wake. Odd but fun. Granville 7, October 2 (8:30 p.m.) and 3 (3 p.m.) * MH

GUERRILLA: THE TAKING OF PATTY HEARST (USA) Even better than last year's Weather Underground , this detailed evocation of the violent climate of the early 1970s--government duplicity, weird Helter Skelter delusions of grandeur, and a pointless, protracted foreign war--eerily presages the world we have entered since the Axis of Idiots took over the U.S.A. Granville 7, October 5 (3:20 p.m.) and 6 (9:30 p.m.) * KE

HAUNTING DOUGLAS (New Zealand) Chances are dance fans haven't heard of the Kiwi choreographer at the centre of this fascinating doc, but they'll wish they had. It opens with Douglas Wright writhing naked in the dark, a lit candle squeezed between his thighs and flickering over his sculpted muscles. All of the artfully shot clips of his work are just as unsettling and risky: men bang chests in a violent mosh, a soloist convulses in a panic attack. Candid interviews with the subject and his eccentric associates reveal the way this Vaskav Nijinsky look-alike and Paul Taylor alumnus's deepest fears, bitter anger, and troubled background seep into all his creations. Granville 7, September 24 (10:30 a.m.) and October 6 (9:45 p.m.) * JS

HUMAN TOUCH (Australia) Although it's not quite as good a film, Human Touch is in many ways reminiscent of Paul Cox's 1984 masterpiece, Man of Flowers . Once again this Australian director of Dutch descent manages to combine eroticism, art, age, and human longing the way a Renaissance painter mixes paint. In other hands, such material could easily turn decadent; in Cox's assured grip, it gleams with radiant health. Ridge, September 25 (4 p.m.) and Visa, September 29 (7 p.m.) * MH

ILL FATED (Canada) Good story, excellent cast, and out-of-the-way locations work hard to make up for grindingly sophomoric dialogue (take out the word fuck and this becomes a short) in Mark A. Lewis's study of small-town bad manners. Peter Outerbridge is memorable, if somewhat underused, as a fellow who sires two kids by different women, splits (I mean, fucks off), and then comes back when they are grown, unleashing harsh consequences. The film's tonal shifts from comedy to holy-shit drama are impressive, but they would have been more coherent if even one character could articulate, you know, something . Ridge, October 3 (7 p.m.) and Granville 7, October 5 (3 p.m.) * KE

JOURNEYINGS AND CONVERSATIONS (India) Koyaanisqatsi it ain't, but what this gritty series of impressions of Calcutta's main train station lacks in poetry or lyricism it makes up in pure, unfiltered reality. You can almost feel the suffocating heat as you listen to wailing children, watch beggars struggle, and generally experience one of the most bizarre places on Earth. The end result is unpleasant and chaotic, which couldn't be truer to the station itself. Granville 7, October 3 (10:30 a.m.) and 7 (9:15 p.m.) * JS

LITTORAL (Canada/France) Burying someone you love can be more than your life is worth, at least in Syrian-occupied Lebanon. This is what the Montreal-born Levantine hero of Littoral discovers when he tries to inter his émigré father in his battle-scarred native village. Despite a plenitude of faults--lack of money, technical awkwardness, portentousness that teeters on the brink of pretentiousness--the film's central idea is so strong we are ultimately willing to forgive it all this and more. Granville 7, October 2 (10 p.m.) and Pacific Cinémathèque, October 5 (3 p.m.) * MH

MA MERE (France) Georges Bataille had one of the darkest imaginations in the history of erotic literature. Writer-director Christophe Honoré does full justice to this uniquely unsettling universe in his superb adaptation of one of the author's scarier novels. To say that Ma Mère deals with incest would be as misleading as saying that Crime and Punishment is about armed robbery. The film benefits from yet another superb performance from Isabelle Huppert, an actor as good at getting under the skin of sexually perverse personalities as Toshiro Mifune once was at playing drunken samurai. Vogue, October 3 (4 p.m.) and 7 (9:30 p.m.) * MH

OUT OF THE SHADOW (USA) As an educational experience for people trying to come to terms with schizophrenic friends and relatives, Out of the Shadow is first-rate. As a standard documentary, Susan Smiley's portrait of her mentally ill mother is somewhat less successful. Granville 7, September 30 (9 p.m.) and Pacific Cinémathèque, October 3 (12:30 p.m.) * MH

PASSAGES (Canada/Norway) This mixed-bag collection of shorts features three stunning claymation efforts, each of which says something profound and amusing about age and observation. There are some coming-of-age items, too, but it's sad that you won't be able to skip "Elliot Smelliot", a professional looking waste of 23 minutes that almost stops the program dead. But do hang in for Dan Aykroyd's narration of "Of Burning Hills", a Michael Ondaatje poem. Granville 7, September 26 (7:15 p.m.) and 28 (12:30 p.m.) * KE

THE PEOPLE OF ANGKOR (Cambodia/France) This modest, unnarrated series of impressions will probably be of most interest to those who have travelled to this ancient monument but didn't get to know the people working there. The rough, unstructured film's main function is to give voice to those who are almost invisible to the tourists, from the men fixing ruins to children selling souvenirs. What's most telling is how much these locals know about the site and the stories behind its complex frescoes. Granville 7, September 23 (6:20 p.m.) and October 4 (10:30 a.m.) * JS

THE PHANTOM OF THE OPERATOR (Canada) There's a lot of intriguing material in this (too) far-ranging documentary, which centres on the changing role of women in telecommunications. The film makes good use of old, mostly Canadian industry footage, and there are some provocative ideas about "the voice with a smile", but things grind to a pretentious halt every time narrator Pascale Montpetit starts phonetically intoning director Caroline Martel's embarrassing script, which veers between the crushingly obvious and grammatically dubious. Pacific Cinémathèque, October 6 (7 p.m.) and 8 (12:30 p.m.) * KE

QUIET AS A MOUSE (Germany) The brilliant Jan Henrik Stahlberg, from last year's similarly excoriating (if a bit lighter-hearted) Science Fiction , here stars as a free-market vigilante who is making a killing, in more ways than one, as a self-styled law-and-order man who gathers a crowd of rudderless miscreants to his cause: to clean up a decaying Deutschland. Parallels to certain charismatic reactionaries are not accidental, although the film (written by Stahlberg, as well) is not blind to the character's idealism, nor to his underlying hysteria, which is ultimately more antisexual than it is xenophobic. Ridge Theatre, October 6 (9:30 p.m.) and Granville 7, October 8 (2 p.m.) * KE

RHYTHM IS IT! (Germany) You have to smile at the earnest idealism of this project, which documents an attempt by famed Brit choreographer Royston Maldoom to create an epic dance work set to Igor Stravinsky's The Rite of Spring using dozens of Berlin teens. Their awkward rehearsals are interspersed with far less interesting ones by the same city's philharmonic, with its maestro, Sir Simon Rattle, who, well, rattles on about the music and the importance of arts education. More fascinating are the teens' own troubled stories, not to mention a final work that somehow turns the gawky adolescents into graceful swans. Granville 7, September 28 (1 p.m.) and 29 (7:15 p.m.) * JS

SEAWARDS JOURNEY (Uruguay) A breath of fresh air amidst the heavy dramas, experimental docs, and frantic farces of a festival setting, this lovingly shot Uruguayan charmer settles for letting us get to know a truckload of country bumpkins--and one city boy who has the eye of a writer--on a trip to the seaside (which is the literal, and much better, translation of the film's Spanish title). The '50s settings are terrifically nostalgic and the actors, including the red truck they all travel in, are wonderfully unforgettable. Granville 7, October 5 (11:30 a.m.) and 7 (7 p.m.) * KE

SOUTH OF THE CLOUDS (China) Not the least of the incidental pleasures attending on this lighthearted tale about an aging man who returns to the half-remembered, half-dreamed south of his youth is the way it shows us how profoundly China has changed even as life there remains the same. High-rises might be everywhere, business might be booming, and internal travel might now be within the grasp of just about everyone, but reclaiming one's past is still as impossible as ever and the prospect of getting sick has become even more dire in an age of pay-as-you-go medicine. After seeing this film, you'll feel like you've been on a trip yourself. Granville 7, September 27 (7:30 p.m.) and 28 (noon), and Ridge, October 3 (9:30 p.m.) * MH

TANG POETRY (China/South Korea) Tang Poetry is a highly formalized treatment of life in a dingy Chinese apartment building (although the director is Korean). The audience keeps expecting something to happen with the white-shirted young man who, when not watching a poetry show on TV, keeps glowering at the black-clad woman he can't quite turn away. But the results are unspeakably dull and repetitive until the end, when something finally happens--off-screen. Pacific Cinémathèque, September 25 (9:30 p.m.) and 28 (10 a.m.) * KE

TANGO SALON: LA CONFITERIA IDEAL (Argentina/Great Britain) This loving portrait of Buenos Aires's La Confitería Ideal should carry a warning: this film will make you want to catch the next flight to Argentina's capital. The heritage site is the ultimate tango palace, a milonga where people of all ages and classes gather in the afternoon to dip and turn with strangers. Under the Old World pillars and chandeliers, we meet everyone from a Laundromat worker to a lawyer trying to escape the economic hardships outside the doors. Tangoing across the black-and-white marble floor are some of the smoothest, suavest dancers of the form in the world. Granville 7, September 23 (12:30 p.m.) and 25 (7 p.m.) * JS

THIRST (Israel/Palestine) A craving for water is an ongoing theme in this bleakly beautiful story of a dysfunctional Palestinian family. A brutal father stubbornly insists on squatting on a barren bit of no man's land, building an illegal water pipeline to survive. He forces a son to work with him instead of going to school and locks away a rebellious daughter who has brought shame upon his household. They are all prisoners in a stark and stunning film that subtly symbolizes the way a political situation eats away at common people. Stark scenery, buried secrets, and complex female characters make this one of the strongest Middle Eastern offerings at the fest in years. Granville 7, September 27 (6:20 p.m.) and 28 (2 p.m.) * JS

TRAVELLERS AND MAGICIANS (Bhutan) Fans of Dzongsar Khyentse Rinpoche's The Cup won't be disappointed by this more ambitious mix of magic, myth, and realism. Shot in the isolated, staggeringly beautiful Himalayan kingdom, it tells two parallel stories: in one, a cool dude with long hair and high-top running shoes attempts to hitch a ride to the capital so he can emigrate to America; in the other, told by a Buddhist monk he meets along the way, a magician's apprentice is lost in the mountains and finds himself falling in love with the young wife of an elderly recluse. Bhutan was the inspiration for James Hilton's Shangri-La, and the languorous film is ultimately a tribute to this faraway, fairy-tale land--one a new generation dreams, ironically, of escaping. Ridge, October 6 (7 p.m.) * JS

THE UNSEXING OF EMMA EDMONDS (Canada) Clunky both in its narration and in the re-created sections, this true tale of a young New Brunswick woman who chopped her hair, wore male dress, and fought on the Union side of the American Civil War is nonetheless pretty fascinating stuff. Sarah Emma Edmonds, who wrote the nineteenth-century bestseller Nurse and Spy , makes a compelling subject, even if the filmmakers don't really know how to tell her story. Granville 7, October 5 (7 p.m.) and Pacific Cinémathèque, October 7 (12:30 p.m.) * KE

UNTIL WHEN... (Palestine/U.S.) It's not always the most elegant effort, cinematically speaking, but young filmmaker Dahna Abourahme's video journal does put a human face--and not always a suffering one--on Palestinian displacement by following just a few families and tracing their histories and their aspirations. In particular, it's bracing to hear the voices, whether angry or hopeful, of young women who are too often ignored. Granville 7, October 3 (6 p.m.) and Pacific Cinémathèque, October 4 (12:30 p.m.) * KE

UP AND DOWN (Czech Republic) One of the best films at this or any other festival, the latest from Divided We Fall maker Jan Hrebejk tackles nothing less than the disintegration (and potential reintegration) of European identity through a bunch of seemingly unrelated Czechs whose paths keep crossing in unexpected ways. Deeply moving, colourful, and funny, it's a rich slice of humanity at work, observed without judgment. Vogue, October 3 (6:45 p.m.) and Granville 7, October 8 (3 p.m.) * KE

WILBY WONDERFUL (Canada) This satisfying ensemble drama finds Nova Scotia actor-turned-director Daniel MacIvor moving sure-footedly into new territory, with the soul of a Cape Breton community up for grabs when venal businessmen and fundamentalist prigs band together to demonize homosexuals, the better to build a new golf course. (Really!) Callum Keith Rennie, Rebecca Jenkins, and James Allodi turn in exemplary work as people caught up in varying degrees of everyday scandal, with Paul Gross hitting a career high as a world-weary cop who starts to smell corruption. The only deficit is Sandra Oh's cartoonish depiction of the cop's wife, a standard yuppie striver. Granville 7, October 4 (6:20 p.m.) and 6 (11 a.m.) * KE

THE WORLD ACCORDING TO BUSH (France) Okay, you know what a friggin' moron this guy is, and maybe you have a sense of how dangerous he would be for another four years. But this scrupulously handled French doc, which is mostly in English, also explores W's connection to the religious right in a way that will scare the Beelzebub out of you. Granville 7, October 4 (7 p.m.) and 6 (10:30 a.m.) * KE