“THE GREAT DEBATERS” Enhanced widescreen, 2007, PG-13 for depiction of strong thematic material, including violence and disturbing images, and for language and brief sexuality Best extra: Chesapeake's own Nate Parker plays a key role in the film and in "Learning the Art" on Disc Two, we see Parker and his fellow young actors in debate camp.
SURE IT'S DENZEL'S MOVIE, in that Washington both directs and stars in the picture — along with fellow Oscar winner Forest Whitaker — but locals will love it for the prominence of Parker. A former state champion wrestler from Great Bridge High, Parker plays the part of Henry Lowe, the star of a four-member debate team coached by Washington's character.
It's an inspiring story, based on real events, of a black college debate team making history in the 1930s when it earns an invitation to compete against powerhouse Harvard. Among the movie's many charms are the four young actors who get a chance to shine in the company of veteran stars.
This two-disc release plays on that, packed with such extras as "A New Generation of Actors," which explores the fresh faces in the film — including the youngest, who is coincidentally named Denzel Whitaker. Oprah Winfrey, who financed the film, heaps praise on Parker in this featurette.
In the debate-camp piece, we get to see Parker stumble slightly through his first day of camp before finishing with a flourish, beating an actual college debate team (albeit the freshman squad) with a polished performance.
There are also two nice looks at the making of the movie's music, a pair of music videos, one short piece on the wardrobe and a historical look at the true story. Highlighting several of the extras are sporadic interviews with the real professor behind Washington's character, Melvin B. Tolson.
Tolson talks at length about what makes a great debater, and Disc Two wraps up with some of the eloquent teacher's pointed poetry. As good as the movie is, the DVD release is equally excellent. — Kyle Tucker
“UNTRACEABLE”
Blu-ray and enhanced widescreen, 2008, R for some prolonged sequences of strong gruesome violence, and language
Best extra: Exclusive to the Blu-ray disc an informative picture-in-picture commentary, “Beyond the Cyber-Bureau,” that pulls from and expands on the featurettes and commentary.
DIANE LANE TRIES her hand at the serial killer genre in “Untraceable” where she plays a Portland FBI agent hunting down an online sicko who lets his cyber audience do his killing for him. The more hits “Kill With Me” web site gets, the faster the victim dies. The hi-def image is very good with strong detail and color reproduction. The only flaws found are in the stylistic choices. Who would have thought Lane could look unattractive? Cinematographer Anastas N. Michos’ harsh and washed out lighting brings out every line of age in the actress’s face, making her look much older than she is and in need of a good night’s sleep. The Dolby TrueHD track makes good use of surrounds and is deeply immersive, bringing the dreary city of Portland to life.
Extras include a commentary by director Gregory Hoblit (“Frequency”), producer Hawk Koch, and production designer Paul Eads, who discuss the trials of making the film on a lower budget, four brief featurettes (all presented in standard def) which cover the writing, casting, production design, and the murder scenes. While none of these extras is particularly illuminating, the Blu-ray “Beyond the Cyber-Bureau” is the best way to experience the film’s extras and go beyond them.
— Josh Boone
“A RAISIN IN THE SUN”
Enhanced widescreen, 2008, not rated
Best extra: The documentary “Dreams Worthwhile: The Journey of A Raisin in the Sun”
LORRAINE HANSBERRY’S LANDMARK play about a struggling black family that suddenly gets a financial windfall is adapted here for TV, with knockout performances by Phylicia Rashad, Sanaa Lathan, Audra McDonald and Sean “Diddy” Combs. There are only two extras here, a commentary with director Kenny Leon and a making of featurette.
The mini-documentary explains how the film was “updated” for today’s time, an odd declaration given that it’s a period piece, and that the producers continue to tell us it’s timeless, but never mind that. Another central theme in the documentary is the universality of the piece, what with its emphasis on the American dream of having a getting a better job, house, etc.
Most enlightening, though, are interviews with Hansberry’s sister and niece, which weave the playwright’s personal history of overcoming discrimination into a wider context of history, resulting in a far more moving testament to the enduring legacy of the play than the actors’ and producers’ gushing.
— Malcolm Venable
“YOUTH WITHOUT YOUTH” Blu-ray and enhanced widescreen, 2007, R for some sexuality, nudity, and a brief disturbing image
Best extra: "The Music of Youth Without Youth," is one of the finest pieces you'll see about how a film is scored, featuring interviews with composer Osvaldo Golijov, legendary editor Walter Murch ("Apocalypse Now," "The English Patient") and the Godfather himself, director Francis Ford Coppola.
COPPOLA’S RETURN to filmmaking after a decade long absence should be cause for celebration. Unfortunately, his elegantly photographed but ultimately baffling film about an elderly professor (Tim Roth) who is struck by lightning and restored to his younger and more virile self is too cryptic for any audience other than Coppola himself. The film delves into such interesting subjects as the origins of language and the nature of time, but fails to do anything more than frustrate.
Beautifully shot in high definition, “Youth” looks absolutely breathtaking on Blu-ray. Colors and black levels are remarkable and the makeup tricks used to age the performers backward and forward in time is so well done its not even betrayed by the crystal clear image. The Dolby TrueHD track is perfectly acceptable but Coppola makes almost exclusive use of the front channels for this quiet film. Extras include a disappointing commentary by Coppola, who, considering he financed the film himself, doesn't open up at all about the production and only focuses on the story and his love for Mircea Eliade's story on which the film is based. Aside from the in-depth look at the score, we also get a very short (less-than-10-minute) behind-the-scenes featurette, and another examining the film's makeup effects. Strangely missing from this release is “Coda: Thirty Years Later,” the hour long documentary included as an extra on the recent DVD release of “Hearts of Darkness,” which chronicled the making of “Apocalypse Now.” This fascinating doc, created by Coppola’s wife, Eleanor, focuses entirely on the production of “Youth Without Youth” and contains more insight into the making of the film than any extras found on the actual release.
— Josh Boone
“INDIANA JONES: THE ADVENTURE COLLECTION”
Enhanced wide-screen, 1981, 1984, 1989, PG-13 for violence and brief language
Best extra: The short introduction interviews with George Lucas and Steven Spielberg before each flick.
NO DOUBT this is blatant double-dipping, as the fourth installment of “Indiana Jones and the Kingdom of the Crystal Skull” premieres next week. Especially, since this three-disc set features the same transfer as the 2003 DVD set. Don’t get me wrong, the image and sound are the best DVD can produce. No plans for the Blu-ray at this point, but once “Crystal Skull” premieres this fall on DVD, we could see all four in hi-def.
One thing worth noting, you can finally buy the three adventures individually. That’s extremely important, if you want to avoid the darker and dreadful, “The Temple of Doom.” New interviews were taped in what looks like hi-def — only standard-def in this batch of discs — with Lucas and Spielberg telling the same old stories mentioned on the previous DVD collection. For example, Spielberg tries to distance himself from “The Temple of Doom.” The director recalls how he resisted the idea of it being darker. “I wasn’t sure if it would be commercial enough. I deferred to George’s better judgment. I was just his director for hire.” Obviously it got terrible reviews. Spielberg admits, “The greatest thing that happened.... is that the girl I cast as Willie Scott (Kate Capshaw) became my wife.” Who could forget Capshaw’s awful screams?
On the “Raiders of Lost Ark” disc, Lucas and Spielberg rehash the lore of their archaeologist franchise. It all started on a warm Hawaiian beach in ’77, as the duo tried to get away from the “Star Wars”/”Close Encounters of the Third Kind” media frenzy. Spielberg wanted to do a James Bond flick. And, Lucas just wanted to do a Saturday matinee cliffhanger about a man named Indiana Smith, who travels the world for exotic artifacts.
Next, the guys recruited screenwriter/director Lawrence Kasden for a three-day brainstorming session, developing the first saga, “Raiders.” Then the search was on for Dr. Jones. They tested Tim Matheson. Then, Peter Coyote. Finally, they had their guy — Tom Selleck, but just days before signing, CBS put the brakes on the deal, forcing Selleck to do a future TV series, “Magnum P.I.” Now, it was back to Spielberg’s first choice: Harrison Ford.
The three discs also include literally hundreds of photographs and storyboard comparisons with three key action sequences: “The Well of Souls” (“Raiders”), “Mine Cart Chase” (“Temple of Doom”) and “Birth of an Action Hero!” (“The Last Crusade”).
— Bill Kelley III
“THE CHRONICLES OF NARNIA: THE LION, THE WITCH AND THE WARDROBE”
Blu-ray widescreen, 2005, PG for battle sequences and frightening moments
Best extra: Commentary with director Andrew Adamson and cast.
IT’S HARD TO GO WRONG with such excellent source material and it’s good to see Walt Disney Pictures and Walden Media do their best for “The Lion, The Witch and The Wardrobe.” Like Peter Jackson’s “Lord of the Rings” films, this first film installment in C.S. Lewis’ series was directed by a fan. This is surely the way to go when adapting classics to the screen. Adamson has created a bright and shining film that stays true to Lewis’ book and this Blu-ray, two-disc presentation is one of the best available for home viewing today. In this respect, it outshines Jackson’s masterpiece.
Visuals are brilliant. Adamson has used a rich palette. Reds, blues, lush greens and gold are deep and beautifully saturated. Detail is sharp and lifelike. There’s a seamless blend between human actors and CGI characters and effects. You’re going to love the sound, too. Every word of dialog, from whisper to battle cry, is distinct, crisp and balanced. I don’t have a state of the art sound system, but I could hear a clear improvement over earlier DVDs.
Speaking of which, I appreciate the onscreen note advising that some machines may take up to three minutes to download features. I liked the warning — and I liked that film and feature actually downloaded quickly. It is a vast improvement over earlier Disney Blu-ray releases. Bravo!
As for extras, the best specials on the earlier “Narnia” DVDs are here: Commentaries, “Narnia Fun Facts” (neat pop-up trivia presented by Lewis’ stepson, Douglas Gresham that plays through the film when selected), bloopers, a lavish making-of and exploration of the myths and legends that went into creating Narnia.
An exclusive “Battle for Narnia” game provides even more fun. Pick one of two fighters and battle your enemies among nifty keen graphics. Enthusiasts will also enjoy the extensive previews, including the trailer for “Chronicles of Narnia: Prince Caspian,” due in theaters this weekend (May 16). Go Aslan!
— Kay Reynolds
“BUTCH CASSIDY AND THE SUNDANCE KID”
Blu-ray widescreen, 1969, PG for language and violence Best extra: A standard-def “making-of” documentary includes interviews with actors Paul Newman, Robert Redford, Katharine Ross, studio executive Richard D. Zanuck and screenwriter William Goldman. NEWMAN! MCQUEEN! OK, MCQUEEN! NEWMAN!
In the late ’60s, two of Hollywood’s biggest stars were at a standstill. Their squabble? Who would get top-billing for “Butch Cassidy and the Sundance Kid.” Fox studio president Zanuck even devised a plan to give equal billing by dividing the globe in half. Newman would be tops in half the planet and Steve McQueen the other. But, no go.
In the 2005 documentary original on the two-disc DVD, Newman recalls that his actress/wife, Joanne Woodward, was the first person to suggest Redford. The younger actor had mostly worked Broadway and had also starred opposite Jane Fonda in the romantic comedy “Barefoot in the Park.” Zanuck was dead against Redford.
But the clock was ticking, especially since Zanuck had already written a $400,000 check — the biggest ever at the time — for Goldman’s sharp dialogue. He had also signed up Newman’s best friend, George Roy Hill (“The Sting”), to direct. But when Redford arrived on set with his long hair and mustache, Zanuck admitted he was wrong about the California blond.
This Blu-ray disc is chock-full of extras, including an informative commentary featuring Robert Crawford Jr., the director of the “making-of” documentary. The track is also edited with clips, originally recorded for the laserdisc commentary more than a decade earlier. Cinematographer Conrad Hall tells a story about how he recruited Ross to operate a camera during a complex action sequence — when the super posse first arrives onscreen — with multiple cameras rolling. Ross wasn’t exactly a photographer, she just happened to be Hall’s latest girlfriend. The director was so furious; he banned Ross from the set for the rest of the production, unless she was needed for her role.
Another 25-minute documentary covers facts vs. fiction of the real Hole in the Wall gang that actually robbed and blew up two Pacific Union baggage cars before heading to South America. The hi-def imagery from Hall’s Oscar winning photography is slightly disappointing; with some excess film grain and at times a soft picture. But compared to the DVD, it’s still a much more engaging experience. For a bonus, the folks at Fox reworked the original mono soundtrack into a six channel DTS HD sound. The new sound gives Butch and Sundance new life — especially Burt Bacharach’s score, another Oscar winner. Fox even inserted new gun shoots, giving it a blast. For you purists, the mono track is available. Rest assured, this Blu-ray has found a lifelong home in my collection and it will do the same with yours. — Bill Kelley III
“MASTER AND COMMANDER: THE FAR SIDE OF THE WORLD”
Blu-ray widescreen, 2003 PG-13 for intense battle sequences, related images and brief language Best extra: Another pop-up trivia track from Fox, with tons of historical facts and tidbits from director Peter Weir’s adaptation of Patrick O’Brian's British naval series of Capt. “Lucky” Jack Aubrey (Russell Crowe) and Dr. Stephen Maturin (Paul Bettany). FIRST, THE BAD NEWS.
Ninety-nine percent of the extras from the two-disc DVD are MIA on the Blu-ray. This has become standard procedure for Fox and its co-partner MGM. The following hi-def discs were featureless: “Mr. Magorium’s Wonder,” “Hoosiers,” “Hart’s War,” “Commando,” “Predator” and “Man on Fire.”
So, what’s missing on this Blu-ray? A 70-minute standard-def behind-the-scenes documentary, “The Hundred Days” multiangle battle scenes, interactive cannon demonstration, an HBO featurette with interviews, "In the Wake of O’Brian” where Weir explains the challenges of translating O’Brian’s novels, a featurette creating the realistic storm scene and dozen of drawings, conceptual art, blueprints to construct the massive ships and sets and period naval art. Those extras were one of the reasons “Master and Commander” was selected by The Virginian-Pilot as one of the best DVDs of 2004.
Now, the good news! The Blu-ray looks and sounds fabulous — far surpassing the quality of the DVD, even during the moody dark scenes on the British HMS Surprise. Fox cranked-up the highest bit-rates for its DTS-HD soundtrack making even a modest home theater rock from those cannons. The sound is so amazing; it encouraged this reviewer to build a wooden platform — about 3 inches tall — with carpet to house my front row theater chairs, just to maximize the blasts from the subwoofer. (My home theater was built on a concrete slab, which diminishes the full affect of the bass. My second row is already stationed on 8-inch platform, to insure a clean shot above the front-row heads and giving everyone a good sonic blast up the old spine.)
The disc does include nearly a dozen excellent deleted scenes and a pop-up map, so you can track every move of the HMS Surprise and the French Acheron off the coast of South America. — Bill Kelley III
“MAD MONEY”
Enhanced widescreen, 2007, PG-13 for sexual material and language and brief drug references
Best extra: The only extra beside a ten minute promotional featurette is a sparse commentary by director Callie Khouri, who is the screenwriter of the classic "Thelma and Louise" and the underrated Julie Roberts film "Something to Talk About." She did not write "Mad Money."
KATIE HOLMES’ FIRST acting role since her marriage to Tom Cruise is the critically lambasted and commercial flop "Mad Money," which manages to waste the talents of both Diane Keaton and Queen Latifah on a bank heist film so implausible, you'll shake your head in bewilderment. Strangely, the film is being distributed on DVD by Starz/Anchor Bay instead of a major studio.
The disc sports a decent transfer and is light on extras. Khouri's commentary is a strange one, with gaps of silence and behind-the-scenes stories lacking points.
— Josh Boone
“A GOOD MAN IS HARD TO FIND”
Enhanced widescreen, 2008, PG-13 for some violent content, sexuality, drug material and language
Best extra: The making of documentary.
“A GOOD MAN IS Hard to Find” is the film adaptation of a play by the same. Actually the precise name for the genre is “stage play,” the idiom for traveling productions of plays aimed at mostly black American audiences. With few exceptions, these plays examine relationships, family and the battle of the sexes, typically with a strong Christian current underneath. This play is no exception to the rule.
In the making-of documentary, which is this film’s only real extra save some trailers, director Leslie Small explains the characters and the focus of the play. It is not a ‘making of’ in the sense that you see costume and set designers wax philosophical. It is basically a Cliff Notes re-hash of everything you’ve just seen, in case for some reason you need assistance following the kind of doe-eyed melodrama that appears on Lifetime. (The title sort of says it all, no?) Aside from the play, the previews for other films here are highly entertaining. In them, B-list black stars — Stacey Dash! Tatyana Ali! Bobby Brown! Clifton Davis! — appear to do the best they can with what they’ve got: overwrought roles in movies whose entire premise, plot twists and resolution seems to be summed up in the trailer. It’s priceless camp.
— Malcolm Venable
“THE BIG TRAIL”
Enhanced widescreen and Full-screen, 1930, not rated
Best extra: Without a doubt, “The Creation of John Wayne,” which is a biography of the Duke and reveals a lot about the legend: He got his nickname from a dog he owned whose name was Duke. Firefighters near the Glendale, Calif., home where Wayne grew up would see the youngster walking his dog. Eventually, they would say “Here comes “Little Duke and Big Duke.” Wayne like the name so much, he kept it.
MARION MORRISON WAS a 23-year-old B-movie extra when director Raoul Walsh casthim in his first leading role playing Breck Coleman in “The Big Trail,” the best and most popular of the Fox Westerns in this DVD group.
The movie, filmed in Fox Grandeur, was an epic for 1930. It is the story of a wagon train with thousands of pioneers heading across the Oregon wilderness to the Pacific Northwest. And right in the middle is a young John Wayne, the quintessential American hero. There were 20,000 extras, 1,800 heads of cattle, 1,400 horses, 500 buffalo, 725 American Indians (from five tribes), 185 wagons, 93 principals, a production staff of 200, 22 camera operators, 4,300 miles were covered during the shooting, 12 Indian guides, 123 baggage trains, and 700 chickens, pigs and dogs…
The magnitude of the production, we learn in the making-of featurette, is what helped make this film. A $2 million, the movie was considered to be a real gamble.
An interesting fact about this film is how the film was shot several times. The main shoot was using Fox Grandeur, a process that put the company in a bad financial condition, since the only theaters that could show the film were ones that were equipped with the “new” format, which — similar to CinemaScope about 20 years later — surrounded the audience with its wide, panoramic views of the action. Then, the film had to be shot again using the conventional method of the day. Also, dubbing was not popular then, so versions of the film were shot in Spanish, using Spanish-speaking actors; in German, using German-speaking actors; and in Italian, using Italian-speaking actors. It was for this film that Wayne learned to ride, shoot, rope, throw a knife and act like a real, reel cowboy. It would be nine years and several films later, when he would be cast in “Stagecoach,” his breakout film, that he would become a star.
If you are a fan of either John Wayne or the Western, you’ll want to own “The Big Trail.” It’ll be as if you are THERE!
— Cliff Redding
“GARDEN OF EVIL”
Enhanced widescreen, 1954, not rated
Best extra: “The Making of ‘Garden of Eden’” featurette.
FILMED IN CINEMASCOPE, “Garden of Eden” stars Gary Cooper, Richard Widmark, Susan Hayward and Cameron Mitchell and is a story about greed and human nature as Cooper’s character, Widmark and Mitchell get stranded in Mexico and meet a beautiful woman (Hayward), whose husband is trapped in a gold mine.
The disc also features a 20-minute documentary on the career of director Henry Hathaway (“True Grit,” and “The Sons of Katie Elder”) and a commentary with three film historians.
— Cliff Redding
“RAWHIDE”
Full-screen, 1951, not rated
Best extra: “Shoot It in Lone Pine!” tells the film history of Lone Pine, which is not too far from L.A., where many, many films — particularly Westerns — were made.
LEGENDARY DIRECTOR Henry Hathaway got some intense performances from Tyrone Power, Susan Hayward, Jack Elam, Dean Jagger, Edgar Buchanan and Hugh Marlowe in “Rawhide,” the story of a stationmaster (Buchanan) and his reserved underling (Powers) who force a beauty (Hayward) and her infant niece are off a stagecoach to wait inside the station as a band of outlaws is on the loose. But when the cruel misfits converge on the station, they are in for a surprise.
— Cliff Redding
“THE GUNFIGHTER”
Full-screen, 1950, not rated
Best extra: “The Western Grows Up” featurette.
BAD-ASS GUNFIGHTER Jimmy Ringo (Gregory Peck) to locate the love of his life, who doesn’t want to see him these days. They haven’t seen each other in about eight years, and they have a son that Ringo has never seen.
Before Ringo can say anything, though, everybody wants to try him. AND there’s three bad cowboys on Ringo’s trail and they want to do some bad things. Karl Malden (“On the Waterfront”) and Ellen Corby (“The Waltons”) are in the cast. There’s trouble brewing!
The disc includes a short documentary on cinematographer Arthur Miller, who painted this black-and-white Western with an amazing palette of shades of gray. His work includes three Oscars: “How Green Was My Valley,” “The Song of Bernadette” and “Anna and the King of Siam.”
— Cliff Redding
“THE FIRE WITHIN”
Enhanced widescreen, 1963, unrated but contains adult situations
Best extra: 1994 interview with director Louis Malle
THE BLEAK STORY of the final 24 hours of a depressed writer who has decided to commit suicide is a fascinating study of alienation and social criticism. Malle was only 30 when he made the film and, in the interview, said he believed his life was over at that time. For that reason, this was one of his most personal films and gave its star, Maurice Ronet “the role of his life.” Other excellent extras include a 1966 interview with Ronet; a documentary about the film in which one of the actresses in it (an ex-wife of Malle) and the co-assistant directors (now directors in their own right) Philippe Collin and Volker Schlondorff, offer interesting insights into Malle at the time; a documentary on the novel which was the basis for the film; and a booklet with essays by a critic and a film historian.
— Peggy Earle
“THE LOVERS”
Enhanced wide screen, 1958, unrated but contains nudity and adult situations
Best extra: Two-part interview with Malle, from 1963 and 1994
IN THE FILM THAT made Jeanne Moreau a star, she plays a wealthy married woman with a handsome lover who soon falls for a third man she meets by chance. Considered utterly shocking in its time, the love scenes will seem tame by today’s standards. In Malle’s early interview, he protests that the film is completely “un-erotic” and “innocent.” In the later interview, he says that the film’s enormous box-office success “annoyed” him because he was dissatisfied with it. Other special features include interviews with Moreau, one of her co-stars and the screenwriter, as well as an essay by a film historian.
— Peggy Earle
“SNL: THE COMPLETE THIRD SEASON”
Full-screen, 1977-78, unrated
Best extra: Bonus film, “Things We Did Last Summer”
THE ORIGINAL CAST members of SNL (sans Chevy Chase) seem to have hit their stride during the third season, especially Bill Murray who created his nerd character, Todd, as well as the ski lounge singer Nick Winters. The Coneheads made their appearances, as did Father Guido Sarducci, Gilda Radner’s little girl Judy Miller, and John Belushi’s samurai warrior. The short film special feature, “Things We Did Last Summer,” contains four mini-films, consisting of a few Blues Brothers songs; a look at Garret Morris’s summer job posing as a lawn jockey; Bill Murray’s decision to quit comedy and become a baseball player; Gilda Radner charging people a dollar to tour her apartment and, funniest of all, Laraine Newman’s vacation in Tahiti that soon becomes her own personal horror movie. The only other extra is brief wardrobe test featuring John Belushi and Howard Shore.
— Peggy Earle
“LE GAI SAVOIR”
Enhanced widescreen, 1969, unrated
Best extra: None
FOR GODARD FANS only, this almost incomprehensible 92-minute-long conversation between a young man and woman (Jean-Pierre Leaud and Juliet Berto) takes place on a television soundstage. The two are discussing the nature of words, film, advertising, revolution – and their dialogue is illustrated with quick cuts to iconic images, many of them in beautifully saturated color. There are also periods with no images at all, during which the spoken word is presented against a black screen, as well as segments with only the sound of static. Go figure.
— Peggy Earle
“LA CHINOISE”
Enhanced widescreen, 1967, unrated
Best extra: Introduction by the British author of a book on Godard.
ONCE AGAIN, this is not for general audiences, who will probably find it tedious and/or annoying. A group of Parisian students move into one of their parents’ apartment and plot a revolution based on the teachings of Mao. Or something like that. In his intro, Colin McCabe helps put the film, which he terms a “historical document,” in context, and explains Godard’s “fascination with the young,” including his wife at the time and one of the co-stars, Anne Wiazemsky. McCabe says that Jean-Pierre Leaud, who plays a lead in this film too, was an “emblematic figure of the New Wave,” and provided alter egos for both Godard and Truffaut. Other extras include interviews with Godard and Wiazemsky, as well as footage of Godard during a press conference at the Venice Film Festival, where “La Chinoise” won the Special Jury Prize.”
— Peggy Earle
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