AFI FESTIVAL : De Oliveira’s Revealingly Entertaining ‘Cannibals’

Following are The Times’ recommendations for today’s schedule of the American Film Institute International Film Festival, with commentary by the film-reviewing staff. All screenings, except where noted, are at Laemmle’s Monica 4-Plex, 1332 2nd St. Santa Monica. Information: (213) 466-1767.

HIGHLY RECOMMENDED:

“THE CANNIBALS” (Portugal; director Manoel de Oliveira; 1 and 6:15 p.m.). Here is De Oliveira at his most entertainingly mannered and self-revealing. In adapting Alvaro do Carvalhal’s 19th-Century tale of obsessive romance, ballroom madness and devious cross-purposes among the aristocracy, he begins on a note of high mock solemnity and grandeur--the characters communicate in recitatifs and grand opera arias while a demonic fiddler narrates--and, at the climax, switches into Hammer-style horror and madcap comedy. A completely unique film. The original Joao Paes score sometimes suggests Alban Berg’s “Wozzeck”; the narrative style is droll, austere and passionate. (Michael Wilmington)

“TWO ENGLISH GIRLS” (France, 1971; Francois Truffaut; 1:45 and 7 p.m.). Shortly before he died, Truffaut restored 15 minutes that he had deleted upon this film’s 1971 release. Although a box-office failure, today it seems a greater film than his similar classic “Jules and Jim”--deeper, more mature and more involving. Both films are based on novels by Henri-Pierre Roche, both deal with the impossibility of love within the eternal triangle. Jean Pierre Leaud plays the young Frenchman, and Kika Markham and Stacey Tendeter are the two sisters in Wales with whom he falls in love. (Kevin Thomas) (Wilmington concurs: “. . . One of his masterpieces.”)

“BLEAK MOMENTS” (Great Britain, 1971; Mike Leigh; 4:15 and 9:30 p.m.). Leigh’s first feature, and his only theatrical film until 1987’s “High Hopes,” this story of a woman who has to struggle with the care of a mentally impaired sister was partially financed by actor Albert Finney, who puckishly suggested “Carry On, Gloom” for a title. A contemporary review predicted it would “either make you laugh uproariously or . . . want to shake each character by their ineffectual shoulders,” a response that Leigh would only make more intense over the years. (Kenneth Turan) (Wilmington concurs: “Caustic humor, uncompromising gritty naturalism and deep compassion: The Leigh trademarks are already here.”)

RECOMMENDED:

“SHOOT FOR THE CONTENTS” (United States; Trinh Minh-ha; 1:15 and 7 p.m.). Radical-experimental documentarian Trinh Minh-ha, one of the form’s real explorers, examines Chinese culture and politics in the wake of the Tian An Men Square tragedy. This complex, multilayered film--a collage of reportage, symbolism, performance and interviews (Wu Tian Ming, Clairmonte Moore)--has a clear surface and an elusive interior. Fitting its dark subject, it avoids certainties and suggests eternal riddles, the chaos below the symbol. (M. W.)

“THEY CALL US MISFITS” (Sweden, 1968; Stefan Jarl; AFI Goodson, 7 p.m.). Stefan Jarl’s debut feature, made when he was 25, is an unvarnished look at Swedish hippie-druggie-dropout life, circa 1968. A mix of interviews and Frederick Wiseman-style verite, it records with wit, concision and compassion the lives of two “mods,” Kenta and Stoffe, and their round of drinking, sex and desultory rock music-making. First-class reportage, it also gives strong hints of the poet Jarl would eventually prove to be. (M. W.)

Others: “Over the Ocean” (Israel; Jacob Goldwasser; 3:30 and 8:45 p.m.) Despite nice touches and acting, and nine Israeli “Oscars,” this comedy-drama, set in 1962 Tel Aviv, has an over-heavy touch. Leering villains, bouncing bosoms and sentimentality galore adorn its study of the impulse to flee to America. (M. W.). “The Footman” (Italy; Daniele Luchetti; 1:30 and 6:45 p.m.) Unscreened: A hit Italian comedy about corrupt politics, a venal politician and his beleaguered flunky. “Life in the Food Chain” (United States; Douglas Katz; 3:45 and 9 p.m.) Jonathan Silverman shines in the dubious part of a young up-and-comer who suddenly turns into a little old Jewish man. Otherwise: stillborn satire. (M. W.). “Latino Short Films” (United States; AFI Goodson, 9 p.m.). Unscreened. “Pepo” (Armenia 1935; 4 and 9:15 p.m.). Unscreened: Hamo Bek-Nazarian’s early sound classic about the rich swindling the poor.