Today is the longest day of the year, the first day of summer, the solstice, and we hope it covers you with abundant sunshine. And if it doesn't, you can always rely on the kindness of films from GreenCine. And if it does, you should still be watching movies, because, as Alvy Singer said in Annie Hall (in our monthly Woody quote), "sun is bad for you. Everything our parents said was good is bad. Sun, milk, red meat... college."

And while you're staying indoors, there's still time to download, and vote on, the ten fine finalists in the GreenCine Online Film Festival, which ends its run Sunday.

Artist-actress-filmmaker-writer Miranda July is so hyphenated she's hard to keep up with, and has had to rev herself up even further with the release of her startlingly good feature debut Me and You and Everyone We Know. In conversation with Craig Phillips, July paused long enough to shed some light on the process of making the indie film that both Roger Ebert and Entertainment Weekly's Lisa Schwarzbaum tagged the best they saw this year at Sundance.

Up next: An interview with Chris Terrio, director of Heights, a new indie film also arriving in theaters this month, featuring Jesse Bradford, Elizabeth Banks and Glenn Close.

A blog day's journey into night: the GreenCine Daily covers the world of film like a blanket. Among the Daily's new offerings is a fine encapsulation of the latest films from the CineVegas Vanguard Directors series.

Video-on-Demand: Fame Whore (1997).

Now available via GreenCine's Video-on-Demand service: Ever-subversive Hawaii-based independent filmmaker Jon Moritsugu took sheer delight with Fame Whore, an amusing takedown of indie and undie attitudes that Entertainment Weekly gave an "A; his most successfully realized flick." The film is organized as a trilogy of tales about three people who all share the overwhelming desire to excel, no matter the odds: a tennis star, a wannabe fashion designer (Amy Davis, who co-wrote Moritsugu's Scumrock), and an animal activist. "A deadpan comedy that relies on a sense of spot-on accuracy to capture the lives of these fringe-art rebels...refreshingly turned on themselves," wrote the LA Times of this "sweetly mocking comedy about the perils of reaching 30 with little to show for one's avant-gardeness except crazy hair and an ossifying attitude." [LA Weekly] You can watch Fame Whore now or anytime you wish via GreenCine's "hella cool" Video-on-Demand service.

GreenCine Staff Pick of the Week: Me Without You (2001).

Sandra Goldbacher's lovely and underrated Me Without You is one of the few of the spate of recent female bonding pictures to actually get that right (take that, Ya Yas), following as it does two English girls' intense intense friendship (and intense sexual rivalry), on into adulthood over the course of twenty years. As Goldbacher's first feature, the Victorian era piece The Governess, reminded me of a more emotionally complex Jane Austen, Me Without You, even if set in the 20th century, more directly reminds of Austen, in humor, tone and plotting, in which the characters are both appreciably wise and yet self-sabotaging in the way that people are. The male characters are thankfully three-dimensional whereas they could easily have all been conveniently drab louts. Kyle MacLachlan in particular has a great supporting role as the college lecturer both women fall for. But it is Anna Friel and Michelle Williams (American, but with a spot-on accent) who bring the story of this often-toxic friendship fully to life. It may be a "small" film, but Me Without You is large in heart and emotional scope. -- Tamara Lees

Note: A recent staff pick, Go Tell the Spartans, had a last minute release date change which we unfortunately weren't notified about until after newsletter press time. Instead of releasing on that day, May 24, the DVD is now due out on August 30. We apologize for any disappointment this may have caused.

Our own handpicked highlights of this week's new DVD releases include several great documentaries and, even greater, Josephine Baker:

Immortal (2004). One of the week's most unusual releases. Enki Bilal, born in Belgrade and now living and working in France, is a comic-book artist with a highly dedicated cult following. Here, he brings the first volume of his Nikopol Trilogy, La Foire Immortels (The Immmortal Market) to visually spectacular life with the help of a cast that includes Thomas Kretschmann and Charlotte Rampling.

They Came Back (2004). What if 70 million people came back from the dead - zombies, basically - but they weren't particularly interested in chowing down on the living? Suppose they simply wanted to reassimilate themselves back into society? They're not too quick about it, of course, and they have to sort of learn to cope with the sluggishness of their bodies and the forgetfulness of their minds, but they're trying. "It's rather amazing how far the film is able to coast on its uniquely fascinating premise," writes Ed Gonzalez in Slant, "even if it isn't much of a stretch for its director: [Robin] Campillo co-authored Laurent Cantet's incredible Time Out, a different kind of zombie film about the deadening effects of too much work on the human psyche, and They Came Back is almost as impressive in its concern with the existential relationship between the physical and non-physical world."

In the Realms of the Unreal (2003). An extraordinary and unique documentary about one of the most famous, intriguing and even disturbing outsider artists ever known. Or rather, unknown; though the Chicago janitor left behind 300 paintings and a 15,000-page novel, his work is the only record of a lonely life that ended in 1973. "Was Henry Darger's output the work of a singular artist or the symptom of mental illness?" asks Dave Kehr in the New York Times. "[Jessica] Yu suggests that the question is not only impossible to answer, but also reductive and inappropriate in the face of such a singular achievement. Obscure by nature and unwieldy by design, Darger's work is difficult to confront and consume; Ms. Yu has brought it a little closer, and that is as fine a public service as an art documentary can provide."

Put the Camera on Me (2003). "An amazing, unclassifiable bit of queer Americana," enthused Bright Lights Film Journal editor Gary Morris when he caught this one at the San Francisco International Lesbian & Gay Film Festival in 2003. "Ever been to a family function and tried to pick out the future gay boys of America by cataloguing the strange behaviors of your young cousins and their friends?" asks Ed Gonzalez in the City Pages. "If so, this film from Darren Stein (Jawbreaker) and Adam Shell is for you."

Bright Leaves (2003). "Hearing Ross McElwee's voice at the beginning of a movie is like getting a phone call from an old friend," writes Ty Burr in the Boston Globe. "The Cambridge-based documentarian is a raconteur of elegiac discursiveness, and films such as 1986's Sherman's March and 1994's Time Indefinite wander from topic to topic with a charming, self-absorbed, and oddly liberating waywardness. Bright Leaves is supposedly about the North Carolina tobacco industry and McElwee's ancestral connection to it, but somehow you don't mind that you end up hearing actress Patricia Neal talk about her enduring love for Gary Cooper."

Siren of the Tropics (1928). No history of Europe between the wars is complete without at least a mention of the woman who electrified the continent, Josephine Baker. While you may have seen clips of her before, there was a lot more to her vibrant persona than a banana dance. She made features as well, and this is her first. The disc also features Josephine Baker: The Performer and more extras. Also out today: Baker's first talkie, Zou Zou, a 1934 "backstage musical" in the tradition of 42nd Street, featuring Jean Gabin who was himself just about to break and break huge around the world; and Princess Tam Tam (1935), which Vincent Canby in the New York Times called "Irresistible... enchanting." The last disc also features Josephine Baker: The Films.

New Anime:

R.O.D. The TV Series. Volume 7: The New World (2005). "A very dynamic series with some interesting characters," says JHeneghan. "A good extension of the R.O.D. OVA."

Fill up your queue. We recommend having a minimum of ten times the number of slots you have, i.e., forty if you're on the four-out plan. If you're having trouble thinking of titles to rent, here are a few ideas: check out member lists (which you can look at chronologically, alphabetically or by average rating) and editorial top lists, browse through primers and our active discussion boards, look at our lists of titles coming soon, among other ideas. So queue away! And if you need to watch something right now, take a gander at our rapidly expanding Video-on-Demand offerings. And for ease of browsing, you can look at our currently available VOD titles by genre; go to the main page for a list of all genres.

We've said it before but we'll say it here again: This is the last week you can download and vote on the finalists in the GreenCine Online Film Festival. Presented by DivX, the festival offers filmmakers a share of the profits and you exposure to some of the best new documentaries and indie features from around the world. So watch 'em, vote on 'em, and spread the word.

Congratulations to the winners of several recent GreenCine trivia contests: The X Files Mythology winners were EricBill0 and Nyetah (the answer was "Trust no one"); Paul McCartney in Red Square winners were bcombo, AnjKay, Yowanda, MDixon, Echan, Sman, dftpnk, mem1170, godumun3 and wldree (the answer was "Maybe I'm Amazed" and each winner will take home a package of the disc, a poster, LP and pin). Take a whack at our next trivia contest giveaway, up on GreenCine this Friday: Nero Wolfe Season 2.

GreenCine's next Yerba Buena Center screening will be on July 6, when we present the Documentary Grand Prize winner of the GreenCine Online Film Festival. The winner will be announced next week and we'll have more details then. Whichever film it is, we guarantee you won't want to miss it!

So, here we are, back with you again. Yes by-gum, and yes by-golly... Well, if you can finish that sentence, you're a trivia expert and/or seriously dating yourself.* But, yes, here we are again, with another Dispatch, covering the latest tidings from the world of Video-on-Demand, DVD, and film in general. Thanks for making GreenCine's newsletter a part of your week. And before we continue, let's salute dear ol' dads everywhere for putting up with all of us. Happy Father's Day!

*"Kukla Fran and dear old Ollie."

Appropriate for Father's Day: Arianné Ulmer Cipes is the producer of a documentary called Edgar G. Ulmer: The Man Off-Screen, about her father, one of the finest low-budget directors ever and most famous for Detour and The Black Cat. Cipes and GreenCine's Jonathan Marlow discuss Ulmer and the experience of growing up with a director father in Arianné Ulmer Cipes: "Everything was exploding at the same time."

Expect more articles to appear in the days and weeks ahead, including an interview with filmmaker-artist-actress-writer (and a bunch of other hyphenates) Miranda July (Me and You and Everyone We Know) and a slasher movie primer just in time for summer camp! All this and more coming your way soon, right after this commercial message. [Just kidding.]

Even before summer officially starts, the GreenCine Daily happily wears shorts - that is, a non-stop barrage of tidbits from the world of film coverage, from magazines, newspaper, blogs, festivals, and the makers themselves, the Daily has 'em covered. Current: insight and commentary on Hayao Miyazaki's Howl's Moving Castle, as well as a wrap-up of the just concluded Seattle International Film Festival.

Video-on-Demand: Il Mare (2000).

Now available via GreenCine's Video-on-Demand service: the lovely Korean romance Il Mare. "Jun Ji-hyun and Lee Jung-Jae [both] put in subtle and understated performances that suit the film's tone and storyline perfectly," wrote DVDTimes (UK). "The film manages to be both heartbreaking and uplifting at the same time and leaves the viewer with the same sorts of feelings as the Korean comedy, My Sassy Girl." "I loved this movie," remarked rmarkd, "a romance story with a 'touch of fantasy' that allows for some interesting situations." You can watch Il Mare now or anytime you wish via GreenCine's Video-on-Demand service.

GreenCine Staff Pick of the Week: My Darling Clementine (1946).

One of my all-time favorite episodes of M*A*S*H is the one in which they get a print of John Ford's My Darling Clementine, only to suffer through a series of projector breakdowns and other delays. To pass the time, they do impressions of the indellible cast. That includes favorite, unimitable character actor Walter Brennan, Victor Mature - arguably his best performance - as Doc Holliday and of course, Henry Fonda in one of his most beloved roles as Wyatt Earp, who arrives in Tombstone ("Sure is a hard town to play a quiet game o' poker in") to raise cattle, only to find himself, and his brothers, grappling with cattle rustlers and fighting with Doc over the eponymous girl. After seeing Clementine, you can understand why the 4077th might have been so excited to get the film and why it remains one of the finest Westerns ever. It's Ford's telltale "asides" - the dance in the church, the colorful locals, Earp's haircut - that make the film such a delight, but even the asides have a greater purpose, and well before the famous end, in the unforgettable shootout at the OK Corral, you'll likely have been moved once or twice. The film was gently satirized itself, or at least referenced, in Burt Kennedy's comparably enjoyable Support Your Local Sheriff. The two would make a swell double-feature. -- Craig Phillips

We bring you forthwith highlights of week's new DVD releases, including a couple of sleepers, a couple of classics, and the most beautiful film about a donkey ever:

Au Hasard, Balthazar (1966). Criterion releases one helluva lot of great films, it goes without saying, but this one is surely one of the most highly anticipated. "To cut to the chase," wrote J. Hoberman in the Village Voice, "Robert Bresson's heart-breaking and magnificent Au Hasard Balthazar - the story of a donkey's life and death in rural France - is the supreme masterpiece by one of the greatest of 20th-century filmmakers. Bringing together all Bresson's highly developed ideas about acting, sound, and editing, as well as grace, redemption, and human nature, Balthazar is understated and majestic, sensuous and ascetic, ridiculous and sublime." Among the disc's special features: a video interview with Donald Richie and "Un metteur en ordre: Robert Bresson," a 1966 French TV program about the film featuring Bresson, Jean-Luc Godard, Louis Malle and members of the cast and crew.

Rory O'Shea Was Here (2004). The story of two friends confined to wheelchairs is "funny, touching, affirmative," wrote Philip French in the Observer. "There are odd, slightly sticky moments, but [Damien] O'Donnell, his screenwriters Jeffrey Caine and Christian O'Reilly and his cast avoid the sentimentality and the triumphalism so often found in movies about the disabled."

A Dirty Shame (2004). The incomparable Tracey Ullman is the driving, thrusting, sweaty life force propelling John Waters's almost nostalgic return to his trashy roots.

ABC Africa (2001). "The richness and emotional impact of ABC Africa comes partly from the balance it achieves between the director's personality... and his vast, terrible subject," wrote A.O. Scott of Abbas Kiarostami's documentary in the New York Times. "He never pretends to have mastered the subject - the film's title suggests the elementary state of his knowledge - or to be able to solve Uganda's problems by observing them. But you come away from his film overwhelmed, hopeful and... illuminated." See also: Our Iranian New Wave primer.

Edward II (1992). In his re-imagining of Christopher Marlowe's 16th century play, Derek Jarman "has taken all the latent homosexual subtext in Marlowe's original and brought it front and center - and then some," wrote Marjorie Baumgarten in the Austin Chronicle. "Settings go back and forth between sparsely decorated medieval castles and present-day Outrage demonstrations.... Then there are these transfixing moments and compelling images, like when Edward and Gaveston dance a last dance while songstress Annie Lennox sings Cole Porter's 'Every Time We Say Goodbye' video-style in the background, a moment rich with resonance and acute awareness."

The First Amendment Project (2004). This fast-paced doc follows the case with comedy built into it right from the start, the one Fox brought against Al Franken for using their slogan in the title of his book, Lies and the Lying Liars Who Tell Them: A Fair and Balanced Look at the Right.

Heaven Can Wait (1943). We should first make clear that this is not the movie Warren Beatty remade in 1978; his Heaven Can Wait is actually a remake of Here Comes Mr. Jordan (1941). No, this comic gem from Ernst Lubitsch, his first in color, is "his spiritual autobiography," as the British Film Institute puts it. "In order to determine his posthumous destination, Henry Van Cleve tells the story of his life to the Devil in alternately comic and poignant episodes." This Criterion release features a conversation with critics Molly Haskell and Andrew Sarris, a 30-minute portrait of screenwriter Samson Raphaelson and more extras.

The Star (1952). Bette Davis used to refer to the 1950s as her "ten black years," and in this 1952 low-budget Hollywood drama about an aging actress desperately trying to stage a comeback, she seems to be screaming out all her frustrations. Not only at her own fate but at her arch-nemesis as well, Joan Crawford (the screenwriters knew Crawford well). The salt in the wound: Davis would be nominated for an Oscar for her portrayal here, but would lose to Shirley Booth for Come Back, Little Sheba, a role originally offered to Davis.

Stellvia. Volume 5: Foundation V. (2005). For the Anime News Network, this is one of those few series that actually improves as it moves along. It was there that Carlo Santos wrote most recently, "Few people would think of turning to a high-spirited sci-fi series for romance, but Volume 4 of Stellvia proves that it can hold its own against any other girl-meets-boy anime out there.... Our little meatball-headed space cadet is truly coming of age, and yes, this series is getting better." Let's hope the trend holds up for Volume 5.

To make your queue work for yueue, fill it up. Your queue works best when filled with a minimum of ten times the number of slots you have, i.e., forty if you're on the four-out plan. If you're having trouble thinking of titles to rent, here are a few ideas: check out member lists (which you can look at chronologically, alphabetically or by average rating) and editorial top lists, browse through primers and our active discussion boards, look at our lists of titles coming soon, among other ideas. So queue away! And if you need to watch something right now, take a gander at our rapidly expanding Video-on-Demand offerings. And for ease of browsing, you can look at our currently available VOD titles by genre; go to the main page for a list of all genres.

There's still time to check out the finalists in the GreenCine Online Film Festival, presented by DivX. All ten docs and narrative features will remain available for download in secure DivX format through June 26. Watch. Rate. Repeat. Spread the word. We also recommend reading our DivX FAQ.

Congratulations to the winners of GreenCine's recent The Tomorrow People contest: beckricci and badfish. Meanwhile, our next trivia contest giveaway will appear on the home page on Friday: Paul McCartney in Red Square, in which we'll not only be giving away DVDs but rare LPs, posters and pins! Say "bring it on home to me" and enter!

GreenCine's next Yerba Buena Center screening will be on July 6, when we present the Documentary Grand Prize winner of the GreenCine Online Film Festival. More details to come!

Difficult to typify or classify, the films of Brad Anderson continue to draw critical buzz but not always a big audience. His most recent, the highly praised and rather dark The Machinist, did little to change that pattern, but is due for a new appreciation upon its DVD release. In Brad Anderson: "The real horror is within," the director looks back on his work to this point, and to the future, including a rumored Crazies remake, in an engaging chat with Alison Veneto.

The GreenCine Daily continues along its merry way with links to critical looks at upcoming summer films, big and small - Spielberg, Miyazaki, Batman Begins, and so on - along with festival reports, online viewing tips, and more. Go make our award-winning film blog a part of your balanced breakfast every day.

Video-on-Demand: Water Margin: True Colors of Heroes (1993).

Water Margin: True Colors of Heroes (a.k.a. All Men Are Brothers: Blood of the Leopard) is a remake of the Shaw Brothers original epic Water Margin, and adapted from a portion of the Chinese literary classic "Outlaws of the Marsh," wisely narrowing focus to a few main protagonists and villains. With the plot not the thing here, and the theme - brotherhood conquers all - fairly obvious, it's the acting (Tony Leung and Wai Lam star), spectacular stunts, sparkling costumes, catchy music and, of course, the action, that makes it fun. "The action is quite good," extolled HKFlix, "using enough wire work to make things interesting without going too over the top, and the actors do well - especially Elvis Tsui, who puts in a career-best performance (one that garnered him a Best Actor nomination for the Hong Kong Film Awards) and puts [the film] above the usual wuxia fare." Watch True Colors of Heroes anytime you want via GreenCine's Video-on-Demand service.

GreenCine Staff Pick of the Week: Touching the Game: The Story of the Cape Cod Baseball League (2004).

Baseball season, of course, is in full swing, and if you're like me, you may have a love-hate relationship with the game as it stands today: free agency makes it hard to get too attached to any player on your favorite team, the steroids controversy, egos, injuries... and yet we stick by it. For a beautiful glimpse of baseball as it could or should be (and on the day of the annual amateur draft), the documentary Touching the Game: The Story of the Cape Cod Baseball League goes right down the heart of the plate in a portrayal of a minor league. One of the film's most interesting insights is on the adjustment these fresh from college players have to make to using wooden bats (versus the aluminum bats used in the NCAA). But as much as the film is about baseball - and there is plenty of footage and fine interviews with recognizable baseball talent who camp up though the Cape Cod league - the film is also tribute to the perservence of the players, who work odd jobs to support themselves (this is a long way from George Steinbrenner when it comes to salaries), and to the dedicated fans. It's also a winning peek into small town American life. But mostly it's about baseball, and a treat for fans yearning to care about it again.-- Tamara Lees

Fine directors in touch with their dark sides highlight this week's new DVD releases:

The Machinist (2004). It'd be a shame if this film becomes known only as the one for which Christian Bale lost so much weight it's scary. Not only is Bale, whom we'll be seeing this summer looking a lot healthier even if he is hovering over Gotham City in a black mask and tights, becoming one of the most daring actors working, but, as noted in the aforementioned interview with him, director Brad Anderson has also clearly decided he won't be gliding on the accolades he's garnered for his previous work, including the innovative Session 9. This one is, as Stephen Holden put it in the New York Times, "an expertly manipulated exercise in psychological horror."

The Agronomist (2003). Jonathan Demme surely has one of the most intriguingly spotty records around. His hand seems most confident when he turns to the documentary; see, for example, Stop Making Sense, a strong contender for the best feature-length record of a musical performance ever made. With The Agronomist, Demme, having been fascinated by Haiti for years, is once again on solid ground. At the doc's center is Jean Dominique, founder of Radio Haiti-Inter, "a scourge to the successive waves of corrupt politicians that have for decades ravaged that much-oppressed island," as Peter Brunette put it in his review for indieWIRE. "Dominique's fierce love of liberty and his deep sympathy for the plight of his poor countrymen come across very strongly indeed, with or without the details. The original music, by Haiti's Wyclif Jean, offers surprise after surprise."

Untold Scandal (2003). Maybe you've seen Dangerous Liaisons and maybe you've seen Valmont and maybe you've even seen Roger Vadim's take or the French mini-series, but you've never seen Chodleros de Laclos's classic novel Les Liaisons Dangereuses dressed up quite like this. Director E J-Yong sets the story during the Chosun Dynasty of 18th-century Korea. It works. The film is as sexy and engaging as any previous adaptation.

Under the Flag of the Rising Sun (2004). "One of [Kinji] Fukasaku's angriest and most explicit explorations of his great theme: postwar trauma and warp-speed transformations in Japanese society," wrote Dennis Lim in the Village Voice.

"Imaginary Heroes (2004) is a queer-eyed valentine to Sigourney Weaver," writes Keith Uhlich in Slant. "Writer-director Dan Harris (co-author of X-Men 2, that downright odd, rainbow-colored ode to ostracized superheroes) is lucky to have Weaver and he knows it... Movies, perhaps more than any art, can cast profound, epiphanic illumination on our personal histories, and Weaver's performance - clearly a cinematic paean to a mythologically perfect lioness - captures something of every mother's deep-felt agony and ecstasy, that gnawing, loving need to protect their children, at whatever cost, from any and all of life's inevitable hurts."

Dead Ringers (1988). This creepily profound masterwork represents nothing less than some of the best work ever done by director David Cronenberg, currently riding another wave of critical appreciation following the premiere of his A History of Violence in Cannes this year, Jeremy Irons, who plays both twin gynecologists Beverly and Elliot Mantle, and Geneviève Bujold as their mutual love interest. One of our humble editors' favorite films of all time.

"The hoodwink-picture genre doesn't have a whole lot of peaks to choose from, but Nightmare Alley (1947) is one of the few," wrote Elvis Mitchell in the New York Times. And J. Hoberman wrote in the Village Voice, "This 1947 account of an archetypal American's rise and fall is neither a great movie nor even a classic noir but it has a great ambition to be daring and, once seen, is not easily forgotten." More noir new to disc: The Street With No Name (1948), and Sam Fuller's House of Bamboo (1955).

Orwell Rolls in His Grave (2004). "A marvel of passionate succinctness," wrote Variety, "Robert Kane Pappas's docu critically examines the Fourth Estate, once the bastion of American democracy. Docu asks, 'Could a media system, controlled by a few global corporations with the ability to overwhelm all competing voices, be able to turn lies into truth?'" Interviewees include Michael Moore, naturally, but also the iconoclastic British journalist Greg Palast and Nation contributor Mark Crispin Miller.

New Anime:

Gantz, Volume 5. "Altogether..." wrote Battie hesitantly of the first volume, "not only weird and depraved, but often disgusting, too. And tons of gore. But at the same time, there is a morbid part of me that wants to see more. It helps that the story line is interesting."

Go forth and multiply. Queues are most effective when they are filled with a fair number of discs; we suggest having a minimum of ten times the number of slots you have, i.e., forty if you're on the four-out plan. There are plenty of ways to populate your queue, including looking at our lists of titles coming soon, member lists (which you can look at chronologically, alphabetically or by average rating) and editorial top lists, by browsing through primers and our active discussion boards, among other ways, so queue away! And if you need to watch something right now, take a gander at our rapidly expanding Video-on-Demand offerings.

Just a reminder: The finalists in the GreenCine Online Film Festival, presented by DivX, are up and available for download in secure DivX format through June 26. Watch. Rate. Repeat. Spread the word. We also recommend reading our DivX FAQ.

Congratulations to the winners of several recent GreenCine Trivia Contests: winners of the Appleseed contest were kinsugi, BJLouie and Vi3wer (the answer was The Boom Boom Satellites); winners of the Bob Newhart Show contest were RHorsman and stookey (the answer was Tom Poston); and the winners of the Frank Sinatra contest were solar66 and lulufaye (the answer was Rocky Graziano). Meanwhile, our next trivia contest giveaway is now up on the GreenCine home page: X-Files Mythology: Abudction, which will be followed by a nifty film noir collection contest on Friday. Try 'em both!

Thanks to all who tooned in to our Animated Exposure screening last week, introduced by Microcinema International curator/founder Joel S. Bachar, at San Francisco's Yerba Buena Center. Our next YBC screening will be on July 6, when we present the Documentary Grand Prize winner of that there GreenCine Online Film Festival. More details to come!