FILMS RETROSPECTIVES. IT HAPPENED YESTERDAY

•	Joe Hill, Bo Widerberg, (Suecia-USA, 1971)
•	The last emperor, Bernardo Bertolucci, (China-Italia-UK, 1987)
•	Reed, México insurgente, Paul Leduc, (México, 1970)
•	Paths of Glory, Stanley Kubrick, (USA, 1957)
•	Oktyabr, (October) Sergei M. Eisenstein, Grigori Aleksandrov, (URSS, 1927)
•	Rosa Luxemburg, Margarethe von Trotta, (Alemania, 1986)
•	The Making of the Mahatma, Shyam Benegal, (India-Sudáfrica , 1996)
•	The Informer, John Ford, (USA, 1935)
•	La marcia su Roma, Dino Risi, (Italia, 1962)
•	Singin' in the Rain, Stanley Donen, Gene Kelly, (USA, 1952)
•	Brother, Can You Spare a Dime?, Philippe Mora, (USA, 1975)
•	Cabaret, Bob Fosse, (USA, 1972)
•	Caudillo, Basilio Martín Patino, (España, 1977)
•	The Spanish Earth, Joris Ivens, (USA, 1937)
•	The Big Red One, Samuel Fuller, (USA, 1980)
•	Le chagrin et la pitié, Marcel Ophüls, (Francia-Suiza-Alemania, 1971)
•	Tora! Tora! Tora!, Richard Fleischer, Toshio Masuda, Kinji Fukasaku, (USA-Japón, 1970)
•	The Thin Red Line, Terrence Malick, (USA, 1998)
•	Nuit et brouillard, Alain Resnais, (Francia, 1955)
•	The Longest Day, Andrew Marton, Ken Annakin, Bernhard Wicki, (USA, 1962)
•	Paris brûle-t-il?, René Clément, (Francia-USA, 1966)
•	Roma, città aperta, Roberto Rossellini, (Italia, 1945)
•	Falkenau, vision de l'impossible, Emil Weiss, (Francia, 1988)
•	Kuroi ame, Shohei Imamura, (Japón, 1989)
•	Dr. Strangelove or How I Learned to Stop Worrying and Love the Bomb, Stanley Kubrick, (USA, 1964)
•	Germania, anno zero, Roberto Rossellini, (Italia-Francia-Alemania, 1947)
•	Hollywood on Trial, David Helpern, (USA, 1976)
•	Exodus, Otto Preminger, (USA, 1960)
•	Judgment at Nuremberg, Stanley Kramer, (USA, 1961)
•	Permiso para pensar, Eduardo Meilij, (Argentina, 1989)
•	The Intruder, Roger Corman, (USA, 1961)
•	Historias de la revolución, Tomás Gutiérrez Alea, (Cuba, 1960)
•	Place of Weeping, Darrell Roodt, (Sudáfrica, 1986)
•	The Right Stuff, Philip Kaufman, (USA, 1983)
	Der Tunnel, (The Tunel) Roland Suso Richter, (Alemania, 2001)
•	La battaglia di Algeri, Gillo Pontecorvo, (Argelia-Italia, 1965)
•	JFK, Oliver Stone, (USA, 1991)
•	Le 17ème Parallèle: Le Vietnam en guerre, Joris Ivens, Marceline Loridan, (Francia-Vietnam, 1968)
	Apocalypse Now Redux, Francis Ford Coppola, (USA, )
•	Huozhe (To Live), Zhang Yimou, (China, 1994)
•	Mourir à 30 ans, Romain Goupil, (Francia, 1982)
•	Woodstock, Michael Wadleigh, (USA, 1970)
•	General Idi Amin Dada, Barbet Schroeder, (Francia, 1974)
•	All the President's Men, Alan J. Pakula, (USA, 1976)
•	La batalla de Chile (1ª Parte): La insurrección de la burguesía, Patricio Guzmán, (Chile, 1975)
•	La batalla de Chile (2ª Parte): El golpe de Estado, Patricio Guzmán, (Chile, 1976)
•	Capitães de Abril, Maria de Medeiros, (Portugal-España-Francia, 2000)
•	Die Fälschung,  Volker Schlöndorff, (Alemania-Francia, 1981)
•	And the Band Played On, Roger Spottiswoode, (USA, 1993)
•	La historia oficial, Luis Puenzo, (Argentina, 1985)
•	Salvador, Oliver Stone, (USA, 1986)
•	Pred dozhdot (Before the Rain), Milcho Manchevski, (Macedonia-Francia-UK, 1994)
•	Chile, la memoria obstinada, Patricio Guzmán, (Chile-Francia-Canadá-Bélgica-Alemania, 1997)
•	Qu nian yan hua te bie duo (The Longest Summer), Fruit Chan, (Hong Kong (China), 1998)

Under more generic, allegorically-entitled headings, the Festival has grouped together films not commonly offered (even in specialised sections) and which, nevertheless, deserve filmgoersí attention. Based on this philosophy, a number of cycles have seen the light, including "The Guys in the Photo", "Forgotten Films"; "You Only Live Once", "The Best 100 Years in our Lives", "The European Adventure", "Spanish Cinema Discoveries", "The Red Nightmare", "A Long Absence", the two editions dedicated to post-war Italian comedy, entitled "Hunger, Humour and Fantasy" and "The Boom Italian-Style", or "The TV Generation" , last of these cycles.

It Happened Yesterday

The 49th Donostia-San Sebastian International Film Festival coincides with the first year of the 21st century and this marks the inspiration for the festival's 2001 Retrospective - a celebration of the films of the 20th century.

The retrospective examines cinema as a witness to history - not merely a silent witness portraying events of the past, but a unique, complex and multi-faceted mirror which also reflects the social, political and economic climate of the period in which the film was made. Any single event in history offers a myriad of different cinematic interpretations.

The retrospective aims, therefore, to offer a glimpse of how cinema tells us of its own history.

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