open­ing this week

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CEL­E­BRAT­ING CHEKHOV The ret­ro­spec­tive of Rus­sian and Soviet films based on or adapted from An­ton Chekhov’s writ­ing con­tin­ues with Karen Shakhnazarov’s 2009 mod­ern imag­in­ing of Ward No. 6, in which the di­rec­tor of a men­tal ward be­comes a pa­tient. The se­ries runs through Fe­bru­ary. Satur­day and Sun­day, Feb. 20 and 21, only. Not rated. 83 min­utes. In Rus­sian with sub­ti­tles. The Screen, Santa Fe. (Not re­viewed) KILLING KASZT­NER: THE JEW WHO DEALT WITH NAZIS Ru­dolf Kaszt­ner, a Hun­gar­ian lawyer who suc­ceeded in sav­ing the lives of thou­sands of his fel­low Jews dur­ing the Holo­caust (in­clud­ing a train­load of al­most 1,700 in 1944), was later vil­i­fied in Is­rael as a traitor and mur­dered by a right-wing as­sas­sin in 1957. The prin­ci­pal rap against him was that he ne­go­ti­ated with Adolf Eich­mann and left too many Jews un­saved. A fas­ci­nat­ing look at this com­plex man and the stillsmol­der­ing ar­gu­ment about his legacy. Di­rec­tor Gaylen Ross and Santa Fe res­i­dent Tom Mar­git­tai, who was a passenger on “Kaszt­ner’s train,” at­tend

Fe­bru­ary 19 - 25, 2010 7:15 p.m. screen­ings on Fri­day and Satur­day, Feb. 19 and 20. Not rated. 120 min­utes. In English and He­brew with sub­ti­tles. The Screen, Santa Fe. ( Jonathan Richards) See story, Page 36. THE LAST STA­TION Over the lat­ter part of his life, Leo Tol­stoy was known not just for his great nov­els but also for the phi­los­o­phy of paci­fism, egal­i­tar­i­an­ism, and celibacy to which he gave his name. Michael Hoff­man’s movie comes down against celibacy, and he has a soft spot for pri­vate prop­erty as well. The movie shows the epic strug­gle be­tween the writer (Christo­pher Plum­mer) and his wife of al­most 50 years (He­len Mir­ren). The third point of the tri­an­gle is the cal­cu­lat­ing Chertkov (Paul Gia­matti), who is more Tol­stoyan than Tol­stoy and wants the copy­rights of his work for the pub­lic do­main. Rated R. 110 min­utes. Re­gal DeVar­gas, Santa Fe. ( Jonathan Richards) See re­view, Page 38. OS­CAR-NOM­I­NATED AN­I­MATED SHORT FILMS 2010 Three quirky, brief, and for­get­table films— France’s French Roast, Ire­land’s Granny O’Grimm’s Sleep­ing Beauty, and Spain’s The Lady and the Reaper — are an­chored by two gems, in­clud­ing the re­turn of the belovedWal­lace and Gromit. Don’t bet against Aard­man An­i­ma­tion’s Nick Park, who has won four Os­cars for his work, and whose lat­estW& Gfilm— A Mat­ter of Loaf and Death (from Eng­land)— is ev­ery bit as charm­ing and funny as his oth­ers. Less whole­some is France’s Lo­go­rama, which is un­like any Os­car-nom­i­nated short I’ve seen. In a world built from and pop­u­lated by cor­po­rate lo­gos, Ron­ald McDon­ald is a vi­o­lent out­law on the run. Lo­go­rama is not suit­able for chil­dren, but it is the fi­nal film in the pro­gram, so you can bring the kid­dies to seeWal­lace and Gromit and leave be­fore Ron­ald breaks out the ma­chine gun. Not rated. 101 min­utes to­tal. The Screen, Santa Fe. (Robert Ben­ziker) OS­CAR-NOM­I­NATED SHORT FILMS 2010 A mixed bag, in or­der from most com­pelling to least: USA and Den­mark’s Coen broth­ers-es­que The New Ten­ants is a beau­ti­fully shot and su­perbly acted film, in which two men move into an apart­ment build­ing full of drama. Aus­tralia’s Mir­a­cle Fish is a haunt­ing tale of a poor boy and one ter­ri­ble day at his school. Ire­land’s The Door, about a des­per­ate fa­ther dur­ing the 1986 Ch­er­nobyl dis­as­ter, man­ages to feel like an en­tire fea­ture film in just 17 min­utes. Swe­den’s In­stead of Abracadabra is a com­edy about an as­pir­ing ma­gi­cian that is sim­i­lar in theme and style to the work ofWes An­der­son. USA and In­dia’s Kavi, in­tended to raise aware­ness of slav­ery in the mod­ern world, is bet­ter as a mes­sage than as a movie. Not rated. 101 min­utes to­tal. In var­i­ous lan­guages. The Screen, Santa Fe. (Robert Ben­ziker) SHUT­TER IS­LAND Martin Scors­ese tack­led hor­ror with 1991’s Cape Fear. Now, he and his cur­rent go-to ac­tor, Leonardo DiCaprio, bring Den­nis Le­hane’s 2003 novel to life. The story cen­ters on two U.S. mar­shals who in­ves­ti­gate the dis­ap­pear­ance of a pa­tient at an is­land hospi­tal for the crim­i­nally in­sane, only to find them­selves trapped there dur­ing a hur­ri­cane and a riot. Rated R. 138 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola; Sto­ry­teller, Taos. (Not re­viewed) THE WHITE RIB­BON This is a beau­ti­fully shot, med­i­ta­tive por­trait of what ap­pears to be a pas­toral vil­lage in 1913-1914 Ger­many. As it is a film from Aus­trian film­maker Michael Haneke ( Caché), life in the burg is any­thing but idyl­lic. The di­rec­tor’s ex­am­i­na­tion of gen­er­a­tional con­flict and a coun­try on the brink of war isn’t lament­ing the loss of in­no­cence but ar­gu­ing that we are never in­no­cent. It won the Palme D’Or at the 2009 Cannes In­ter­na­tional Film Fes­ti­val and is nom­i­nated for the Best For­eign Lan­guage Film Academy Award. Rated R. 144 min­utes. In Ger­man with sub­ti­tles. CCA Cin­e­math­eque, Santa Fe. (Robert Ben­ziker) See re­view, Page 38. THE YES MEN FIX THE WORLD In con­junc­tion with Santa Fe Art In­sti­tute’s 25th an­niver­sary, global hoax­ters The Yes Men come to town for a talk, per­for­mance, and screen­ing of this, their lat­est filmed

record of their cul­ture-jam­ming ex­ploits. Ex­pect high jinks with Hous­ing and Ur­ban De­vel­op­ment and Hal­libur­ton; an­tics with ExxonMo­bil; buf­foon­ery with the BBC; and a lot more. 7 p.m. Mon­day, Feb. 22, only. Not rated. 90 min­utes.

Santa Fe. See story, Page 30.

Cen­ter,

Len­sic Per­form­ing Arts

Buns of clay: A Mat­ter of Loaf and Death, part of the Os­car-Nom­i­nated

An­i­mated Short Films 2010 pro­gram at The Screen in Santa Fe

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