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open­ing this week

Pasatiempo - - Moving Images - — com­piled by Robert B. Ker

EN­TER THE VOID French di­rec­tor Gas­par Noé calls this film a “psy­che­delic melo­drama,” and that’s putting it mildly. When a young ex­pa­tri­ate-turned-drug dealer in Tokyo is killed dur­ing a po­lice sting, the movie goes from an arty study of one self-ab­sorbed young man to a tour of a rather hal­lu­cino­genic af­ter­life. Nathaniel Brown and Paz de la Huerta star as a brother and sis­ter who love each other too much for al­most any­one’s com­fort. The cam­era acts like a wan­der­ing spirit, and the story is told through im­agery that is as non­lin­ear as a dream. Only the hal­lu­cinocen­tric will rave about this film, but it’s un­like any­thing you’ll find at the mul­ti­plex. Not rated. 142 min­utes. The Screen, Santa Fe. (Michael Wade Simp­son) See re­view, Page 46. A FILM UN­FIN­ISHED Af­ter World War II, four reels of footage de­pict­ing life in the Jewish ghet­tos of War­saw were dis­cov­ered. These im­ages were ac­cepted as re­al­ity un­til 1998, when a fifth reel — prov­ing the footage was staged as Nazi pro­pa­ganda — was dis­cov­ered. This doc­u­men­tary tells the story of the film reels and the truth be­hind their ge­n­e­sis. Not rated. 89 min­utes. Re­gal DeVargas, Santa Fe. (Not re­viewed)

IN­SIDE JOB The new­est doc­u­men­tary from Os­car-nom­i­nated di­rec­tor Charles Fer­gu­son ( No End in Sight) may not of­fer the blood and guts found in other films, but it presents its own brand of wide­spread car­nage in deal­ing with the re­cent eco­nomic cri­sis. In­ter­views with play­ers and vic­tims of the dereg­u­la­tion shell game re­veal a decades-old pat­tern of po­lit­i­cal and cor­po­rate be­hav­ior that led to a world­wide im­plo­sion of fi­nan­cial mar­kets. When de­riv­a­tives and sub­prime mort­gages merge with pros­ti­tutes, in­side-the-Belt­way sweet­heart deals, and piles of co­caine, one wishes it were just an­other Bret Eas­ton El­lis novel. In­stead, it’s real life. Rated PG-13. 108 min­utes. Re­gal DeVargas, Santa Fe. (Rob DeWalt) See re­view, Page 46.

MY MAN GOD­FREY Oh, for the days when zany so­cialites could go to the lo­cal water­front and find home­less men as part of a scav­enger hunt! Pro­duced dur­ing the Great De­pres­sion, this 1936 clas­sic fea­tures Ca­role Lom­bard as the lady and Wil­liam Pow­ell as the tramp, whom she promptly hires as her but­ler. Writ­ten by Mor­rie Ryskind and Eric Hatch and di­rected by Gre­gory La Cava, God­frey man­ages to be funny while draw­ing at­ten­tion to the se­vere class dif­fer­ences in this coun­try. Mis­cha Auer scores as an ec­cen­tric artist, who, when prompted by his bene­fac­tress (Alice Brady), be­grudg­ingly goes into his mon­key im­i­ta­tion. It’s ri­otous and timely, and it will re­mind you that Hollywood once pro­duced main­stream films that were both en­ter­tain­ing and en­light­en­ing. 7 p.m. Sun­day, Nov. 14, only. The screen­ing, in 35 mm, ben­e­fits Mak­ing Strides. Not rated. 95 min­utes.

CCA Cine­math­eque, Santa Fe. (Robert Nott)

SKY­LINE You know the drill: aliens are in­vad­ing Earth with their ad­vanced technology, and we’re all doomed. At least this time, they’re pick­ing on Los An­ge­les and not poor New York City. The ads show­case im­pres­sive spe­cial ef­fects and strik­ing sci-fi vi­su­als, but these small-bud­get films some­times show all the best ef­fect shots in the trail­ers. Rated PG-13. 100 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola; Sto­ry­teller, Taos. (Not re­viewed)

UN­STOP­PABLE It’s been some time since we’ve had an “it’s like Speed, ex­cept ...” movie, so here’s an ac­tion pic­ture that’s like Speed, ex­cept it takes place on a train! Den­zel Washington and Chris Pine play two en­gi­neers who must stop a run­away train with no driver and no brakes and with lots of ex­plo­sives on board. It’s all in a live-long day’s work. Di­rected by ac­tion vet­eran Tony Scott. Rated PG-13. 98 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Es­pañola; Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Not re­viewed)

WASTE LAND In Rio de Janeiro at Jardim Gra­ma­cho, the world’s largest dump, work­ers liv­ing in a tin-roof shan­ty­town spend their days wad­ing through waste heaps and build­ing an un­likely com­mu­nity of mu­tual sup­port and ad­mi­ra­tion. Into this sur­real world comes Vik Muñiz, an artist who has con­cocted pho­to­graphic por­traits from cot­ton tufts, sugar, dirt, and choco­late sauce. He makes friends with the Gra­ma­cho cata­dores, con­vinc­ing them to make soc­cer-field-size por­traits of them­selves us­ing the garbage that they spend their days sort­ing. The art is top-notch and the film is a lov­ing por­trait. Not rated. 98 min­utes. In English and Por­tuguese with sub­ti­tles. CCA Cine­math­eque, Santa Fe. (Casey Sanchez) See re­view, Page 46.

My Man God­frey

Brother, can you spare a bum? Ca­role Lom­bard and Wil­liam Pow­ell in

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