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ARAYA

Mar­got Be­nac­er­raf’s 1950 po­etic doc­u­men­tary about the salt har­vesters and fish­er­men of the Araya penin­sula on Venezuela’s Caribbean coast has been stun­ningly re­stored. The film is haunt­ingly beau­ti­ful and some­times lullingly rep­e­ti­tious. That’s the na­ture of the work she records: the same ges­tures, the same labors, re­peated over and over for gen­er­a­tions and cen­turies un­til they be­come as rit­u­al­ized as dance, ever since the Span­ish dis­cov­ered this rich salt marsh in the early 1500s, when salt was “as pre­cious as gold.” The nar­ra­tion has a quaintly mid­cen­tury qual­ity to it, but the im­ages are hyp­notic, and they tell a story of a harsh life that was on the verge of van­ish­ing un­der the on­slaught of ma­chin­ery. Not rated. 82 min­utes. In Span­ish with sub­ti­tles. CCA Cine­math­eque, Santa Fe. ( Jonathan Richards)

DI­ARY OF A WIMPY KID: RO­DRICK RULES

If you saw the first Di­ary of a Wimpy Kid movie or read the pop­u­lar book se­ries that it was based on, then you might re­mem­ber Ro­drick. He’s the big brother (played by Devon Bo­stick) of the wimpy kid (Zachary Gor­don), and in this film, their mom forces them to bond. Oh, brother! The whole cast of freaks and geeks and wimps and shrimps re­turns. Rated PG. 96 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Española; Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Not re­viewed)

EVEN THE RAIN

Movies about the mak­ing of movies tend to coil back upon them­selves. In Icíar Bol­laín’s pow­er­ful, provoca­tive movie about a Span­ish film com­pany on lo­ca­tion in South Amer­ica to shoot a story about Christo­pher Colum­bus’ ar­rival in the New World, life im­i­tates art im­i­tat­ing life and then some. The film­ing of the film-within-a-film takes place against the back­ground of the wa­ter wars that roiled parts of Bo­livia in 2000. There’s great spec­ta­cle and fine acting, par­tic­u­larly from Luis Tosar as the pro­ducer and Juan Car­los Adu­viri as a na­tive ac­tor and ac­tivist. Not rated. 104 min­utes. In Span­ish, Quechua, and English with sub­ti­tles. The Screen, Santa Fe. ( Jonathan Richards) See re­view, Page 58.

PER­FOR­MANCE AT THE SCREEN

The se­ries of high-def­i­ni­tion screen­ings of per­for­mances from afar con­tin­ues with Puc­cini’s The Girl of the Golden West from the Nether­lands Opera in Am­s­ter­dam. 12:30 p.m. on Sun­day, March 27, only. The Screen, Santa Fe. (Not re­viewed)

SUCKER PUNCH

Di­rec­tor Zack Sny­der made a name for him­self with the Dawn of the Dead re­make and stylish adap­ta­tions of graphic nov­els 300 and Watch­men. Sucker Punch is his first at­tempt at orig­i­nal ma­te­rial, and ap­par­ently he’s ap­proach­ing it as if it may also be his last at­tempt, cram­ming in dragons, ma­chine guns, ser­pents, B-52 bombers, sa­mu­rai, and more. Emily Brown­ing plays Baby Doll, the tough gr­rrrrl who leads a pack of fight­ing women through all that wacky stuff. Rated PG-13. 110 min­utes. Re­gal Sta­dium 14, Santa Fe; Dream­Catcher, Española; Reel Deal, Los Alamos; Sto­ry­teller, Taos. (Not re­viewed)

VOICES FROM IN­SIDE: IS­RAELIS SPEAK

Di­rec­tor Lucy Martens in­ter­viewed 16 peo­ple in the Is­raeli peace move­ment for this doc­u­men­tary on the his­tory and fu­ture of Zion­ism. Pro­ducer Mar­jorie Wright ap­pears in per­son. 7:30 p.m. Thurs­day, March 31, only. Not rated. 64 min­utes. CCA Cine­math­eque, Santa Fe. (Not re­viewed)

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