Open­ing this week

Pasatiempo - - MOVING IMAGES - Civil War

THE CIVIL WAR Santa Fe Opera presents a free screen­ing of Ken Burns’ en­tire minis­eries (1990) as part of its Echoes of Cold Moun­tain: The Le­gacy of the Amer­i­can Civil War se­ries. Edi­tor Paul Barnes ap­pears at the screen­ing of episode 9 at 12:30 p.m. Fri­day, May 15. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Not re­viewed)

GROW­ING CITIES Ur­ban agri­cul­ture is on the rise. This doc­u­men­tary takes a look at the many ways in which peo­ple are farm­ing within cities. Screens as part of the Santa Fe Farm­ers Mar­ket In­sti­tute’s Movies That Mat­ter film se­ries. The screen­ing at 6:45 p.m. on Wed­nes­day, May 20, is fol­lowed by a panel dis­cus­sion and Q & A. Not rated. 97 min­utes. Vi­o­let Crown, Santa Fe. (Not re­viewed)

I AM BIG BIRD: THE CAROLL SPINNEY STORY Not rated. 90 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. See re­view, Page 39.

IMI­TA­TION OF LIFE Not rated. 124 min­utes. The Screen, Santa Fe. See Screen Gems, Page 36. MAD MAX: FURY ROAD Direc­tor Ge­orge Miller re­turns to the film se­ries that first made him fa­mous, putting Max Rock­atan­sky — some say he’s mad — into the driver’s seat of a mil­i­ta­rized ve­hi­cle on a vi­o­lent romp through the post-apoc­a­lyp­tic Aus­tralian out­back. Tom Hardy plays the ti­tle role, which was once embodied by Mel Gibson. Char­l­ize Theron also stars. Rated R. 120 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. Screens in 2-D only at Jean Cocteau Cinema, Santa Fe. (Not re­viewed)

MIS­ERY LOVES COM­EDY Kevin Pol­lak’s trib­ute to stand-up comics is hard to quan­tify; it’s not much of a movie — re­ally a suc­ces­sion of talk­ing heads — but if you’re fas­ci­nated by what makes co­me­di­ans tick, you’ll learn some­thing, and en­joy the mo­ments as they tick slowly by. You’ll see the likes of Jimmy Fal­lon, Christo­pher Guest, Martin Short, and dozens more re­flect on their ori­gins (weird kid, mis­fit) and in­spi­ra­tions. Again and again, you’ll hear the words “kill” (make ’em laugh) and “die” (face an un­moved crowd.) You’ll won­der about the tal­ents who aren’t here, like Chris Rock and Jerry Se­in­feld, and the ones who are, half of whom I’ll bet you’ve never heard of. You’ll feel their pain and have a few laughs. Not rated. 95 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. ( Jonathan Richards) PER­FOR­MANCE AT THE SCREEN The se­ries of high-def­i­ni­tion screen­ings con­tin­ues with a show­ing of Ivan the Ter­ri­ble from Moscow’s Bol­shoi Ballet. The mu­sic is by Sergei Prokofiev (from the 1944 Sergei Eisen­stein film), and the chore­og­ra­phy is by Yuri Grig­orovich. 11:15 a.m. Sun­day, May 17, only. Not rated. 135 min­utes. The Screen, Santa Fe. (Not re­viewed)

PITCH PER­FECT 2 In 2012, the first Pitch Per­fect film, about a women’s a cap­pella group whose mem­bers bond and find suc­cess against all odds, opened as a small com­edy with mod­est ex­pec­ta­tions. The movie had an un­der­dog arc sim­i­lar to that of its pro­tag­o­nists, gross­ing a lot of money and grow­ing a pas­sion­ate au­di­ence. The whole gang — in­clud­ing Anna Ken­drick, Rebel Wil­son, and Brit­tany Snow — re­turns for the se­quel. Re­gal Sta­dium 14; Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Not re­viewed)

ZERO MO­TI­VA­TION Not rated. 97 min­utes. In He­brew with sub­ti­tles. The Screen, Santa Fe. ( Jen­nifer Levin)

Zero Mo­ti­va­tion, com­edy, not rated, in He­brew with sub­ti­tles, The Screen, 3 chiles

In an of­fice set­ting, there are al­ways work­ers who would rather be any­where else. For some, the prob­lem seems to be that all tasks ex­haust and de­mean them, while oth­ers be­lieve that a new job in a new set­ting will fix their prob­lems, when the truth is that they will just find fresh ver­sions of their per­sonal mis­ery. Em­ploy­ees who don’t seem to mind the monotony can drive an un­sat­is­fied toiler up the wall, and any­one who ac­tively en­joys her­self is the en­emy, es­pe­cially if she’s in charge. Th­ese ba­sic of­fice roles and pol­i­tics form the struc­ture of the satire Zero

Mo­ti­va­tion, which skew­ers the daily grind in the ad­min­is­tra­tive of­fice of a re­mote Is­raeli mil­i­tary base. In Is­rael, all cit­i­zens with­out valid ex­emp­tions are con­scripted af­ter they turn 18. Women must serve two years, and un­less they go to of­fi­cer-train­ing school, their time tends to be spent as sup­port staff — fetch­ing the mail, shred­ding doc­u­ments, and keep­ing records in trip­li­cate, as well as serv­ing cof­fee at meet­ings.

Zero Mo­ti­va­tion is a trio of sto­ries con­nected by set­ting and char­ac­ters. We get to know the caus­tic but sen­si­tive Zo­har (Dana Ivgy), who grew up on a kib­butz, and her best friend Daffi (Nelly Ta­gar), who be­lieves she is al­ler­gic to sand and sun­light and is des­per­ate to be trans­ferred to a base in Tel Aviv. Their com­mand­ing of­fi­cer is the of­fi­cious Rama (Shani Klein), who picks and nags but doesn’t know how to lead or man­age. The other women in the of­fice sing pop songs to one an­other all day, to Zo­har’s great an­noy­ance. In the first story, “The Re­place­ment,” Daffi be­comes con­vinced that the pow­ers that be have heard her pleas and have sent some­one for her to train be­fore ship­ping her off to a new as­sign­ment. In “The Vir­gin,” we fol­low Zo­har’s mor­ti­fy­ing foray into sex. In “The Com­man­der,” we dis­cover that ded­i­ca­tion and loy­alty do not guar­an­tee a se­cure mil­i­tary life. A tone of tragic ab­sur­dity and el­e­ments of mag­i­cal re­al­ism per­vade the film and keep it from get­ting too se­ri­ous, even when the sit­u­a­tions are le­git­i­mately dra­matic or har­row­ing.

The specifics of the war th­ese young women are os­ten­si­bly con­scripted to sup­port aren’t men­tioned in the film, but “zero mo­ti­va­tion” is a term for those who do not want to serve in the Is­rael De­fense Forces. Some of th­ese con­sci­en­tious ob­jec­tors, known in He­brew as sar­vanim, do not re­port for duty, while oth­ers pur­posely fail var­i­ous en­trance tests. Do­ing poorly at one’s ser­vice af­ter con­scrip­tion is an­other form of re­fusal. Zero Mo­ti­va­tion is a charm­ing dark com­edy and pos­si­bly a sub­ver­sive one as well.

Nelly Ta­gar and Dana Ivgy

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