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ANTONY AND CLEOPA­TRA The Stratford HD se­ries, in which live stage pro­duc­tions of Shake­speare plays from On­tario’s Stratford Fes­ti­val are filmed with the tech­niques of movie di­rec­tors, has so far proved top-drawer in broad­casts of King Lear and King John. Now a queen comes to the fore in Antony and Cleopa­tra, in which the monarch of Egypt is courted by a co-ruler of Rome, Mark Antony. Mar­i­tal com­pli­ca­tions, po­lit­i­cal tur­moil, and much pas­sion en­sue be­fore both the lovers meet their ends — Mark Antony fall­ing on his sword on be­ing falsely in­formed of Cleopa­tra’s death, Cleopa­tra com­mit­ting sui­cide-by-snakebite rather than sub­mit to Ro­man im­pris­on­ment. Shake­speare was at the top of his po­etic form in this play, which here is cap­tured in a pro­duc­tion fea­tur­ing Stratford Fes­ti­val reg­u­lars Yanna McIn­tosh and Geraint Wyn Davies. Some crit­ics ex­pressed reser­va­tions about direc­tor Gary Grif­fin’s stage pro­duc­tion, but its cin­ema­ti­za­tion (over­seen by Barry Avrich) may ac­tu­ally prove salu­tary for this fleetly flow­ing play. 11:15 a.m. Sun­day, May 24, only. Not rated. 170 min­utes. The Screen, Santa Fe. ( James M. Keller) FAR FROM THE MADDING CROWD Rated PG-13. 119 min­utes. Vi­o­let Crown, Santa Fe. See re­view, Page 46.

FÉLIX AND MEIRA This ten­der, sen­si­tive, and chaste ro­mance about a young Ha­sidic wife and mother drawn into a re­la­tion­ship with an aim­less mid­dle-aged out­cast mem­ber of a wealthy Jewish fam­ily heaves sighs of long­ing but never rises much above the breath­ing level. Stuck in what feels like an ar­ranged mar­riage to a de­cent but unin­spir­ing scholar, Meira (the In­grid Bergman-es­que Hadas Yaron) re­sists the ad­vances of Félix (Martin Dubreuil), but not for long. Canadian direc­tor Maxime Giroux isn’t di­rectly crit­i­cal of the Ha­sidic life, but he shows how tempt­ing some pop mu­sic, a pair of jeans, and a soul­ful, clean-shaven man with a bit of money can be. Rated R. 105 min­utes. In French, English, and Yid­dish with sub­ti­tles. The Screen, Santa Fe. ( Jonathan Richards)

GOOD KILL Rated R. 103 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe. (Jonathan Richards) See re­view, Page 48.

THE GREAT MU­SEUM Not rated. 94 min­utes. In English and Ger­man with sub­ti­tles. The Screen, Santa Fe. See re­view, Page 42. IN THE NAME OF MY DAUGH­TER Staged on the French Riviera in the 1970s, this thriller, based on true events, cen­ters on the clash be­tween the re­bel­lious Agnès Le Roux (Adèle Haenel) and her well-es­tab­lished mother (Catherine Deneuve) over the fate of the fam­ily’s casino. A death and a 30-year fight for an in­ves­ti­ga­tion fol­low. Rated R. 116 min­utes. In French with sub­ti­tles. Re­gal DeVar­gas, Santa Fe. (Not re­viewed)

LAM­BERT & STAMP Here’s a mul­ti­fac­eted por­trait of The Who and its dy­namic man­agers, Chris Stamp and Kit Lam­bert, who dis­cov­ered the mis­fit band as it was “strug­gling to find an im­age and find our feet,” as band mem­ber Pete Town­shend re­lates. De­spite their very dif­fer­ent back­grounds and the facts that they had no money, knew noth­ing about rock ’n’ roll, and had no con­nec­tions, Stamp and Lam­bert brought The Who to the world. James D. Cooper’s film boasts a mar­velous kalei­do­scope of images from the time: young peo­ple on the street, danc­ing with aban­don in dark clubs, and chal­leng­ing the cam­era. Rated R. 117 min­utes. Re­gal DeVar­gas, Santa Fe. (Paul Wei­de­man)

POLTERGEIST The hor­ror movie that men­tally scarred a gen­er­a­tion of chil­dren when it came out in 1982 is re­made to scar the chil­dren of to­day. Sam Rock­well now plays the dad, whose daugh­ter is kid­napped by spir­its in his house — this time com­mu­ni­cat­ing not through TV static but through plasma pix­els. The Spiel­berg-pro­duced creep of the orig­i­nal film is re­placed by char­ac­ters be­ing jerked around to loud noises, in line with mod­ern movie hor­ror trends. Rated PG-13. 93 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14, Santa Fe. Screens in 2-D only at Dream­Catcher, Es­pañola. (Not re­viewed)

SLOW WEST Rated R. 84 min­utes. Cen­ter for Con­tem­po­rary Arts, Santa Fe; Vi­o­let Crown, Santa Fe. See re­view, Page 44.

STARS IN THE DARK: ÉMI­GRÉS, EX­ILES & FILM NOIR The Santa Fe Jewish Film Fes­ti­val hon­ors mem­bers of the bril­liant Jewish film com­mu­nity who fled from Ger­many and other Euro­pean coun­tries af­ter Hitler’s rise to power. The week­long pro­gram is built around the émi­gré in­flux into Hol­ly­wood and its im­pact on the Amer­i­can genre that be­came known as film noir. The fes­ti­val presents a slate of five great émi­gré-di­rected noirs and Fritz Lang’s 1931 Ger­man clas­sic M. The jour­ney of th­ese dis­placed Jewish film­mak­ers is the sub­ject of an­other film on the “pro­gram, the riv­et­ing doc­u­men­tary Cinema’s Ex­iles:

From Hitler to Hol­ly­wood. There will be sa­lon gath­er­ings, Skyped-in ex­perts, live pre­sen­ta­tions, Ger­man pastries, and even din­ner un­der the stars ac­com­pa­nied

by the screen­ing of a clas­sic noir. Singer Adri­enne Haan kicks off the fes­ti­val at The Lodge with cabaret en­ter­tain­ment mod­eled on the Ber­lin club scene of the ’20s. Sun­day, May 24, to Sun­day, May 31. Var­i­ous venues (screen­ings take place at the Cen­ter for Con­tem­po­rary Arts) and run­ning times. For in­for­ma­tion and tick­ets, visit www.santafe­ ( Jonathan Richards) See story, Page 38.

TO­MOR­ROW­LAND Re­call­ing Dis­ney clas­sics like Es­cape From Witch Moun­tain, this flashy fea­ture from co-writer-direc­tor Brad Bird (The In­cred­i­bles) is the per­fect can-do sci-fi movie for tween girls across Amer­ica; their par­ents, not so much, un­less mom or dad will be sat­is­fied with a bucket of pop­corn and Ge­orge Clooney. Casey New­ton (Britt Robert­son) is a sneaky whiz kid living in Florida. Athena, a robot who looks like a lit­tle girl (Raf­fey Cas­sidy, per­fect), slips her a lapel pin that, when touched, of­fers a glimpse of a fu­tur­is­tic city known as To­mor­row­land. Athena takes Casey to meet the reclu­sive Frank Walker (Clooney), a for­mer To­mor­row­lan­dian who is mon­i­tor­ing Earth’s fastap­proach­ing demise. With evil an­droids in pur­suit, the three make their way to To­mor­row­land, where they plan to con­front the tyran­ni­cal Gover­nor Nix (Hugh Lau­rie) and save the Earth. The film has its fun mo­ments, and its style is flashy and cool, but it’s short on ac­tion, the script gets preachy, and it lacks a clear nar­ra­tive. Rather than soar­ing to­ward the fu­ture,

To­mor­row­land stum­bles along in the present. Rated PG. 130 min­utes. Re­gal Sta­dium 14, Santa Fe; Vi­o­let Crown, Santa Fe; Dream­Catcher, Es­pañola. (Lau­rel Glad­den)

Caught in the rye: Britt Robert­son in To­mor­row­land, at Re­gal Sta­dium 14 and Vi­o­let Crown in Santa Fe

and Dream­Catcher in Es­pañola

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