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Us­ing rare pho­to­graphs, archival footage, and voiceovers based on Ma­bel Dodge Luhan’s own cor­re­spon­dences, Awak­en­ing in

Taos tells the story of the art pa­tron’s early years as a so­cialite in Buf­falo through to her es­tab­lish­ment of a haven for mod­ernist artists and writ­ers in New Mex­ico in­clud­ing D.H. Lawrence, Frank Wa­ters, Mars­den Hart­ley, and Ge­or­gia O’Ke­effe. The film is nar­rated by Ali MacGraw with Les­lie Har­rell Dillen as Ma­bel Dodge Luhan and chron­i­cles her sev­eral mar­riages, the deep spir­i­tual con­nec­tion she felt with her last hus­band Tony Luhan, and her strug­gle to find a place to ex­press her in­de­pen­dent na­ture. The world pre­miere is on Wed­nes­day, Nov. 18, at 7 p.m. Tick­ets are $25; call 505-988-1234 or visit www.tick­ Not rated. 63 min­utes. Len­sic Per­form­ing Arts Cen­ter. (Not re­viewed)


Misty Copeland quickly rose to star­dom de­spite the fact that she didn’t study bal­let un­til she was a teenager. By age fif­teen, she was named the best bal­let dancer in Southern Cal­i­for­nia by the Los An­ge­les Mu­sic Cen­ter Spot­light Awards. By eigh­teen she had joined the Amer­i­can Bal­let The­atre, where she even­tu­ally be­came the first African-Amer­i­can to be named prin­ci­pal dancer. This doc­u­men­tary is nar­rated by Copeland. Not rated. 85 min­utes. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)


There isn’t much for young Sarah (Dianna Agron) to do in ru­ral Ne­vada, un­til a drifter named Pep­per (Paz de la Huerta) blows into town and in­tro­duces her to strip­ping and drug use. The two women soon find them­selves in a ro­man­tic re­la­tion­ship.

Not rated. 88 min­utes. Jean Cocteau Cin­ema. (Not re­viewed)


Not rated. 130 min­utes. The Screen. See re­view, Page 46.


Pro­ducer/di­rec­tor Phil Grab­sky con­tin­ues his over­view of great artists in The

Im­pres­sion­ists, part of the Ex­hi­bi­tion on Screen doc­u­men­tary se­ries. Grab­sky’s in­ter­views with mu­seum pro­fes­sion­als and be­hind-the-scenes peeks into mu­seum life en­liven this new en­try in the se­ries. The film is based on the ex­hibit Dis­cov­er­ing the Im­pres­sion­ists: Paul

Du­rand-Ruel and the New Paint­ing at the Philadel­phia Mu­seum of Art. The com­pre­hen­sive film ex­plores the chal­lenges faced by Du­rand-Ruel, an early cham­pion of the Im­pres­sion­ists, the artists’ poor re­cep­tion in France and pop­u­lar­ity in Amer­ica, and Im­pres­sion­ism’s his­tor­i­cal sig­nif­i­cance. Grab­sky lets the art take cen­ter stage in re­veal­ing de­tail shots of works by Monet, van Gogh, and (love him or hate him) Renoir. 11 a.m. Satur­day, Nov. 14, and Sun­day, Nov. 15, only. Not rated. 91 min­utes. Cen­ter for Con­tem­po­rary Arts. See story, Page 44. (Michael Abatemarco)


The year is 1958. Jo­hann Rad­mann (Alexan­der Fehling) is an am­bi­tious young pros­e­cu­tor in the Frank­furt DA’s of­fice, and he’s never heard of Auschwitz. Nei­ther has any­one else in the brave new world of post­war Ger­many. The slate and the na­tional mem­ory bank have been wiped clean; there are no ex-Nazis, only for­mer free­dom fight­ers. The Holo­caust is Amer­i­can pro­pa­ganda. Then a camp sur­vivor rec­og­nizes a for­mer Auschwitz guard teach­ing at a pub­lic school, a jour­nal­ist brings the story to Rad­mann’s of­fice, and the pros­e­cu­tor digs into the story. What he finds is shat­ter­ing, a na­tion in de­nial with a heavy reck­on­ing to make. The re­sult is the Ger­man Auschwitz tri­als of the mid-‘60s, where, though only a hand­ful of Nazis were con­victed, Ger­many was fi­nally brought to con­front and deal with the hor­rors of its re­cent past. Based on real events, Gi­ulio Ric­cia­relli’s po­lit­i­cal pro­ce­dural has echoes of Costa-Gavras’s Z (1969), if not quite the pulse-pound­ing ex­cite­ment of that clas­sic. Rated R. 124 min­utes. In Ger­man with sub­ti­tles. Re­gal DeVar­gas. (Jonathan Richards)


Al­bu­querque ro­mance novelists Ce­leste Bradley and Susan

Dono­van give a talk af­ter the film. Screens 4 p.m. Sun­day, Nov. 15, only. Not rated. 95 min­utes. Jean Cocteau Cin­ema. See re­view, Page 47.

LOVE THE COOPERS The first Christ­mas movie of 2015 is this ensem­ble dram­edy about a fam­ily that gets to­gether for a hol­i­day re­union that nearly goes off the rails — de­spite the mother and fa­ther (Diane Keaton and John Good­man) want­ing ev­ery­thing to go per­fectly. Th­ese kinds of movies are typ­i­cally only as good as the cast, and this one in­cludes Alan Arkin, Marisa Tomei, Amanda Seyfried, Ed Helms, Olivia Wilde, and some cute kids. Rated PG-13. 118 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown. (Not re­viewed)


The num­ber of in­spi­ra­tional foot­ball movies seem­ingly grows with each pass­ing week, and the lat­est one is by An­gelo Pizzo, a guy who knows some­thing about in­spi­ra­tional sports movies, hav­ing writ­ten Hoosiers and Rudy. This time, he also gets in the di­rec­tor’s chair, to tell the true story of Fred­die Stein­mark (Finn Wit­trock), a scrappy un­der­dog who earned an un­likely place on the Univer­sity of Texas team and was di­ag­nosed with can­cer shortly af­ter. Aaron Eck­hart plays his coach. Rated PG.

118 min­utes. Re­gal Sta­dium 14. (Not re­viewed)


The se­ries of high-def­i­ni­tion screen­ings con­tin­ues with Jewels ,a trip­tych of dances per­formed by mem­bers of the Bol­shoi Bal­let. Ge­orge Balan­chine chore­ographed th­ese pieces, in­spired by a trip to Man­hat­tan jew­eler Van Cleef & Ar­pels. The work fea­tures mu­sic by Stravin­sky, Tchaikovsky, and Fauré. 11:15 a.m. Sun­day, Nov. 15, only. Not rated. The Screen. (Not re­viewed)


Richard Marsh, bet­ter known as Sky Saxon, was the singer of the Seeds, one of most im­por­tant ’60s-garage, proto-punk (and don’t forget flower-power) bands in rock ’n’ roll history. This doc­u­men­tary, di­rected by Neil Nor­man, traces the history of Saxon from his early days in Hol­ly­wood making quasi-doo-wop sin­gles as “Lit­tle Richie Marsh” to the Seeds’ glory days as young gods of Sun­set Strip, and through Saxon’s sud­den de­cline, which for­mer band­mates at­tribute to a harsh com­bi­na­tion of ego and mas­sive in­ges­tion of LSD. But this film is more of a cel­e­bra­tion than a be­hindthe-scene cau­tion­ary tale. For­mer Seeds as well as ma­jor fans like Iggy Pop give con­text to this ul­ti­mately heart­break­ing, if some­what pre­dictable rock ‘n’ roll por­trait. Nor­man ap­pears at both screen­ings. 7 p.m. Wed­nes­day Nov. 18, and Thurs­day, Nov. 19, only. Not rated. 110 min­utes. Jean Cocteau Cin­ema. (Steve Ter­rell) See Ter­rell’s Tune Up, Page 24.

THE 33

In 2010, the at­ten­tion of the world’s me­dia turned to a group of 33 min­ers, who were trapped in­side Chile’s San José Mine for more than two months. This film dra­ma­tizes their plight, with An­to­nio Ban­deras star­ring as Mario Sepúlveda, the man who be­came the face of the min­ers through the videos he sent to the res­cue op­er­a­tion. Juli­ette Binoche, Lou Di­a­mond Phillips, and Gabriel Byrne also star. Rated PG-13. 120 min­utes. Re­gal Sta­dium 14; Re­gal DeVar­gas; Dream-Catcher. (Not re­viewed)


Four col­lege bud­dies. A dozen barely trained wild horses. Gor­geous scenery across Amer­ica’s Western pub­lic lands from Mex­ico to Canada. Com­bine th­ese with ex­cel­lent cin­e­matog­ra­phy and one gets Un­branded ,a doc­u­men­tary that is part com­ing of age, part cel­e­bra­tion of pub­lic land, and part even-handed com­men­tary on a dif­fi­cult dilemma for peo­ple man­ag­ing the coun­try’s ever-grow­ing wild-horse herds. The open­ing scene sets the tone for this al­ter­nately hi­lar­i­ous and heart­break­ing film. It suf­fices to say that wild horses and prickly cholla didn’t mix well on the ride’s first day in 2013, and the cow­boys paid the price. Still, “there’s not enough quit in any of us not to make it,” says Ben Thamer in the film, one of the four Texas A& M Univer­sity bud­dies on the ride along with Ben Mas­ters, Jonny Fitzsimons, and Thomas Glover. By the end, the friends and two film­mak­ers have rid­den

the wild horses across Ari­zona, Utah, Idaho, Wy­oming and Mon­tana, through the Grand Canyon and across Yel­low­stone and Glacier Na­tional Parks. Screens 7 p.m. on Fri­day, Nov. 13, only. Rated PG-13. 105 min­utes. Cen­ter for Con­tem­po­rary Arts. (Staci Mat­lock)

A Bal­le­rina’s Tale, at the Cen­ter for Con­tem­po­rary Arts

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