LE MER­AV­IGLIE (THE WON­DERS) Drama, not rated, 110 min­utes, in Ital­ian with sub­ti­tles, 5 p.m. Thurs­day, June 2, Jean Cocteau Cin­ema, Doc­u­men­tary, not rated, 64 min­utes, in English and Ital­ian with sub­ti­tles, 2 p.m. Satur­day, June 4, Jean Cocteau Cin­ema,

Pasatiempo - - CREATION STORIES -

In the dream­ily bu­colic Tus­can coun­try­side, Gel­som­ina (Maria Alexan­dra Lungu) is on the cusp of ado­les­cence, spend­ing long days work­ing for her fam­ily’s beekeeping op­er­a­tion and tak­ing care of her three younger sis­ters. Her fa­ther (Sam Louwyck) rules the fam­ily with an iron fist, so when a re­al­ity TV show comes to town seek­ing ap­pli­cants for a lo­cal com­pe­ti­tion in which seven farm­ers will vie to have their prod­ucts fea­tured, he is against their par­tic­i­pa­tion. He’s more con­cerned with the ar­rival of the silent and sullen Martin, a ju­ve­nile delin­quent he’s taken on as a worker to help with honey pro­duc­tion. But the stub­born Gel­som­ina schemes to get her fam­ily and their honey onto the show, with mov­ing and un­ex­pected re­sults. The film is beau­ti­fully shot, and the ac­tors’ per­for­mances are stun­ning to be­hold, par­tic­u­larly that of the lu­mi­nous Lungu. With Mon­ica Bel­lucci as an oth­er­worldly tele­vi­sion per­son­al­ity. — Molly Boyle What is iden­tity? asks this 2014 film about one of the great wine suc­cess sto­ries of the last cen­tury. Barolo wine took the in­ter­na­tional wine stage by storm in the 1980s and ’90s. This af­fec­tion­ately told story from di­rec­tors Paolo Casalis and Tiziano Gaia fo­cuses on the “Barolo boys,” a hand­ful of Neb­bi­olo grape-grow­ers who set off a wave of tech­ni­cal innovations in wine­mak­ing tech­niques start­ing in the 1970s. Filmed in the lush Langhe re­gion, now a UNESCO World Her­itage Site, and fea­tur­ing in­ter­mit­tent vis­its by a brass band, which marches up and down the vine­yards trum­pet­ing the enor­mous pride of these wine­mak­ers, the film is ir­rev­er­ent and breezy in clas­sic Ital­ian fash­ion, with a some­what me­an­der­ing nar­ra­tive that some­times fal­ters. Still, pas­sion and ded­i­ca­tion shine through in in­ter­views with vint­ners like Elio Altare, an icon­o­clast who had the vi­sion to de­vi­ate from es­tab­lished meth­ods and thus kicked off a revo­lu­tion in wine­mak­ing. As one sub­ject in the film puts it, “We had the power to change things, which is the best thing you can have in life.” — M.B.

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