Chile Pages

Pasatiempo - - NEWS - — com­piled by Robert Ker


Com­ing four years after his de­but fea­ture classic

Breath­less, this 1964 film is the great Jean-Luc Go­dard when he was still in the mood to en­ter­tain, done in a way that feels ir­re­sistibly fresh. This tragi­comic romantic film noir stars the young Sami Frey and Claude Brasseur as a cou­ple of slack­ers given to joyrid­ing and play­act­ing movie stereo­types, un­til they meet Anna Karina, who tells them about some money hid­den in her house out­side Paris. Fan­tasy turns to real crime, but they still have time for some de­tours into silli­ness and ro­mance, in­clud­ing a race through the Lou­vre and a classic dance in a café. The film owes a cer­tain debt to Truf­faut’s Jules

and Jim, and to the Amer­i­can movies Go­dard grew up lov­ing. The movie has a re­fresh­ingly home­made qual­ity, shot in the streets of Paris with such hands-on im­me­di­acy that you catch passersby glanc­ing cu­ri­ously at the cam­era. It’s Go­dard very near his best (Go­dard has called it one of his worst, but then he did turn grumpy). Part of the Au­teurs se­ries. Not rated. 95 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


The much-bal­ly­hooed re­boot of the Ghost­busters fran­chise fi­nally ar­rives in the­aters, so get your cov­er­alls and pro­ton packs, and pre­pare for bust­ing to make you feel good all over again. This time, the Ghost­busters are played by women — Kristen Wiig and Melissa McCarthy most prom­i­nent among them —an d the sec­re­tary is played by a man (Chris Hemsworth). The con­flict is still the same, how­ever: A bunch of an­gry spir­its are ter­ror­iz­ing New York City, and there’s only one group to call. Paul Feig (Brides­maids) di­rects. Rated PG-13. 116 min­utes. Screens in 3-D and 2-D at Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


Bryan Cranston plays a fed­eral agent in 1986 who goes un­der­cover as a money laun­derer to take down a Colom­bian drug or­ga­ni­za­tion. As he be­comes close with a top lieu­tenant in the drug ring (Ben­jamin Bratt), he must nav­i­gate a mine­field of po­ten­tial prob­lems, in which his cover is con­stantly at risk of be­ing blown. Diane Kruger and John Leguizamo por­tray his fel­low agents. Rated R. 127 min­utes. Re­gal Sta­dium 14; Vi­o­let Crown; DreamCatcher. (Not re­viewed)


Chen (Chen Yongzhong) is man with a crim­i­nal past, now a doc­tor who is on a mis­sion to make up for past mis­deeds by car­ing for his aban­doned nephew. In the hands of first-time writer and direc­tor Bi Gan, Chen’s trav­els into ru­ral China be­come an odyssey, a poetic jour­ney that weaves its way through past and present, re­veal­ing as­pects of China’s his­tory and cul­ture and Chen’s own past and fu­ture in dream­like fashion. The film boasts one of the long­est track­ing shots in re­cent mem­ory, mind-bog­glingly chore­ographed and last­ing more than 40 min­utes. Kaili Blues ob­serves peo­ple in their hum­ble sur­round­ings in a nat­u­ral way, with a cast of mostly non­pro­fes­sion­als. It’s a film of self-dis­cov­ery, self-sac­ri­fice, and pos­si­bil­ity, as mys­te­ri­ous as it is beau­ti­ful, even if its mean­ing is elu­sive. This is one to be talked about. Not rated. 113 min­utes. In Man­darin with sub­ti­tles. The Screen. (Michael Abatemarco)


Framed around the pack­ing and ship­ping of Leonardo da Vinci’s paint­ing La Belle Fer­ronière from the Lou­vre to Mi­lan’s Palazzo Reale for the mu­seum’s ma­jor ex­hi­bi­tion Leonardo 1452-1519, cu­ra­tors and Leonardo schol­ars Pi­etro Marani and M. Teresa Fio­rio guide view­ers through the life of Leonardo and of­fer in­sights into his bril­liance. Not rated. 90 min­utes. In Ital­ian with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Not re­viewed)


Not rated. 105 min­utes. In English and Span­ish with sub­ti­tles. The Screen. See re­view, Page 54.


In the sum­mer of 1982, three grade-school kids in Ocean Springs, Mis­sis­sippi — Eric Zala, Chris Strompo­los, and Jayson Lamb — en­listed their friends for a shot-by-shot re­make of Steven Spiel­berg’s Raiders of the Lost Ark called Raiders of the

Lost Ark: The Adap­ta­tion. By the time they grad­u­ated from high school, their film was com­plete ex­cept for one scene. Raiders! tells the story of their com­mit­ment to what be­gan as a sum­mer project and ended up con­sum­ing their lives and test­ing the bounds of their friend­ships. A copy of their film ended up in the hands of hor­ror film­maker Eli Roth and started play­ing at film fes­ti­vals, lead­ing to some for­tu­itous cir­cum­stances in the sec­ond half of the story. The doc­u­men­tary has two par­al­lel nar­ra­tives. One de­tails the tri­als of the kids as they en­deavor to com­plete the film us­ing house­hold items as props, per­form­ing their own stunts, turn­ing their par­ents’ homes into sound stages — nearly burn­ing them down — and film­ing on a real sub­ma­rine. The other is about Eric Zala’s dream of fin­ish­ing the film more than 30 years after he started. In­spir­ing, heart­felt, and mov­ing, Raiders! is the kind of stuff that makes you want to make movies. Not rated. 95 min­utes. Jean Cocteau Cin­ema. (Michael Abatemarco)


Tick­ling, it turns out, is no laugh­ing mat­ter. David Far­rier, a New Zealand jour­nal­ist and doc­u­men­tar­ian, dis­cov­ered this after he came upon an on­line video of some­thing called “Com­pet­i­tive En­durance Tick­ling.” He sent an in­quir­ing email to the listed Cal­i­for­nia com­pany, Jane O’Brien Me­dia, and re­ceived at first ho­mo­pho­bic in­sults and then le­gal threats in re­ply. Far­rier and co-direc­tor Dy­lan Reeve pur­sued the story, which turns darker and more bizarre as they dig. They un­mask David D’Amato, the for­mer high school ad­min­is­tra­tor be­hind the Jane O’Brien pseu­do­nym (and sev­eral other fe­male iden­ti­ties.) They dis­cover a pro­gram lur­ing buff young men into tick­ling videos, and a cam­paign of in­ter­net ha­rass­ment, de­cep­tion, be­trayal, sham­ing, death threats, black­mail, and an ob­ses­sive fetishism that crosses more lines than you can imag­ine. To­ward the end, the doc­u­men­tary takes on the nail-bit­ing sus­pense of a pro­ce­dural thriller. At the time this doc­u­men­tary wrapped, D’Amato’s tick­ling video em­pire was still go­ing strong. You may not be tick­led, but you’ll be fas­ci­nated — and ap­palled. Rated R. 92 min­utes. Cen­ter for Con­tem­po­rary Arts. (Jonathan Richards)


In this Korean movie, which blends el­e­ments of hor­ror, com­edy, and po­lice pro­ce­dural, Do Won Kwak plays a some­what buf­foon­ish po­lice of­fi­cer who is new to a small vil­lage. He is im­me­di­ately thrown into the fire when a freak virus in­fects the town, lead­ing to grue­some mur­ders. When his daugh­ter (Hwan-hee Kim) be­comes af­flicted, he must race against the clock to find a cure. Writer and direc­tor Hong-jin Na first earned ac­claim with 2008’s The Chaser. This movie con­tin­ues

his ex­plo­ration of po­lice­men mired in hor­ri­ble cases. Not rated. 156 min­utes. In Korean with sub­ti­tles. Jean Cocteau Cin­ema. (Not re­viewed)

River of dreams: Guo Yue in Kaili Blues, at The Screen

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