OPEN­ING THIS WEEK

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PUSHKIN, AN­I­MATED SHORTS

These six short films by Yuri Norstein rep­re­sent the full body of work by a man many con­sider to be the great­est living Soviet an­i­ma­tor. Two of the shorts

(The Fox and the Hare and The Heron and the Crane) adapt Rus­sian folk tales, while two oth­ers (The Bat­tle of Kerzhenets and 25 Oc­to­ber: The First Day) draw from Cu­bist paint­ings, re­li­gious icons, and older art forms. The two most re­cent shorts (Hedge­hog in the Fog and Tale of Tales), from the late 1970s, are by far the most mas­ter­ful. Haunt­ing and sur­real, these vis­ual tone po­ems delve into the insanity of war and the cru­elty of mod­ern states. Norstein tips his hat to many artists, from Pi­casso to Pushkin, but his mo­saics are not at all sim­ple knock­offs: They are full-blown, richly en­vi­sioned al­le­gor­i­cal epics the likes of which you have never seen be­fore. Screens 1 p.m. Sun­day, July 9, only. Not rated. 84 min­utes. In Rus­sian with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. (Jon Bow­man)

FOOD EVO­LU­TION

The use of ge­net­i­cally mod­i­fied or­gan­isms (GMOs) in food is a highly emo­tional topic for many peo­ple. Ma­jor cor­po­ra­tions have lied about topics from cli­mate change to the health risks of to­bacco use, and the con­tro­ver­sial agri­cul­tural cor­po­ra­tion Mon­santo fa­mously man­u­fac­tured chem­i­cals like DDT and Agent Or­ange. This pol­ished and well-pro­duced doc­u­men­tary, which is firmly pro-GMO, asks view­ers to put their emo­tions aside and re­gard the is­sue ob­jec­tively. Like the dan­gers of cli­mate change and the im­por­tance of vac­ci­na­tions, it sug­gests, the sci­en­tific com­mu­nity is largely in sup­port of GMOs, so why do so many peo­ple be­lieve sci­en­tists on one is­sue and mis­in­for­ma­tion on oth­ers? How do we feed a grow­ing pop­u­la­tion and par­tic­u­larly poor com­mu­ni­ties with­out GMOs? The movie poses these ques­tions and more while treat­ing both sides re­spect­fully and ad­mit­ting that this is­sue is com­pli­cated. What it does not do, how­ever, is con­cede that it’s fine to have an emo­tion-based opin­ion on the food that you put on your ta­ble. Not rated. 92 min­utes. Jean Cocteau Cin­ema. (Robert Ker)

THE JOUR­NEY

Rated PG-13. 94 min­utes. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 45.

LET­TERS FROM BAGH­DAD

Not rated. 95 min­utes. In English and Ara­bic with sub­ti­tles. The Screen. See re­view, Page 43.

MON­TEREY POP

This 1968 coun­ter­cul­ture clas­sic from D.A. Pen­nebaker, shot in his trade­mark vérité style, tells an episodic and non­lin­ear tale of the Mon­terey Pop Fes­ti­val. Held 50 years ago on a sunny week­end in June, the mu­sic fest fea­tured the for­mi­da­ble lineup of Jimi Hen­drix, Ja­nis Jo­plin, Otis Red­ding, the Ma­mas and the Pa­pas (Papa John Phillips or­ga­nized the fes­ti­val with Lou Adler), the Who, Hugh Masekela, and Ravi Shankar. It’s the yang to Gimme Shel­ter’s yin, show­cas­ing the Sum­mer of Love at its most care­free, ide­al­is­tic, and fash­ion­able (come for the mu­sic, stay for the out­fits). But con­sid­er­ing that the im­me­di­ate fu­ture held in store the tragic deaths of the con­cert’s stand­out stars (Red­ding, Hen­drix, Jo­plin, and Mama Cass), view­ers may not be able to es­cape a vague sense of fore­bod­ing, watch­ing these stars burn­ing at their bright­est and hottest. Screens 7 p.m. Wed­nes­day, July 12, only. Not rated. 79 min­utes. Cen­ter for Con­tem­po­rary Arts. (Molly Boyle)

POP AYE

Not rated. 104 min­utes. Thai with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 47.

RAISE THE ROOF

Amer­i­can artists Rick and Laura Brown spent a decade re­con­struct­ing and re­paint­ing the ceil­ing of the ru­ined Gwoździec syn­a­gogue in Poland, the last re­main­ing his­toric wooden syn­a­gogue in the coun­try. Film­mak­ers Carey and Yari Wolinsly’s in­spir­ing doc­u­men­tary, set to a mov­ing klezmer sound­track, is not only the story of the Browns’ am­bi­tious un­der­tak­ing, but also a jour­ney into Poland’s past. The wooden syn­a­gogues, built in the 18th cen­tury, once num­bered in the hun­dreds, but were all de­stroyed dur­ing the Nazi oc­cu­pa­tion. Us­ing 18th-cen­tury tech­nol­ogy based on old pho­to­graphs and build­ing plans, the Browns and a team of stu­dents and re­stor­ers painstak­ingly recre­ate the or­nate ceil­ing, adding Jewish re­li­gious and mys­tic sym­bols, an­i­mal im­agery, and He­brew text. In the process, they re­cover some of the nearly for­got­ten folk­ways of pre-mod­ern vil­lage life. Screens as part of the Santa Fe Jewish Film Fes­ti­val at 5 p.m. Tues­day, July 11, only, and in­cludes an au­di­ence Q&A with the Browns. Not rated. 85 min­utes. Cen­ter for Con­tem­po­rary Arts. (Michael Abatemarco)

SPI­DERMAN: HOME­COM­ING

Af­ter fac­ing di­min­ish­ing re­turns with the dis­ap­point­ing Amaz­ing Spi­der-Man films, Sony Pic­tures Stu­dio did what su­per­hero fans have been clam­or­ing for: They col­lab­o­rated with Marvel Stu­dios to re­unite Spidey with Cap­tain Amer­ica, the Hulk, and all of his other bud­dies from Marvel’s comics. The char­ac­ter, now a teenager played by Tom Hol­land, first ap­peared in Cap­tain Amer­ica: Civil War. Here, he gets his first solo fea­ture, and to make sure the re­boot doesn’t belly-flop, Marvel Stu­dios has lent their mar­quee draw, Iron Man (Robert Downey Jr.), to join Spi­der-Man as he nav­i­gates high school and fights the Vul­ture (Michael Keaton). Rated PG-13. 133 min­utes. Screens in 3-D and 2-D at Regal Sta­dium 14; Vi­o­let Crown. Screens in 2-D only at DreamCatcher. (Not re­viewed)

The cry of love: Jimi Hen­drix in Mon­terey Pop, at Cen­ter for Con­tem­po­rary Arts

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