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FILM­WORKER This might be the per­fect pic­ture to open this year’s Santa Fe Film Fes­ti­val. It’s a doc­u­men­tary that re­veals the work­ing ways of one of cin­ema’s most reclu­sive and yet most cel­e­brated di­rec­tors: Stan­ley Kubrick. Here, we come to learn about Kubrick from his long­time as­sis­tant, a jack-of-all-trades who most of us didn’t know ex­isted: Leon Vi­tali. This for­mer ac­tor gave up the craft to be­come Kubrick’s right-hand man. No job was too small or demeaning for Vi­tali, who even set up video cameras so Kubrick could mon­i­tor the sta­tus of his sick cat. Vi­tali cre­ated all the trailers for the di­rec­tor’s films, as well as the mar­ket­ing cam­paigns and the subti­tled and dubbed prints in scores of lan­guages. But he did much more, of­ten serv­ing as Kubrick’s cast­ing di­rec­tor. He dis­cov­ered R. Lee Ermey, the bru­tal gun­nery sergeant in Full

Metal Jacket, and Danny Lloyd, the young boy in The Shin­ing , as well as the twin girls who plague him. We meet Vi­tali on the set of Barry Lyn­don; he played Lord Bulling­don, a de­mand­ing role where he got his first taste of just how ex­act­ing Kubrick could be. In one scene, Bulling­don is at­tacked by Ryan O’Neal, play­ing the ras­cally Lyn­don. Kubrick re­quired more than 30 takes, each one with Bulling­don get­ting beaten to a pulp. Most peo­ple would have run far away as fast as pos­si­ble, but Vi­tali, sens­ing Kubrick’s bril­liance and mas­tery of film, re­mained and be­came the di­rec­tor’s clos­est con­fi­dant. Tony Zierra’s doc­u­men­tary is as orig­i­nal and mes­mer­iz­ing, lus­trous and kalei­do­scopic, as one of Kubrick’s films. Film­worker screens with the short film Cer­ril­los

Road. 7:30 p.m. Wednesday, Feb. 7. Vi­tali is in at­ten­dance. Not rated. 94 min­utes. The Screen. (Jon Bow­man) GOD’S OWN COUN­TRY Not rated. 105 min­utes. The Screen. See re­view, Page 39. HAPPY END Not rated. 107 min­utes. In French with sub­ti­tles. Cen­ter for Con­tem­po­rary Arts. See re­view, Page 37. JON JOST RET­RO­SPEC­TIVE Be­gin­ning Fri­day, Feb. 2, the Santa Fe Univer­sity of Art and De­sign spon­sors a week­end of movies by in­de­pen­dent film­maker Jon Jost, free of charge — with Jost present at all of the show­ings. The pro­gram ranges from nar­ra­tive road movies to ex­per­i­men­tal cin­ema and in­cludes Last Chants for a Slow Dance (1977), 6 Easy

Pieces (1996-1999), Im­age of a Lost City (1997-1998), Over Here (2006), and They Had It Com­ing (2015). Visit www.the­ for show­times. The Screen. (Not re­viewed) LOVER FOR A DAY De­spite be­ing a holdover from the French New Wave era and en­joy­ing fes­ti­val suc­cess in the 1970s, di­rec­tor Philippe Gar­rel’s works of­ten come across like stu­dent films — they tell rather than show, present sto­ries about ro­mance that lack any wis­dom or in­sight into how gender re­la­tion­ships ac­tu­ally work, have weird ideas about women, and present com­mon ob­ser­va­tions as pro­found. His lat­est film cen­ters on a mid­dle-aged pro­fes­sor (Éric Car­avaca) in love with a stu­dent (Louise Chevil­lote), who sud­denly has a crowded apart­ment when his bro­ken-hearted daugh­ter (Es­ther Gar­rel) — who is the same age as his lover — moves back in with him. As they bond and ar­gue, it all plays out roughly as tele­graphed, with Gar­rel telling the story as if there is some­thing in­her­ently in­ter­est­ing about an older man dat­ing a younger woman, and end­ing his film with an out­burst of do­mes­tic vi­o­lence that is essen­tially glossed over. It’s some­what saved by its hand­some blackand-white photography and brisk run­ning time, but that’s not enough — this kind of cin­ema is well past its ex­pi­ra­tion date. Not rated. 76 min­utes. In French with sub­ti­tles. Jean Cocteau Cin­ema. (Robert Ker)


The 2018 fes­ti­val runs from Wednesday, Feb. 7, to Feb. 11, at var­i­ous venues. Tick­ets to in­di­vid­ual screen­ings are $10; a fes­ti­val pass is $350. For a com­plete sched­ule and to pur­chase tick­ets, go to www.santafe­film­fes­ti­ See Page 8 for more in­for­ma­tion.


He­len Mir­ren takes the hor­ror genre for a spin, play­ing Sarah Winch­ester, the wife of gun man­u­fac­turer Wil­liam Winch­ester. In a plot based very loosely on Sarah’s real life, this movie fol­lows Sarah in the years af­ter Wil­liam’s death, as she be­comes in­creas­ingly con­vinced that the ghosts of those who were killed by Winch­ester weapons are haunt­ing her. She builds a strange, sprawl­ing house in San Jose, Cal­i­for­nia — known to­day as the Winch­ester Mys­tery House — to es­cape the spir­its. Rated PG-13. 99 min­utes. Re­gal Sta­dium 14. (Not re­viewed)

Work­ing in the shad­ows: Leon Vi­tali and Ned Price of Warner Broth­ers in Film­worker, at The Screen

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