The Santa Fe Independent Film Festival offers panel discussions with industry professionals and other educational offerings. All are held at Form & Concept Gallery, and admission is free. 

With more than 200 galleries and museums, most people probably think of Santa Fe as just an art town. But it’s increasingly gaining a reputation as a destination for cinephiles. The 11th Annual Santa Fe Independent Film Festival, Wednesday, Oct. 16, through Oct. 20, happens at various venues in town. 

The farmland of South Africa’s Free State region is a remote, stark, and (you might be tempted to say) a godforsaken place. But you would be at odds with the devout, churchgoing Afrikaners who inhabit and work these lands.

More than most, this review must come with a warning label: This movie is not for everybody. If you shell out your hard-earned money and then sit for almost an hour and twenty minutes and discover that not much happens, don’t come whining to me.

From the hysterical levels of overpraise, concern-trolling, and general hype that have greeted Joker, casual observers might assume that it’s either genius, right-wing propaganda, or some diabolically potent combination thereof. The truth is, it’s just a movie — a fine movie, not a great movie, a movie that will please the specific subculture of fans it aims to service.

James Franco gets carried away with his own genius and winds up with a bit of a mess. It’s not an unlikable mess, and it has a real passion for the movies.

Life on the lower levels of the service sector can be soul-killing drudgery, and with her debut foray into feature films, Mexican director Lila Avilés takes us backstage at Mexico City’s luxurious Hotel Presidente Internacional, following the day-to-day duties of that invisible, lowly creature, the chambermaid.

Love him or — ignore him, I guess. I don’t see how you could hate him. But buy his philosophy or reject it, there is one aspect of Ram Dass that seems incontrovertible, and that is the pure joy he radiates.

The heroes of It are known as the Losers Club. It: Chapter Two features the same group of talented young actors as the original 2017 film, and also adds older versions of these characters, who are in their 40s.

Give Me Liberty is a jolt of a movie, at once kinetic and controlled. It’s an anarchic deadpan comedy that evolves into a romance just around the time the story explodes.

There’s a woman in India working tirelessly and selflessly to improve the wretched lot of orphans. And there’s a mother named Theresa. They are not the same person, but their lives are about to become tortuously intertwined.

Epic studies in physical punishment such as The Revenant have nothing on this portrait of extreme suffering, which treats notions of white European expansion, male impunity, and wilderness-taming with far sharper skepticism than that earlier, more romantic movie.

David Crosby: Remember My Name was one of the breakout hits at Sundance this year, and understandably so: In this film, the pioneering folk-rock musician — who turned 78 on Aug. 14 — emerges less as a lion in winter than a tiger in full attack mode, as often as not against himself.

With too much to say and too many people saying it, and no central narrator driving the story arc, The Spy Behind Home Plate sometimes plods and lacks focus. Still, the guy (Moe Berg) was amazing.

There’s an aerial quality to Lynn Shelton’s quirky, lively comedy, as her characters seem to fly through the air with the greatest of ease, working without a net.

When Luciano Pavarotti died of pancreatic cancer in 2007, many opera lovers had mixed feelings. The tenor was only 71 and it hadn’t been so long since he was the reigning star of his generation, still giving magnificent performances of his core repertoire into the 1990s.

The queen of Late Night is Thompson, whose character’s impeccable timing and dry-as-gin wit makes you wonder why she hasn’t been dominating the late-night TV talk show scene for the last quarter century. 

This film is director Dónal Foreman’s redemptive exploration of the similarities and differences between him and his father, told in three separate sections through voice-over narration, still photographs, home movies, and documentary footage of The Troubles, the bitter dispute between the nationalist Catholic minority and the Protestant government.

Writer-director Frédéric Tcheng (Dior and I) has, by and large, done a worthy job of tracing the rise and fall of the man described as America’s first great international fashion superstar.