Shoplifters, playing at the Center for Contemporary Arts, is a Palme d’Or-winning film from Japanese master Hirokazu Kore-eda.
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.
Tantoo Cardinal is the epitome of a working actress, and she is probably the most recognizable indigenous actress working today. A tribute to Tantoo Cardinal takes place at the Lensic on Saturday, Oct. 19 at 7 p.m.
Santa Fe Independent Film Festival 2019 picks by Pasatiempo writer Paul Weideman.
Family dynamics and strained parent-child relationships feature prominently in several movies screening at the 2019 Santa Fe Independent Film Festival. Here are picks by Pasatiempo writer Jennifer Levin.
2019 Santa Fe Independent Film Festival picks by Pasatiempo writer Michael Abatemarco.
Jane Seymour receives a lifetime achievement award Oct. 18 from the Santa Fe Independent Film Festival at the Lensic Performing Arts Center, 7 p.m. Friday, Oct. 18.
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.
Following two deeply damaged siblings, each lacking a place in the world, Justin Chon’s Ms. Purple seems named not for a character but for a state of mind that’s been a long time brewing.
CCA Cinematheque and Screening Room
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.
“In my novel, Rambo is a man bitter about what he learned about himself in war,” says David Morrell, the Santa Fe writer of the iconic character he created in 1972’s First Blood. “Anyone 40 years or younger won’t have the faintest idea what’s troubling him.”
The Downton Abbey film finds the characters in 1927, with events of the series finale receding into the past. The quotidian life on the estate continues until the family receives a letter informing them that King George V and Queen Mary are stopping in for an overnight visit.
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.
CCA Cinematheque and Screening Room
If you’ve been thinking that this is a pretty rotten world but you weren’t absolutely sure, here’s a movie to confirm your worst suspicions.
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.
This movie should come with a vertigo warning. But the cinematic rhapsody Into the Canyon, which plays Thursday, Aug. 22, at Violet Crown Cinema, is about much more than cliff walking.
So, The Angry Birds Movie 2 is not great cinema. But the animated sequel — inspired by the popular Angry Birds games, available on mobile devices and other platforms — goes above and beyond what is to be expected from such things.
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.
The powerful subject matter is enough to carry this movie, although the telling is sometimes weakened by its too-broad approach.
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.
Most of what we learn from Paul Hegeman’s sweet, understated documentary comes from the music itself. The music is the work of the Estonian Arvo Pärt, described here as the world’s most-performed living composer. If you’re familiar with his music, you know you’re in for a treat.
“Nobody,” observes the elderly psychologist Shlomo (Sasson Gabai, The Band’s Visit), “ever said parenting was logical.”
Music drama, R, 101 minutes, Center for Contemporary Arts, 3 chiles
The appeal of this stirring documentary is the pleasure it affords in spending of a couple of hours in the world of the great Toni Morrison, her friends, and her literary legacy.
There are a few awkward moments and a few self-consciously stylized passages that may feel like gestures toward one director or another, but by and large, it all works.
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.
Much of the new film from French director Olivier Assayas has to do with our head-spinningly rapid transition away from traditional books into the brave new world of Kindle.
Framing John DeLorean, the story of the legendary automaker's rise and fall, is rich with daring, danger, and disaster.
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.
Chiles, Oct. 11-17Chiles, Oct. 11-17
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