CCA Cinematheque and Screening Room
On the one hand, Cunningham stages many of the pioneering choreographer’s abstract works superbly, capturing the vision of an idiosyncratic artist. On the other hand, when it comes to exploring the man behind the art, the film’s execution feels out of step with its ambition.
Admirers of famed filmmaker Agnès Varda, who died in March at 90, may be looking for a fitting remembrance. But those who are unfamiliar with Varda’s work may be wondering where to begin. Her final film, Varda by Agnès, answers both needs. It’s a perfect introduction and a lovely valediction.
The year is 1959, and Dr. Alan Stone (Richard Gere) is bringing his forward-looking, humane approach to an institution still mired, under the direction of smug administrator Dr. Orbus (Kevin Pollak), in the Dark Ages of psychiatric treatment.
From the time we’re kids, we’re told to respect our elders. But in many ways, America falls short in heeding that advice.
Sam Mendes’ characters go through scenes that carry the unmistakable whiff of screenwriting, even if they may have been extrapolated from granddad’s wartime tales. But what is truly magnificent about this movie is Roger Deakins’ stunning cinematography.
Documentary filmmaker Alexandria Bombach admits to some bewilderment while touring a film because festival organizers always refer to her as a director. “My process is really ingrained in shooting a film and editing a film.”
Terrence Malick’s A Hidden Life marks a return to narrative form for the auteur director, aided, as is typical of Malick, by the world of nature — so reverently evoked as to become almost a character in its own right.
To all appearances, the animated comedy Spies in Disguise is just another rollicking send-up of super spy thrillers. As befits a movie about clandestine activity, however, there’s more than meets the eye here.
Why not relish in the inanity while indulging in a holiday meal at Jean Cocteau Cinema (418 Montezuma Ave.), and be thankful the Griswolds aren’t doing the catering? Dinner is served at 6:15 p.m. Saturday, followed by a 7 p.m. screening of National Lampoon's Christmas Vacation.
In Richard Jewell, a movie about the security guard who found what’s known as the Centennial Park bomb during the 1996 Atlanta Olympics and was subsequently falsely implicated in planting it, the villains are more starkly delineated than the heroes.
CCA Cinematheque and Screening Room
There are a number of ghostly cinematic influences hovering over this film.
Queen & Slim is full of violence and danger, but it isn’t a hectic, plot-driven caper. Its mood is dreamy, sometimes almost languorous, at least as invested in the aesthetics of life on the run as it is in the politics of black lives.
Can this divorce be saved? For all its satirical jabs at bourgeois mores and self-involved artists (a MacArthur “genius” grant pops up for a cameo), Marriage Story is suffused with humanism and forgiveness.
Outrage mixes with despair in Dark Waters, an unsettling, slow-drip thriller about big business and the people who become its collateral damage.
CCA Cinematheque and Screening Room
With its obsession with process and how-it-all-went-down chronology, The Irishman is tiresome, at times even dull in its pointless arguments and profane ego trips. But that leaves viewers confronting how movies — especially Martin Scorsese’s — have shaped our most disquieting desires.
By situating the film within the context of a government report, albeit a bombshell one, The Report loses a little human sizzle.
Director Jacqui Fifer and producer Tom Cronin will be on hand for an audience Q&A after the 5:15 p.m. screening of The Portal on Sunday, Nov. 10 at The Screen.
As he grows older, Pedro Almodóvar seems to be growing more reflective. Pain and Glory is not strictly autobiographical, but it is strewn with deeply personal bread crumbs to lead us through significant passages of the great director’s life.
Jojo is an only child whose father, he thinks, is off fighting the war for Germany. He lives with his mother, Rosie, in a modest, two-story home in a middle-class section of Berlin.
A man wearing a ski mask robs a bank, dispassionately kills two clerks, and is quickly captured. He claims he was acting alone, but witnesses report that he seemed to be in some kind of trance, and a suspicion emerges that he was acting under hypnotic suggestion.
An Afghan filmmaker, mother, and wife, Fatima Hussaini adopted yet another identity in 2015: political refugee. That year, the Taliban called for the death of her husband, Hassan Fazili, a filmmaker who owned a Kabul café that served both men and women. Together with their two young daughters, the couple fled Afghanistan, beginning an arduous multiyear odyssey that took them across continents and scarily inhospitable countries.
Some people have a way with time. Take Santa Fe filmmaker Sylvia Johnson, who transforms 15 minutes into a powerful story of two refugees and their struggle for asylum in the United States. Perhaps, like so many artists these days, she’s motivated by a mission: Her art is also her activism on subjects like water pollution, transgender discrimination, and animal rights.
The new documentary co-directed by and starring Bruce Springsteen, swaggers across the landscape like a cinematic epic, but it’s basically a concert flick, with some extras. And those extras are not the best things in it.
In 2012, explorer Steve Elkins embarked on the dangerous undertaking, along with Benenson and best-selling author Douglas Preston, and traversed the dense interior of Honduras. They didn’t know if they’d find the lost city, rumored to exist somewhere in the vast and nearly impenetrable rainforests of the La Mosquitia region.
Willem Dafoe and Robert Pattinson have two of the most mesmerizing physiognomies in movies. In this sly American Gothic set in the late 19th century, the director Robert Eggers lights and frames the actors to emphasize every bony plane. The stark cinematography deepens the film’s shadows and unease, but it also throws these grizzled faces into relief, sharpening their cheekbones and revealing the death’s head under each man’s grimace.
Unlike the first film, there’s no one to care about.
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.
Chiles Jan. 24-30Chiles, Jan. 24-30
Movie show times
Amuse-boucheA gastropub worth its chow: Loyal Hound
Amuse-BoucheCozy places & comfort foods
Amuse-BouchePlates with a taste of childhood: Cocina Azul
- Amuse: Tasty Morsels
RestaurantsTaking a bow: Chocolatier Hayward Simoneaux
- Happy Vegetarian New Year: The OMD Diet
- Best Bites: Favorite discoveries of 2019
Amuse-BoucheNobody beats the biz: New Mexico's glorious state cookie
Amuse-BoucheMacarons: Bizco's French cousin
Amuse-boucheStuff stockings and faces: Holiday gifts with a culinary bent
Mixed MediaTime for cake: Santa Fe School of Cooking celebrates 30 years
- Culinary paths to follow: New books for at-home chefs
- We came, we ate, we wrote about it
Amuse-BoucheThe wisdom of elders: Steakhouse secrets, hot off the coals
Amuse-BoucheBowled over: Mampuku Ramen