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Organized by the Film Society of Lincoln Center and the Instituto Nacional de Cine y de Artes Audiovisuales and the Dirección General de Asuntos Culturales de la Cancillería Argentina. Special thanks to Sr. Julio Maharbiz for his support of the series, and to the Consulate General of Argentina in New York.
In 1995, the Film Society inaugurated its first excursion into Argentinian filmmaking--classic and contemporary. Audiences discovered a vital tradition that had been producing diverse, highly engaging movies since the turn of the century. In 1910, no other Latin American capital boasted as many film theaters as did Buenos Aires--since then, Argentinians have remained passionate filmgoers and their filmmaking industry has never lost its strength, despite North American interference, economic constraints, and political censorship and repression. Join us as we trip even further into the cinematic psyche of Argentina, directorially guided by old lions and young turks.
Note: all films are subtitled in English.
program notes and times
ASHES OF PARADISE /
CENIZAS DEL PARAISO
Marcelo Piñeyro
Piñeyro, the director of Wild Horses (ND/NF 1996), returns with this taut psychological thriller, based once again on a screenplay co-written with Aida Bortnik (The Official Story). Two bodies are discovered: that of prominent judge, and that of a young woman with whom the judge may have been involved. When Beatriz Teller, the judge assigned to the case, begins to investigate, she finds no lack of possible suspects: each of the judge's three sons claims to have murdered the woman. Teller's probing uncovers an extraordinarily complex network of relationships, leading perhaps even to a cover-up at the highest levels of authority. The excellent cast features Hector Alterio, Cecilia Roth and Leticia Brédice.
1997; 127 minutes
Friday, April 24: 6:30 pm
Sunday, April 26: 8:30 pm
MADRESELVA
Luis César Amadori
MADRESELVA shows the great Libertad Lamarque at her best: as an innocent young woman, she falls in love with a thief, only to discover he's already living with someone. Leaving home, she earns her living as a singer, eventually climbing to the top of the charts. When she returns home for a visit, she discovers that her old flame has now reformed--and is in love with her younger sister. Director Amadori sought to expand what had been the traditional format for musical films--often just a succession of songs--by weaving the musical numbers into a rich melodrama that explored the price to be paid for personal happiness.
1938; 93 minutes
Saturday, April 25: 4:15 pm
Monday, April 27: 2 pm and 6:15 pm
CRONICLE OF A LONELY CHILD/
CRÓNICA DE UN NIÑO SOLO
Leonardo Favio
Based partially on the director's own experiences in a children's home, CHRONICLE is a searing, unsparing look at the fate of children entrusted to the care of the state when their parents were no longer able or willing to provide for them. Piolín--a remarkable performance by non-professional Diego Puente--suffers through the daily routine of humiliations, scarce food and threats of violence until he finally manages to escape. Once outside, however, he finds little to recommend his newfound freedom. Often compared to Bresson's A Man Escapes, CHRONICLE avoids both sensationalism and sentimentality, concentrating instead on rendering the texture of Piolín’s world.
1965; 77 minutes
Saturday, April 25: 8:15 pm
Friday, May 22: 4 pm and 8 pm
EVA PERÓN
Juan Desanzo
A powerful portrait of Eva Perón née Duarte, one of the most controversial, loved and hated characters in Argentine history, as painted by a home-grown artist. Wife of the political leader Juan Domingo Perón and leader of the populist movement which arose in 1945, this complex woman is caught in intimate moments with her husband, and especially dramatized during the final several years before her death at age 33. Director Desanzo clearly means to plumb what often seems the unfathomable mystery of this nearly mythic Argentinian figure.
1996; 100 minutes
Saturday, April 25: 6:15 pm
Friday, May 8: 4 pm and 8:15 pm
Sunday, May 10: 8 pm
NOBLEZA GAUCHA
Humberto Cairo, Ernesto Gunche,
Eduardo Martinez de la Pera
Made at a moment when European film production was halted due to World War I and American film production was just beginning, NOBLEZA GAUCHA was a phenomenal success, playing for months around Argentina and being frequently revived into the sound era. Filmed on locations both in the countryside and Buenos Aires, the film tells the story of a young woman who is kidnapped and brought to the capital, where she is imprisoned in the mansion of a lecherous landowner. A gaucho to whom she had been kind follows her there and finally rescues her. Several of the intertitles contain quotes from José Hernández' epic poem "Martin Fierro," creating a romantic image of the gaucho that would found in many later Argentine films.
1915; silent,
with live piano accompaniment, 60 minutes
Sunday, April 26: 4:30 pm
THE SLEEP OF HEROES /
EL SUEÑO DE LOS HEROES
Sergio Renán
After living it up for the three days of Carnival, a young man blacks out, falling into a deep sleep. When he awakens, he cannot remember anything that happened to him during the previous days; he's certain, however, that his loss of memory hides from him the most important single
event of his life. Determined to retrieve those lost moments, year after year he tries to re-create all the circumstances surrounding the time of his blackout, yet the results of all this are not quite what he expected. Based on a novel by Adolfo Bioy-Casares, a major Argentine writer who was Borges' closest friend and collaborator, THE SLEEP OF HEROES is the seventh feature of Sergio Renán, whose LA TREGUA was the first Argentine film nominated for an Oscar.
1998; 95 minutes
Sunday, April 26: 6:15 pm
Friday, May 8: 2 pm and 6:15 pm
Sunday, May 10: 4 pm
Homage to
Leopoldo Torre Nilsson:
Argentina's Most
Celebrated Director
HIDE AND SEEK/ PIEDRA LIBRE
A poetic exploration of feminine sensibility in a sharply defined social context. A girl without means, educated in an upper-class college as a special favor to her grandmother, is re-"adopted" by the rich family for whom her gram had once been a maid. Her fascination and fear of the rites of a social class in which she is guest and victim are expressed in a bizarre Gothic game of sexual hide-and-seek in a decayed, isolated estate.
-- Alberto Tabbia
1976; 97 minutes
Friday, April 24: 9:15 pm
GOD WILL REWARD YOU / DIOS SE LO PAGUE
Luis César Amadori
A wealthy eccentric (Arturo Córdoba) who likes to disguise himself as a
homeless street person falls madly in love with a beautiful woman (Zully
Moreno), but almost loses her as a result of his idiosyncratic behavior. In
this commercially successful social melodrama (nominated for an Oscar),
Amadori looks at life from the points of view of both the rich and the poor:
one of the high points of GOD is a debate between the phony beggar and a
genuine bum about concepts of social justice during Argentina's Peronist
years.
1948, 119 minutes
Saturday, April 25
2 pm
Monday, April 27
4 pm
END OF INNOCENCE /
LA CASA DEL ÁNGEL
Nilsson's breakthrough film, adapted from his wife Beatriz Guido's acclaimed novel: Expressed in a highly baroque style (sometimes compared to that of Orson Welles), INNOCENCE stars "the disturbingly virginal" Elsa Daniel as Ana Castro, a 16-year-old girl whose sexual awakening is linked to profound social and political changes in the Buenos Aires of 1925. Social position, rigid moral conventions, pervasive hypocrisy--all conspire to trap Ana, poisoning her first love affair.
1956; 75 minutes
Wednesday, April 29: 2 pm, 6 pm and 9:15 pm
Thursday, April 30: 4 pm and 7:45 pm
THE FALL / LA CAIDA
Elsa Daniel stars again, this time as a strictly reared girl who lives with a rather eccentric family. Just blooming into womanhood, this virginal heroine ripens--physically and emotionally-- through strange relationships with the parents, their precocious children and a young lawyer. Nilsson works from a script he and his wife Beatriz Guido co-scripted, carefully limning in the claustrophobic elements of Argentine family life.
1959; 84 minutes
Wednesday, April 29: 4 pm and 7:30 pm
Thursday, April 30: 2 pm, 6 pm and 9:15 pm
WAKE UP LOVE / DESPABÍLATE AMOR
In this Argentinian version of The Big Chill, Ricardo organizes a reunion, 25 years later, of a group of schoolmates who were inseparable friends during the 60s. His best friend Ernesto, once a political activist, is now a journalist married to the woman once engaged to Ricardo. These fortysomething, much-changed friends find themselves caught up in memories of the adventures and misadventures, joys and griefs of youth--and the bittersweet regret that comes with age and disillusionment. (The film's title evokes a poem by Mario Benedetti, from a collection called The Forgetfulness--reflections on the past, idealistic youth and dreams of utopia.)
Eliseo Subiela, 1996; 98 minutes
Saturday, May 2: 4 pm and 8:30 pm
Sunday, May 3: 5:40 pm
MARTIN (HACHE)
Adolfo Aristarain
Both father and son share the name "Martin," yet beyond that they seem to have little in common. A close brush with death brings young Martin, known as "Hache," from Buenos Aires to live with his expatriate dad in Madrid. Encouraged and at times provoked by the elder Martin's sometime lover and full-time best friend, Hache engages in an emotional mano a mano with his father that reflects the faultlines of recent Argentine history. Aided by superb performances, especially by Federico Luppi as the elder Martin, Adolfo Aristarain has made a provocative, refreshingly intelligent portrait of generations divided by history, politics, and even taste in art--but still committed to the quest for common ground. (A stand-out at the 1997 New York Film Festival.)
1997; 130 minutes
Saturday, May 2: 6:10 pm
Sunday, May 3: 7:40 pm
RETURN TO THE NEST / LA VUELTA AL NIDO
Leopoldo Torre Rios
Print courtesy of the
Fundación Cinemateca Argentina
Father of Leopoldo Torre Nilsson (and grandfather of Javier Torre), Torre Rios was an important, ambitious director; although RETURN was a commercial disaster (it ran only three days before closing), today it is considered his masterpiece. Tired of her husband's inattention, a woman sends her husband an anonymous letter, informing him that his wife is having an affair. Focusing on small details and unobtrusive gestures, Torre Rios brilliantly renders the tense atmosphere that takes over their home and their relationship. A unique work within the context of Argentine cinema of the era, RETURN was a crucial point of reference for the emerging generation of Argentine filmmakers in the 50s and 60s.
1938; 77 minutes
Sunday, May 3: 4 pm
GAUCHO aka THE BASTARD
Lucas Demare
In this powerful drama of maternal greed and guilt, a sailor's wife raises both her own son, and a boy her husband sired with another woman. Not surprisingly, rivalry and jealousy results, and the woman persuades her husband that the strongest boy is her own and that the weaker one is the other woman's. When the sons come to manhood, a shipwreck becomes the catalyst for this mother's realization of her terrible sin against her own flesh and blood.
1954; 97 minutes
Monday, May 4: 4:15 pm and 8:30 pm
Tuesday, May 5: 2 pm
THREE TIMES ANA / TRES VECES ANA
David Jose Kohon
A Nouvelle Vague-flavored look at a young woman's life (Maria Vaner), told in
three separate stories that chart the clash between traditional expectations
and modern possibilities.
1961; 115 minutes
Monday, May 4:
2 pm and 6:15 pm
Tuesday, May 5:
3:50 pm
SPOTLIGHT ON
LEOPOLDO TORRE NILSSON
Argentina's most
celebrated director
HAND IN THE TRAP / LA MANO EN LA TRAMPA
According to a passage by St. Augustine, he who puts his hand in a trap must carry the trap around with him forever. Nilsson's film exemplifies the a unique blend of baroque imagination and Buñuel-like perversity. It also features one of the director's most convoluted and fascinating plots, a Gothic mystery with undertones of Edgar Allan Poe.While visiting a spinster aunt, an adolescent girl (Elsa Daniel, Nilsson's favorite innocent) discovers that another of her aunts has been living in total seclusion since she was jilted by her fiancé 20 years before. When the young girl decides to stage a reconciliation, she tracks down her aunt's former lover, now a wealthy family man, only to have her virtuous plan, her aunt and herself swamped in blackest irony and accidental tragedy.
1961; 90 minutes
Wednesday, May 6:
2 pm, 6 pm and 9:45 pm
Thursday, May 7: 2 pm
THE PARTY IS OVER / FIN DE FIESTA
Based on actual events, PARTY tells the story of Mariano, a veteran political boss, who climbed from the gaucho class to a position of wealth and power maintained by terror and tightly controlled elections. We witness his decline through the eyes of his grandson, Adolfo. Keeping company with Gustavino, Mariano's henchman, the young man sees for himself the violence his grandfather imposes on his empire, and grows to hate the old man, delighting in his inevitable bad fortune.
1960; 104 minutes
Wednesday, May 6: 3:50 pm and 7:45 pm
Thursday, May 7: 3:50 pm and 9 pm
THE IMPOSTER / EL IMPOSTOR
Alejandro Maci
Some time in 1935, young Sebastián, bitterly disappointed in love, takes refuge in his family's isolated country house. When his concerned parents send Juan--disguised as a bird watcher--to spy on the mysterious doings of their son, the two young men bond, becoming secret sharers in a hidden, sinister world and a dangerous attraction to a strange Danish woman. The late Maria Luisa Bemberg bequeathed her unfinished adaptation of Silvina Ocampo's novel to Maci, her assistant director, asking him to finish writing and then to direct THE IMPOSTER. In the 1997 Toronto International Film Festival program, Ramiro Puerta calls this impressive feature film debut "sensual, enigmatic, sometimes surreal...," especially citing its deft recreation of the codes of social propriety and class from 30s Argentina.
1996; 99 minutes
Saturday, May 9: 4 pm and 8:30 pm
Sunday, May 10: 6 pm
YELLOW FLOWERS IN THE WINDOW /
FLORES AMARILLAS EN LA VENTANA
Victor Jorge Ruiz
Patagonia, the 1920s. A brooding undercurrent of labor strife and violence
threatens to engulf the cautious, tentative romance between a farmhand and the
young daughter of the local landlord.
1996, 95 minutes
Tuesday, May 5, 7:50 pm
Saturday, May 9, 6 pm
BEYOND OBLIVION /
MAS ALLÁ DEL OLVIDO
Hugo del Carril
An Argentine Vertigo made two years before the Hitchcock masterwork! Fernando (played by director Hugo del Carril) cannot get over the premature death of his beloved wife Blanca, so he decides to embark on an extended trip to Paris. There, he meets Monica (Laura Hidalgo), in every way an exact duplicate of his late wife, except that she's a brazen "woman of the streets." No matter; Fernando is soon hopelessly in love and intent on bringing her back home and making her into the woman she's supposed to be; for her part, Monica imagines that she may have stumbled upon a very good deal.... Suffused with a kind of delirious romanticism, BEYOND OBLIVION was a real departure for del Carril, known more for his rugged epics (Las Aguas Bajan Turbias); here, however, his sensitive approach to depicting a passion that flies in the face of reality revealed a totally unexpected side of the director--and resulted in his masterpiece.
1956; 93 minutes
Monday, May 11: 2 pm, 6 pm and 9:45 pm
Tuesday, May 12: 4 pm
ROSAURA AT 10 O'CLOCK /
ROSAURA A LAS DIEZ
Mario Sóffici
Camilo Canegato, a mild-mannered painter and art restorer, lives in a pension (boarding house) surrounded by friendly, inquisitive neighbors. One day Camilo gets a commission to do a portrait of Rosaura, a wealthy young woman; soon after, letters reeking of perfume written on purple stationery begin arriving for Camilo. Unable to stand the suspense, his neighbors read the letters and discover a torrid romance between Camilo and Rosaura; but then, the real Rosaura arrives at the pension... One of the great pioneers of the Argentine sound film, Mario Soffici reached new artistic heights with this remarkable, Borgesian tale of shifting borderlines between fantasy and reality. The great Susana Campos makes Rosaura an exquisite if somewhat obscure object of desire.
1958; 100 minutes
Monday, May 11: 4 pm and 7:50 pm
Tuesday, May 12: 2 pm
HEARTBREAK TANGO / BOQUITAS PINTADAS
Leopoldo Torre Nilsson
Manuel Puig's widely-acclaimed novel about a small-town and small-time Don
Juan in 1930s Argentina is powerfully and perceptively brought to the screen
by Torre Nilsson.
1974, 120 minutes
Wednesday, May 13;
4:15 pm
Thursday, May 14;
2 pm and 6:30 pm
THE ANGRY TOY / EL JUGUETE RABIOSO
Javier Torre
Javier Torre, whose Las Tumbas was one of the revelations of our 1995 Argentine series, returns with this searing adaptation of Roberto Arlt's much-discussed novel. Lost and angry, 16-year-old Silvio Astier spends his time on petty crime and fooling with explosives. Caught in a downward spiral, his every attempt to break free from his marginal lifestyle seems to end in frustration; finally, a way out appears--but the price it demands is betrayal. Like Arlt, Torre refuses to see Silvio as simply a victim of social forces beyond his control; at every step, Silvio makes his own choices, participating in his own self-destruction as a kind of protest.
1997; 107 minutes
Friday, May 15: 2 pm and 6 pm
Sunday, May 17: 7:45 pm
MOEBIUS
Gustavo Mosquera
Structured like a Moebius strip, this Borgesian parable questions the very nature of reality and existence. A topologist investigates the disappearance of a passenger train inside the closed labyrinth of tunnels under Buenos Aires. This gripping, subversive film challenges and invigorates viewers with its brain-bending originality. The issue of "disappeared" political dissidents--an on-going Argentine preoccupation--clearly lies at the heart of this fascinating existential puzzle. (Collectively produced by about 50 students in an advanced feature-film workshop at the University of the Cinema Foundation in Buenos Aires under the direction of Gustavo Mosquera.)
1996; 88 minutes
Friday, May 15: 4:15 pm
Saturday, May 16: 4 pm and 7:45 pm
FACUNDO, THE SHADOW OF A TIGER /
FACUNDO, LA SOMBRA DEL TIGRE
Nicolás Sarquis
A sweeping historical fresco that covers the violent, turbulent years following Argentina's independence from Spain, FACUNDO focuses on one of the era's most remarkable figures--Juan Facundo Quiroga, known as the "Tiger of the Plains," and later the subject of Domingo Sarmiento's classic political treatise Civilization or Barbarism. Beginning with Facundo's murder in 1835--details of which are still heatedly disputed--director Nicolás Sarquis re-traces the events leading up to the murder, revealing the myriad contradictions and conflicting interests behind the furious struggle between the Unitarios (those favoring a strong central government) and the Federales (those fighting for more regional autonomy). A strong cast is headed by Lito Cruz and Norma Aleandro.
1995; 208 minutes
Friday, May 15: 8 pm and Sunday, May 17: 4 pm
BUENOS AIRES VICE VERSA
Alejandro Agresti
Dedicated to the surviving children of the 30,000 people
who died during the genocide of the 1970s.
In this allegorical examination of Argentina past and present, a teenaged boy and a girl, whose parents were "disappeared" during the military dictatorship, search for the truth about their terrible loss in the teeming city of Buenos Aires. What they encounter are innumerable human stories that mingle, intersect and finally coalesce into a tapestry of urban chaos, isolation, and nostalgia. The orphans must come to terms with an existential reality woven of many threads, none of which will ever lead to one single or even singular truth.
1996; 100 minutes
Saturday, May 16: 5:45 pm and 9:30 pm
UNDER THE SAME SKIN /
BAJO UN MISMO ROSTRO
Daniel Tinayre
Melodramas are often prized for their convoluted narratives, full of reversals, dead-ends, and uncanny coincidences; as such, UNDER THE SAME SKIN is one of the finest Argentine examples of the genre. Twin sisters grow up and separate: one becomes a nun, devoting her life to the mystical; the other enjoys more earthly pleasures. The more worldly sister becomes involved with a smooth-talking but nefarious gigolo, who traps her in a web of schemes, brutality and finally violence, from which only her twin can finally save her. Beautifully shot by Alberto Etchebehere, arguably Argentina's greatest cinematographer, UNDER THE SAME SKIN is a morality tale in which every character seems to be following, or inventing, their own moral codes.
1961; 113 minutes
Tuesday, May 19: 2 pm
Wednesday, May 20: 3:45 pm and 7:50 pm
EL JEFE
Fernando Ayala
A group of porteños (young layabouts from the port of Buenos Aires) fall under the spell of a charismatic leader--they see him as an incomparably strong leader and are persuaded to commit minor crimes in his name. But their hero's image eventually crumbles under the pressure of murder and betrayal. Based on an original script by writer David Viñas, EL JEFE was a box-office smash, setting off a wave of controversy because in portraying a leader very like Perón, the film condemned the corruption and demagoguery of Argentinian politics in the 50s.
1958; 90 minutes
Tuesday, May 19: 4:15 pm
Wednesday, May 20: 2 pm and 6 pm
DON SEGUNDO SOMBRA
Manuel Antín
A brilliant adaptation of one of the best-loved classics of Argentine literature, DON SEGUNDO SOMBRA weaves together the thoughts and tales of an old gaucho facing his final days. The attention to the creation of authentic period atmosphere and detail alternates at times with a highly theatrical style reminiscent of the traveling theater troupes which used to perform in the Argentine provinces. The achievement of director Manuel Antín here is remarkable: he manages to create a film which is both extremely faithful to the original while infusing this classic with a startling vibrancy and contemporary relevance. The leading role is played by Adolfo Güiraldes, a direct descendent of the original novel's author, Ricardo Güiraldes.
1970; 100 minutes
Friday, May 22: 2 pm, 6 pm and 9:30 pm
LIFE ACCORDING TO MURIEL /
LA VIDA SEGUN MURIEL
Eduardo Milewicz
In director Milewicz's first feature, two abandoned wives and their children join forces and find hope in a new kind of family. Laura wants to put Buenos Aires--and men!-- behind her, so she packs up her daughter Muriel and all their belongings
and drives south. Unfortunately, their car accidently ends up at the bottom of a lake, so Laura and Muriel are reluctantly taken in by Mirta, who lives with her two kids in a fire-damaged hotel. Inevitably, men do turn up, complicating matters in this charming, feel-good odyssey of Penelopes too impatient--and
self-sufficient--to wait forever for Ulysses to come home.
1997; 89 minutes
Saturday, May 23:
4 pm and 7:45 pm
Sunday, May 24: 7:50 pm
ASTORTANGO / QUERÉME ASI, PIANTAO
Eliseo Alvarez
Astor Piazolla, his life and music: From his birth in Mar del Plata, to his first bandoneon offered by his father Nonino when he was eight; to his childhood in New York, up to Nonino's death. Piazolla played in several excellent tango bands, meeting with an appreciative Arthur Rubinstein in Buenos Aires. The film also spotlights the controversial debut in Buenos Aires of Piazolla's groundbreaking song "Ballad for a Madman."
1997; 90 minutes
Saturday, May 23:
6 pm and 9:45 pm
Sunday, May 24: 4 pm
JUAN MOREIRA
Leonardo Favio
This colorful and accurate portrayal of the Argentine Wild West in the 19th Century focuses on the archetypal saga of Juan Moreira, a gaucho gone bad through no apparent fault of his own. Director Favio probes the legend to show that Moreira has no control over or vote in his fate and never attains any real understanding of the origins of the fury that turned him into an outcast, driving him to kill again and again. A pawn of his times and class, this famous outlaw always stands to lose, even during moments of apparent victory.
1973; 102 minutes
Monday, May 25: 2 pm and 6:15 pm
REBELLION IN PATAGONIA /
LA PATAGONIA REBELDE
Hector Olivera
Think of a classic strike film--reminiscent of Martin Ritt's Molly Maguires and John Sayles's Matewan--played out on Argentina's barren Patagonian plateau where, in 1920, immigrants brought in as sheep-farm laborers strike for better working conditions. Demonized as revolutionaries and anarchists, often hamstrung by their own internecine tensions, these ordinary heroes ultimately find themselves caught between a rock and a hard place--the bosses and the military. This tragic and inescapably violent film makes a sophisticated political analysis within an emotionally powerful narrative. By the time REBELLION IN PATAGONIA was released, Perón was in power: a movie exposing the role of the military in suppressing a popular uprising was anathema. First banned, then released to become a blockbuster hit, REBELLION was definitively shelved as Argentina sank deep into dictatorship. Politics of any stripe never kept director Olivera down--he has even co-produced several films with Roger Corman!: "I think you can make a politically conscious film in a commercial way....A film can be discursive without being didactic."
Monday, May 25: 4 pm and 8:20 pm
MARTIN FIERRO
This oft-told tale (variations include The Return of Martin Guerre, 1982; Sommersby, 1992) is drawn from an 1872 poem by José Hernandez. Happily married Martin (Alfredo Alcón) is drafted into the army and sent to a remote outpost to fight Indians. After his tour of duty, he is forced into farmwork by his commandant, and by the time he escapes, his family is gone, his home destroyed. After years as an outcast, Martin Fierro decides to return to civilization to seek out his lost children and to finally confront his demons....
1968; 120 minutes
Wednesday, May 13: 2 pm
Thursday, May 14: 4:15 pm and 8:45 pm
HIDE AND SEEK / PIEDRA LIBRE
A poetic exploration of feminine sensibility in a sharply defined social context. A girl without means, educated in an upper-class college as a special favor to her grandmother, is "re-adopted" by the rich family for whom her gram had once been a maid. Her fascination and fear of the rites of a social class in which she is guest and victim are expressed in a bizarre Gothic game of sexual hide-and-seek in a decayed, isolated estate. -- Alberto Tabbia
1976; 97 minutes
Thursday, May 21: 2 pm
Sunday, May 24: 5:50 pm
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