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‘C’mon C’mon’ to the end of the IFFB; see ‘Dune’; and burn through some folk horror at The Brattle

Film Ahead is a weekly column highlighting particular occasions and repertory programming for the discerning Camberville filmgoer. It additionally consists of capsule opinions of movies that aren’t function reviewed. 

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The Independent Film Festival Boston winds down its wonderful Fall Focus program this weekend at the Brattle Theatre with Sunday’s three hotly anticipated movies: “C’mon C’mon” from Mike Mills (“20th Century Women,” “Beginners”), starring Joaquin Phoenix as a radio journalist on a cross-country journey together with his younger nephew, and “Petite Maman” from Céline Sciamma of “Portrait of a Lady on Fire” (2019), about two younger ladies who meet in the woods and uncover unusual connections. Furthering that theme of haunting ties, the fest concludes with Pedro (“Women on the Verge of a Nervous Breakdown,” “Pain and Glory”) Almodóvar’s “Parallel Mothers” (a sold-out space premiere), during which Milena Smit and Almodóvar common Penélope Cruz star as strangers a era aside who discover themselves linked by time collectively in a maternity ward.

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The Brattle fires up its Halloween program this week with “Folk Horror Beyond the Wicker Man,” impressed by Robin Hardy’s 1973 cult traditional. The slate consists of the Monday space premiere of Kier-La Janisse’s documentary “Woodlands Dark and Days Bewitched: A History of Folk Horror,” a deep (three-hour) delve into the evolution and legacy of folk horror cinema. Among these chiming in is director Robert Eggers, who reduce his title on folk horror (“The Witch,” “The Lighthouse”). On Tuesday there’s Piers Haggard’s traditional interval piece chiller “The Blood on Satan’s Claw” (1971), during which the kids of an 18th century English village fall underneath the affect of demonic forces and behave accordingly. On the quirky, unintentionally camp facet there’s “The Lair of the White Worm” (1988) from Ken Russell (“Tommy,” “Altered States”) starring Amanda Donohoe, Catherine Oxenberg and Hugh Grant as these on the quest for the big snake of lore. The movie screens Wednesday – a movie in off its personal consuming recreation. Thursday brings to the display screen Chad Crawford Kinkle’s “Jug Face” (2013), during which worship at a pit in the woods generally brings therapeutic and happiness; different occasions, very dangerous issues occur. On Friday the unique “Candyman” (1992) with Kasi Lemmons, Tony Todd and Virginia Madsen hits the display screen, adopted Saturday by Ari Aster’s artwork home horror hit “Hereditary” (2017). Aster’s function debut about possession and inevitable destiny rivets, although it’s his follow-up, “Midsommar” (2019) that took lore gore to a complete new grim degree.

Note: The Brattle’s Covid coverage requires proof of vaccination or a current unfavorable take a look at end result for admittance. 

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In theaters and streaming

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‘Dune’ (2021)

Sure, it’s an enchancment over the 1984 misfire by David Lynch, however it doesn’t fairly shut the ebook on the notion that “Dune” is unfilmable. Directed by Denis Villeneuve, a logical alternative after sci-fi gos “Arrival” (2016) and “Blade Runner 2049” (2017), the movie seems nice in scope and atmospheric moodiness. It’s blessed with a proficient forged too, however like that 1984 movie the roles are tag strains and the characters by no means turn into a lot deeper than their screenplay summation; the man-boy warrior (Timothée Chalamet, who loses out to Kyle MacLachlan in the hair wars), the loyal guardians prepared to die at a second’s discover (Jason Momoa and Josh Brolin) and so on. The intergalactic machinations to topple the noble House of Atreides, the clan housesitting Arrakis, the barren planet of the title with coveted assets, by no means actually hits a convincing chord. Nor do the big sandworms patrolling the seas of desert or the Fremen, indigenous individuals routinely oppressed by imperial forces dropping into their yard to strip it of the helpful spice melange that permits spaceships to navigate at warp pace. The movie’s a two-parter; right here’s hoping the subsequent chapter kicks up somewhat extra sand. At Landmark Kendall Square Cinema, 355 Binney St., Kendall Square; Apple Cinemas Cambridge, 168 Alewife Brook Parkway, Cambridge Highlands close to Alewife and Fresh Pond; and AMC Assembly Row 12, 395 Artisan Way, Assembly Square, Somerville, and on HBO Max.

Cambridge author Tom Meek’s opinions, essays, brief tales and articles have appeared in WBUR’s The ARTery, The Boston Phoenix, The Boston Globe, The Rumpus, The Charleston City Paper and SLAB literary journal. Tom can also be a member of the Boston Society of Film Critics and rides his bike in every single place.

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