{"id":10651,"date":"2022-01-19T14:32:00","date_gmt":"2022-01-19T20:32:00","guid":{"rendered":"https:\/\/ragtagcinema.org\/blog\/?p=10651"},"modified":"2022-06-01T13:44:20","modified_gmt":"2022-06-01T18:44:20","slug":"a-word-from-our-programmer-1-19-22","status":"publish","type":"post","link":"https:\/\/ragtagcinema.org\/a-word-from-our-programmer-1-19-22\/","title":{"rendered":"A WORD FROM OUR PROGRAMMER 1\/19\/22"},"content":{"rendered":"\n<p>Greetings from the Verge of a Nervous Breakdown,<\/p>\n\n\n\n<p>Tonight at the Cinema,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/series\/80\" target=\"_blank\">Passport: Todo Sobre Almod\u00f3var<\/a>\u00a0continues with a double feature from the ecstatic Spanish auteur Pedro Almod\u00f3var. Screening on 35mm,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2031\" target=\"_blank\">Women on the Verge of a Nervous Breakdown<\/a><em>\u00a0<\/em>is an absurd ensemble comedy about the clash of\u00a0women at various stages of life and social standing. The film was also a breakthrough for our dear Pedro, marking his first international hit, as well as the film that solidified the signature visual style that defines his work to this day. Bold colors adorn the sets, costumes, props, and lighting that culminate in an unmistakable\u00a0<em>total design<\/em>.<\/p>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" src=\"https:\/\/ragtagcinema.org\/blog\/wp-content\/uploads\/2022\/01\/pepilucibom-web.jpg\" alt=\"\" class=\"wp-image-10652\"\/><\/figure>\n\n\n\n<p>Afterwards, we screen a restoration of Almod\u00f3var\u2019s first feature\u2014<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2032\" target=\"_blank\">Pepi, Luci, Bom<\/a>. The film finds Pedro in a gleefully sloppy and anarchic mode before finding his telltale visual tools. Not unlike\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2031\" target=\"_blank\">Women<\/a>,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2032\" target=\"_blank\">Pepi, Luci, Bom<\/a>\u00a0follows the collision of three very different women, but here, the emphasis is on shock, experimentation, and liberation\u2014a flagpole for the fall of facism in Spain and the countercultural explosion that followed. The series continues through February with\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2033\" target=\"_blank\">Volver<\/a>\u00a0and\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2034\" target=\"_blank\">All About my Mother<\/a>\u00a0both on 35mm, as well as the opening of Almod\u00f3var\u2019s newest,\u00a0<a rel=\"noreferrer noopener\" href=\"https:\/\/ragtagcinema.org\/films\/2035\" target=\"_blank\">Parallel Mothers<\/a>,\u00a0on Friday, January 28th.<\/p>\n\n\n\n<p>Nos vemos pronto,<\/p>\n\n\n\n<p>Ted<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Greetings from the Verge of a Nervous Breakdown, Tonight at the Cinema,\u00a0Passport: Todo Sobre Almod\u00f3var\u00a0continues with a double feature from the ecstatic Spanish auteur Pedro Almod\u00f3var. Screening on 35mm,\u00a0Women on the Verge of a Nervous Breakdown\u00a0is an absurd ensemble comedy about the clash of\u00a0women at various stages of life and social standing. The film was [&hellip;]<\/p>\n","protected":false},"author":8,"featured_media":10652,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[14,53],"tags":[148,149,150,151,147],"class_list":["post-10651","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-a-word-from","category-news1","tag-all-about-my-mother","tag-almodovar","tag-pepi-luci-bom","tag-volver","tag-women-on-the-verge-of-a-nervous-breakdown"],"acf":[],"_links":{"self":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/10651","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/comments?post=10651"}],"version-history":[{"count":1,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/10651\/revisions"}],"predecessor-version":[{"id":10784,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/posts\/10651\/revisions\/10784"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/"}],"wp:attachment":[{"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/media?parent=10651"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/categories?post=10651"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/ragtagcinema.org\/wp-json\/wp\/v2\/tags?post=10651"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}