Shortly before spring break, President Michael Roth proposed an explicit, prescriptive program for art at the University. He fearlessly recommended that the administration exclude whole genres, movements and subcultures from University-funded cultural events. Defying the vogue for aesthetic inclusiveness, he declared, “The institution should make it clear that it’s not supporting things that are stupid.”

Zonker Harris Day, it was announced, would not meet these new, more stringent qualifications.

We would like to make it clear that Roth does not believe that the Film Series is stupid. He programmed an entire week of selections for us last semester, and there seems to be little danger that we will lose his support in the future. As a gesture of reciprocal goodwill, the Film Board stands behind his demand that WestCo find a new name for Zonker Harris Day. Zonker Harris is a dated, unfunny reference that convinces prefrosh we are a bunch of humorless hippies. We hereby propose a list of possible alternative names, for consideration by ResLife and the WestCo presidents: The Mallard Fillmore Patriotic Responsibility March; Maximizing Our Potential: Value-Added Activities; William F. Buckley, Jr., Commemorative Carnival ; Mr. Butts Smoke-Off; Roachella; Get Blasted by Michael Bay; Robert Crumb’s Old Tymey Music Jubilee; Take Back the Shite; The Sabrina Harman Exhibition for Documentary Photography; Anthony Braxton Festival of the Arts (!!!). Undoubtedly, any of these entries would make a more memorable and positive impression on the prefrosh community. In any case, the Film Series rockets into our final calendar this week. We promise to be your primary source of intoxication in the quiet season before 4/20.

NO COUNTRY FOR OLD MEN
USA. Dir: Ethan and Joel Coen. 2007
TONIGHT, March 28, 7:30 p.m. $4

We mentioned earlier this semester that “Raising Arizona” is the family comedy version of “No Country for Old Men,” which must somehow mean that “No Country for Old Men” is the Cormac McCarthy version of “Raising Arizona.” If the baby-napping plot of “Arizona” is removed, both films are relatively similar. They both feature young trailer-living lovers, the expanse of the desert, and a maniac bounty hunter with a presence that transcends reality. In case you’ve been living with your head under a rock, or in a thesis carrel, I should mention that the film won the Oscar for Best Picture this year. In a highly successful year like 2007, that title is inherently controversial, and many people seem torn between “No Country” and “There Will Be Blood.” We’ve got them both on the calendar, which means that you can…

SPIRIT OF THE BEEHIVE
Spain. Dir: Victor Erice. 1973.
Saturday, March 29, 7:30 p.m. Free!

With the exception of Almodóvar’s prolific output, American audiences don’t tend to be too familiar with Spanish cinema. Maybe we assume that the country’s artistic culture was stifled by decades of totalitarian dictatorship. That’s true to some extent, but it can be pretty astonishing to realize how many incredible, almost perfectly executed films emerged as soon as Franco’s government began to loosen restrictions shortly before his death in the 1970s. Two of these films—“Spirit of the Beehive” and its urban sibling “Cria Cuervos”—feature one of the most accomplished child actresses to predate Jack Johnson: Ana Torrent, whose precocious seriousness appealed to a range of Spanish directors (unfortunately, Torrent recently appeared in the obnoxious abortion “The Other Boleyn Girl,” but we’ll let that slide). This is one of those movies that revisits a historical moment through the eyes of a little girl—in this case, an uncensored version of “Frankenstein” colors a young girl’s perceptions of 1940s-era Spain. OK, so that may sound like a CGI-deficient precursor to the more spectacular “Pan’s Labyrinth.” But while Guillermo del Toro’s melodrama manipulated audiences with cartoonish villains and a screeching score, “Spirit of the Beehive” carefully develops a haunting, surprisingly adult atmosphere (much like René Clément’s French classic, “Forbidden Games”). This is your new favorite movie.

THE SAVAGES
USA. Dir: Tamara Jenkins. 2007
Wednesday, April 2, 7:30 p.m. $4

Writer/director Tamara Jenkins has only one other feature film to her credit, the late-90s indie hit, “Slums of Beverly Hills.” A decade-long gap between films is quite substantial (1998 was ten years ago? Really? People still wear Abercrombie?), but Jenkins managed to pull through brilliantly, and was nominated for a screenwriting Oscar this year. There is also a surprising Wesleyan connection to “The Savages”: Professor of Theater Ronald Jenkins is Tamara’s brother. Tamara has stated that her relationship to Ron was an inspiration to the film. This leads me to wonder: does Ronald Jenkins = Philip Seymour Hoffman’s portrayal of Jon Savage? Does Ronald Jenkins read The Argus?

EAT DRINK MAN WOMAN
Taiwan. Dir: Ang Lee. 1994.
Thursday, April 3, 7:30 p.m. Free!

An Ang Lee appetizer. After bursting out of New York University with two gorgeous and clever films about Taiwanese-Americans, Ang Lee delivered this pleasant meditation on aging, love and the culinary arts. It’s kind of like “Fiddler on the Roof” transported to modern China: an elderly cook looks after his three daughters, each of whom test their father by embracing modernity, multiculturalism, and changing gender roles. At first, these women appear stereotypical: there’s a resigned older lady, a determined career woman, and a promiscuous coed. But Lee manages to humanize each character, charming audiences and critics. The doting depictions of elaborate meals will inspire you to seek out real Chinese cuisine, and maybe even to explore more foreign-language films from this distinguished director.