The director of "Crude" does not understand that the oppression of the world's poor and the fouling of their environment is not simply the product of one greedy U.S. corporation. It arises from an entire system, CAPITALISM, which is based on greed and the extraction of profit. So long as it exists, no court case will be enough to eliminate its devastating effects, not in Ecuador nor anywhere else.
The Met delivers another damaged package as, under Peter Gelb's misleadership, it descends farther into the swamp of trendy, gimmick-loaded, tasteless "relevance." Instead of Bellini's intended Tyrolean village, stage director Mary Zimmerman "improves" upon the original by setting the action in a NYC rehearsal space(!), with the performers in modern street clothes until almost the end. Suffice it to say that the transcendent beauty of Bellini's music and the sublime performances of principals Natalie Dessay and Juan Domingo Florez, ably supported by Michele Pertusi's sonorously mellow and urbane Count, provide a sufficient basis for enjoying this wonderful operatic confection while trying one's best to ignore the stupid staging.
In "Eréndira Ikikunari," Mexican director Juan Mora Catlett has accomplished that which very few have even attempted: portraying an indigenous legend about the Spanish Conquest as perceived by the indigenous participants -- complete with all the magic and mysticism that infused their world view -- in a manner that is completely comprehensible to the non-specialist modern viewer. This film deserves a far wider distribution than it has received to date.