Nitrate prints from international archives are loaned to the Museum and screened at its historic Dryden Theatre, one of only a few places left in the world where nitrate film can be legally projected due to its inherent safety risks.
If Carmen is a femme fatale, then her opera could play as a kind of hybrid of an Anthony Mann western and film noir. It has the gun runners and even a climactic fight on a rocky crag, but also the weak man haunted by his past, falling in love with the woman he later remembers he doesn't particularly like. Micaëla would be the innocent girl he really loves, but in trying to protect her from himself, just draws her into his disastrous life. This production, however, is different. Carmen becomes as sympathetic as one could imagine, with no material desires, she loves only freedom but to the point of self-banishment, to paraphrase John Donne. At least, she is sympathetic in contrast with a Don José who is an extreme introvert, more haunted and broken than weak, who eventually succumbs to insanity. Carmen is a rather extreme extrovert which brings its own problems, and the concept of opposites attracting is played convincingly: the pair's initial mutual fascination and affection becomes binding and they continuously rub each-other the wrong way until they mutually annihilate.