Production designer Richard Sylbert and the McCoy apartment on Stage 25 of the Warner Bros. lot. Copyright © 1991 Warner Bros., Inc.

Bellissimo then asks Alda about how the scene was shot. "Because I know it was improvised, right? So what did you know before the cameras rolled?"

Alda replies, "It's about these people going to the theater, that no matter how bad or how, maybe, violated you're going to feel, because a critic said that 'This is great theater!' these people are going to go because the critics said that this is good. So we're going to go up there to journey to see this show called 'Be Black Baby.' And we have no idea. Brian just said, you know, just react how... we're going to have things happen and react. So Quentin was shocked. Shocked that we filmed that scene, and it was a one-take, and we filmed that scene in probably an hour. Brian had found this-- because that time he didn't, we didn't have much money. There was no money. He found this building that's kind of a... in the west 60s, that his friend had, it was a super long, it was like an industrial kind of building. So we had like an afternoon there. He snuck us... his friend just opened up the building for us and didn't tell anyone. And so he snuck us in and we started the improv. And that was improv. It had to be one take because we had no luxury of going and reshooting. It wasn't a studio that was a real set. And so that was the scene that came out of there."

Here's more from Pond's review:

The film’s star, Wendy Chinchilla, is also making her feature-film debut; she’s a Costa Rican dancer with no experience in film but a powerful presence that speaks volumes through stillness.

Chinchilla plays Clara, a 40-year-old woman with a spinal condition that keeps her in pain. She spends her life, it seems, communing with her horse, Yuca, and bowing to the demands of her mother, who tells the townspeople that Clara is a healer who has seen the Virgin Mary and has cured cancer. She trots Clara out for healing rituals in their small home, but otherwise keeps her daughter under her thumb, going so far as to refuse a local doctor’s advice that Clara get an operation to fix her spine.

“God gave her to me like this,” her mother says. “She stays like this.”

Clara, for her part, submits to the restrictions that have been placed on her; she’s too meek to challenge her mother, or too beaten down to resist anymore. She has no agency in her own life, a fact that is presented simply, with relentless understatement.

When Clara rebels, she almost seems to do it unconsciously, with small signals that she may be experiencing a very belated sexual awakening. She absently touches herself as she watches TV, until her mother freaks out, grabs Clara and rubs her fingers in hot chiles; Clara complies, passive and still.

At first, the movie connects with that stillness; it sits back and quietly observes, with little or no music for long stretches. When the music does come in, it’s usually spare: plucked strings and little else. The look and feel of the film is grounded in earth and mud and bugs and rain, but there’s also a gentle mysticism at work that’s familiar to lovers of South and Central American cinema.

Clara’s mother demands that her daughter never change, that she live in plainness and in pain and care only about healing others, or at least convincing others that she can heal them. But slowly, we see Clara’s rebellion begin to manifest: At first she simply declares that she wants a blue dress, a prospect that shocks her mother – but it’s clear that what she really wants is to be touched, to embrace the physical in a way she’s never before done.

As Clara’s passion begins to awaken, so does “Clara Sola.” When she sees her young niece having sex with her boyfriend, she masturbates in the woods and is immediately surrounded by fireflies. At a certain point, it does seem that she has powers – but do those powers come from the religious shrine in the living room, or from emergingn sexuality?

You won’t necessarily find the answer in Álvarez Mesén’s film, but you will find a movie that itself becomes more aggressive along with its heroine. And when things comes to a head at her niece’s 15th birthday party, it’s hard not to think of the climactic prom scene in Brian DePalma’s “Carrie” – not in the sense of buckets of blood or anything like that, but in the way both films suggest that repressing female desires via religion or anything else can end very, very badly.

That sequence, and the enormously evocative but ambiguous one that follows to end the movie, are nothing like what you might expect during the opening stretches of “Clara Sola.” Álvarez Mesén may be a first-time feature director, but she has enough control to take an austere, unsettling drama with a touch of magical realism and turn it into a wild ride, all without losing its complicated heart.

David Crow, Den Of Geek

As with Fear Street Part 1 before it, 1978 wears its influences on its sleeves. The previous film was set in 1994 and opened with the biggest star in the cast, Stranger Things’ Maya Hawke, getting viciously slaughtered, a la Drew Barrymore in Scream. By contrast, Fear Street Part Two pulls from slower burning horror movies.

When we properly begin the film in its ’78 setting, we meet Sadie Sink’s Ziggy Berman, who is being tortured at the hanging tree by her summer camp’s resident mean girls. This plays like it’s straight out of Carrie, both the Stephen King novel published in 1974 and Brian De Palma’s zeitgeist-shattering adaptation from 1976.

Fear Street eventually admits its Carrie White fixation, even having Ziggy reverse engineer the famed “pig blood” sequence from that movie to get back at her Queen Bee tormenter. The new movie also references a few of the tracking shots from the actual slasher movie landmark of 1978, Halloween. But when everything’s said and done, Fear Street Part Two is about the Friday the 13th of it all.

In keeping with the spirit of ‘Friday the 13th’ and its like-minded genre films, Janiak doesn’t forget to throw in some obligatory sex/nude scenes in between. And while ‘Fear Street Part Two: 1978’ may have primarily devoted to the aforementioned summer-camp slasher subgenre, there’s a scene directly referenced from the iconic scene of Brian De Palma’s ‘Carrie’.

‘Carrie’

In the 1978 installment, the bloody prom prank from Stephen King’s novel (and subsequent Brian De Palma film) factors into the plot with the ridiculed-but-resilient Ziggy Berman (Sadie Sink), who seeks revenge on those who have wronged her. But in “Fear Street,” pig’s blood is replaced with a much more squirm-inducing alternative. Nonetheless, Ziggy harbors Carrie qualities, as an outsider who frequently faces the derision of other campers and constructs ways to fight back. She doesn’t have to turn up the revenge quite to Carrie levels, though. The killer on the rampage can do that.

Previously:
Angie's voice was Dressed up...

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Episode 2: Reaching for the Stars – and Paying the Price
Tom Hanks signs on to play amoral stockbroker Sherman McCoy, and he’s so beloved that nobody recognizes how wrong he is for the part. There's immediate pushback against Bruce Willis as the other male lead, since his role was written as British. But the hardest decision comes when the director insists that a Jewish judge be played by a Black actor, to soften the film’s racial tensions.

From improvisatory comedy to classic horror films and thrillers, Brian De Palma has established himself as one of the screen’s foremost stylists, and one of his films in particular is the subject of TCM’s podcast The Plot Thickens: Season 2 - The Devil’s Candy. Drawing on influences as disparate as Andy Warhol, Jean-Luc Godard and, of course, Alfred Hitchcock, he’s created a body of work — 32 narrative features to date along with shorts, documentaries and music videos — among the most distinctive in modern cinema.

Along the way, he brought Robert De Niro to the screen for the first credited time (in 1968’s Greetings), introduced Martin Scorsese to De Niro and screenwriter Paul Schrader and helped George Lucas write the opening scrawl for the first Star Wars film. Along with De Niro, De Palma also fostered the careers of John Lithgow (in Obsession, 1976); Sissy Spacek, John Travolta, Amy Irving and Nancy Allen (in Carrie, 1976); and Melanie Griffith (in Body Double, 1984). He has been honored with awards from the Berlin and Venice Film Festivals and Amnesty International (for his 2007 political thriller Redacted) while also receiving a record six nominations for the Razzie Award for Worst Director. [Editor's note: blah-di-blah-di-blah.]

The Newark, NJ, native was studying physics at Columbia University when he fell in love with film after seeing Citizen Kane (1941) and Vertigo (1958). While earning an MA in theater from Sarah Lawrence College, De Palma shot his first film in 1963, The Wedding Party (1969), co-directed with Sarah Lawrence professor Wilford Leach and fellow student Cynthia Munroe and starring De Palma’s friend De Niro along with Jill Clayburgh and De Palma regular William Finley. Because of a dispute with financial backer Stanley Borden, the film was held from release until after De Palma’s comedy, Greetings brought attention to De Palma and De Niro.

De Palma moved from comedy to suspense for the first time with Sisters (1972), starring Finley, Jennifer Salt and Margot Kidder. This was also the first of two De Palma films (along with Obsession) scored by Bernard Herrmann, one Hitchcock’s key collaborators. De Palma’s first major hit was the Stephen King adaptation Carrie, which brought Spacek and Piper Laurie Oscar nominations. He scored another major hit with his remake of Scarface (1983), starring Al Pacino, followed by the equally successful The Untouchables (1987), which brought Sean Connery an Oscar. He also helped launch Tom Cruise’s Mission: Impossible film franchise in 1996, though he declined an offer to direct the 2000 sequel.

De Palma’s films are distinguished by a variety of techniques, including the use of split-screen, long pans, tracking shots and unusual angles. He is also noted for quoting generously from other directors, most notably Hitchcock, whose Vertigo inspired both Obsession and Body Double. Others he has cited as inspiration include Michelangelo Antonioni, whose Blowup (1966) is reflected in De Palma’s Blow Out (1981), and Sergei Eisenstein, whose Battleship Potemkin (1925) is referenced in the staircase shoot out of The Untouchables.

TCM presents five of De Palma’s films, including three network premieres: