To quote a well-loved movie about a clownfish searching for his son, Portraits of Planet Ocean at the Natural History Museum was both “big and blue.” But despite the small children screaming “Nemo!” every few minutes, Brian Skerry’s photography was far more profound than an animated film.
A boxy glass case containing a colossal, caricatured paper mache sculpture of the Beatles is a startling and intriguing greeting to the display of original cover art that graced Time Covers the 1960s at the National Portrait Gallery.
There’s a scene in The Disappearance of Eleanor Rigby: Him/Her in which Connor (James McAvoy) sits in a classroom and sees the woman he loves. He asks if he can bother the man in front of him for a piece of paper and to borrow a pen. Unsure exactly what to say, he writes, “Hi.,” hands the folded note forward and asks, “Can you pass this to the girl with the red hair?”
In the opening montage of Gone Girl there is a series of ordinary homes, an ordinary Main Street with an ordinary bar and even an ordinary lamp post clock at the heart of what these Midwestern folks must consider a pretty ordinary downtown. It is simple and run-down and altogether safe, if unexciting. Nick Dunne fits in just fine. He wears loose fitting clothes and goes down to the local watering hole — named The Bar and owned by Nick and his sister Margot — to play board games and complain about his wife, Amy.
Jason Reitman’s Men, Women & Children is an art film disguising itself as a star-driven dark comedy. It is meticulously paced but episodic, built on its characters but highly impersonal. And while it fails to reach the heights of the filmmaker’s prior works, it is unapologetically a Jason Reitman picture.
Last semester, AmLit turned your heads toward the treasure trove of Issuu.com. We loved one of the magazines so much, we reached out to the lovely duo behind the Vancouver-based magazine Freckled, Ting Shuen and Shanene Lau. Their dreamy magazine features up-and-coming photographers, artists, and writers – a lot like a magazine we know and love…
Opening with a creepily masked serial killer on a stage playing cards with a crying little girl, the orchestra and all the seats around them filled with the bloody dead bodies of men, women, and children, Nick Spencer, Riley Rossmo, and Frazer Irving’s Bedlam Volume 1 is immediately beyond disgusting.
Disjunctive shots of a sleeping Lucy Harmon, played by Liv Tyler, flicker across the screen as a stranger aboard her train secretly films her sleeping on a camcorder. So it seems that everyone views Lucy as an object of lust in Bernardo Bertolucci’s film, Stealing Beauty (1996). The film follows the story of Lucy, an American 19-year-old girl who goes to the golden Tuscan countryside to stay at the villa of several family friends and an eclectic group of other locals.
In Part I of the Vimeo Spotlight, we watched animated videos together, but this week, we’re featuring three live action (yes, real people!) short films that manage to whittle down the magic of cinema in less than fifteen minutes and on your computer screen. Montages, murder, and marriage – we’ve got it all right here.
Politics and Prose is a well-established caffeine and literary landmark in the Chevy Chase neighborhood of Northwest Washington. Every once in a while I step in to browse the books and sip the coffee. But I was surprised one brisk Friday afternoon to stumble upon a gathering of folks not typical to what you expect in the District. Well, at least in the atmospheric heights of upper Northwest; where the urban bustle and eccentricity of the rest of the city seems so painfully far away.
Take a quick peek in at an AmLit meeting and you might be shocked to learn how many artists and art appreciators are working quietly in the shadow of AU’s future politicians and humanitarians. These are the kids that make references to Sylvia Plath in your gender and politics class and crack satiric jokes.
I’m waiting in line to be processed. The boss woman’s been checking us off one by one, writing out our real names in her excel spreadsheets, giving us nifty nickname tags to make sure we don’t accidentally figure out who belongs to whom. Our parents dropped us off earlier, but we’re not supposed to know each other’s names. We’re anonymous here. Like art camp where everyone gets a code name, only we’re not the campers – we’re the art.
After entering the grand, marbled National Gallery of Art to escape the day’s drizzle and wind, cold and accompanied by a dripping umbrella, my eyes satisfyingly took in the seminal works of Giotto and Botticelli. Following a crowd of people, I came across one of the featured exhibits in the Founders Room of the West Building and was surprised at the humble, archival display. The display consists of a long, rectangular glass case containing war documents and memorabilia. Yet, as I took a closer look and observed several elderly gentlemen salute the case, I realized its contents spoke of reverence and artistic history.
Everyone knows where they can watch videos of cats playing the piano or children on anesthesia highs, but where can we find high quality, high definition videos that are tastefully curated and bursting with creativity? Enter: Vimeo. As a beacon for budding filmmakers and artists, the website is a hub of visionary videos that have been picked up by SXSW, handpicked by the Vimeo staff, or just enjoyed by the online community. This article focuses on three films that spotlight the power of animation.
A soulful voice effortless in nature, but beautiful in execution is rare in this day in age where artists have dollar signs in their names. Sam Smith is bringing honest talent back to the music scene with his freshman album and tour. The twenty-one year old who has achieved fame because of his stellar voice made his first stop in the District on his American tour this past Thursday (3/20).
Would you pay less than 12 Euro to travel through Dali’s head? In Figueres, Catalonia, you can. But be warned—no drugs are needed for this trip.
I wonder what went through the ticket master’s head as he looked me in the eyes and handed me tickets to Normal with a smile and a nod. Was he looking forward to seeing me stumble out at the end of the 70 minute 1-act play? Disheveled and questioning all I had ever known?
Since viewing the Museum of Fine Arts, Boston’s John Singer Sargent exhibit a few months ago, I’ve been drawn to watercolors. So, when I saw that The Phillips Collection had a new watercolors exhibit, I was eager to visit. After wandering the museum for a little while, unable to find the exhibit, I asked where the watercolors were located. I was told to head to the second floor, but I was not told that the exhibit was occupying a corner room of the museum so small that it makes a dorm room seem spacious.
Annie Clark, better known by her nom de guerre St. Vincent, dragged the guerre to the stage this past Sunday, March 2nd for the second performance of a two-night stint at the 9:30 Club. Both shows sold out weeks in advance, and needless to say the venue was packed with fans eager to hear work off of her self-titled fourth album dropped just a week earlier. After the completely underwhelming warm-up artist Holly Herndon wrapped up a 30 minute set of organ-rattling bass lines and ambient moaning, St. Vincent and company finally strutted on stage. Opening with the first track off of her new album, “Rattlesnake,” the audience was immediately revved for an incredible set. Following with “Digital Witness,” “Cruel,” and later “A Mouth Full of Blood,” it was obvious that she’d be mixing up her set list and pulled from her entire discography (the complete set list can be found here).
If you haven’t gone down to E Street Cinema in downtown Washington, D.C. you might want to displace your butt from that couch and replant it in one of their fine, reclining bucket-seats ASAP. Whether you’re taking your date out to an arm-clinching, smooch-fest like In Secret, or throwing plastic spoons at the screen during a drunken, midnight showing of The Room, this theater does it right. The crowd tends to be less of the mainstream herd of cattle you can typically find at a giant, corporate-type cinema. Most importantly there are far fewer children. But of course do be prepared to sit next to someone wearing flannel or trimming their moustache.