The Hoya: The Guide: September 28, 2018

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Highlight Reel the district’s Indie Movie Theaters

ILLUSTRATION BY: ANNA KOOKEN/THE HOYA

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Indie Film Theaters in Limbo as District Evolves Kiera Geraghty

niche film fans with their fix.

Hoya Staff Writer

Passing by the CVS Pharmacy on M Street, visitors to the Georgetown neighborhood might never guess that intrepid students could visit the same building and catch screenings of avant-garde dramas or racy adult films in the 1980s.

Yet the area used to be home to a variety of independent film theaters with only a handful of screens and an eclectic group of movie showings. Sadly, many of these theaters have been forced to shut down because of competition from corporate theater chains.

Still, indie nonprofits like The Avalon Theatre in Chevy Chase and the AFI Silver Theatre and Cultural Center in Silver Springs, Md., are bucking the trend, relying on community funding to supply

Indie Underdogs

While major chain theaters like AMC Theatres dominate the movie-watching experience today, a variety of venue types have competed for supremacy. In the infancy of cinema in the 1910s and ’20s, theater exhibition was quite eclectic, with tiny storefront theaters and massive urban halls drawing patrons.

Because films were silent, venues often accompanied the motion pictures with live music.

Caetlin Benson-Allott, an English professor and core faculty in the film and media studies program, explained how independent theaters have struggled to contend with larger corporate theaters throughout the history of film. When movies first took off in the United States,

the style of film venues varied widely, and live music often accompanied the motion pictures, Benson-Allott said.

“This is during the silent period, and you saw everything from storefront nickelodeon theaters that might just be folding chairs with a projector and a piano to these grand palaces in the urban centers that could seat thousands of patrons,” Benson-Allott said in an interview with The Hoya.

However, technological advances in the early ’30s soon made it hard for tiny storefront theaters to compete with corporations. The costs of synchronizing sound with pictures began to strain independent theaters, creating the opportunity for studios to invade the space for profit.

“Once movie theater exhibitors started moving over to synchronized sound as the latest gimmick, which hit at the exact same time as the Great Depression, corporate theater chains owned by the major Hollywood studios became the norm of theatrical exhibition in the U.S.,” Benson-Allott said.

With the economic constraints of the Great Depression, theaters owned by major studios were able to afford the transition to synchronized-sound films, unlike independent theaters.

“It cost an awful lot of money for an exhibitor to go from just a silent projector to buying a new projector that could read sound on film and also a speaker system to project that soundtrack,” Benson-Allott said.

In this new market, studios were able to create monopolies that threatened the livelihoods of independent theaters, as they were involved in both distribution and exhibition. Studios developed methods such as block booking, which packaged big-name film releases with other movies from the same studio.

“[Studios would say] if you want to exhibit ‘Casablanca,’ you have to also agree to exhibit these three other duds that we made, but we want our money back so you’re going to exhibit them,” BensonAllott said.

To break up these monopolies, the U.S. Department of Justice brought a case against the largest film studios in 1948.

The lawsuit, United States v. Paramount Pictures, Inc., went to the Supreme Court, which ruled that theaters needed to end these vertically integrated block booking systems. As a result, independent movie theaters in the United States had their heyday between the ’50s and ’80s, with a flourishing of classic-oriented repertory houses and independent drive-in theaters.

Yet the indie boom was short-lived.

Conservatives seeking to reduce corporate regulations allowed major studios to dominate the film venue landscape once again, as regulations restricting vertical integration were loosened and corporate mergers were largely unchallenged by the Department of Justice in the ’80s.

“After President [Ronald] Reagan was inaugurated in 1980, his administration rolled back a lot of the restrictions on studios owning their own chains or holding partial ownership of theater companies,” Benson-Allott said. “We’re living in something today closer to the pre-Paramount decision that makes it a really tough marketplace for independent theater owners.”

This pattern has been repeated in Washington, D.C., as independent theaters, especially in the Georgetown neighborhood, have struggled to stay in business, according to Bernard Cook, the founding director of the film and media studies program.

“There used to be more commercially operated cinemas in Georgetown itself.

There was a place called the Biograph, which is now a CVS,” Cook said.

The Biograph Theater replaced a car dealership in 1967 and showed a mix of adult films and art house movies. It closed in 1996 and the property is now a CVS. Another independent theater, The Foundry, was a seven-screen theater known for its cheap $3 ticket prices and eclectic foreign film selection. The Foundry, formerly located at 1055 Thomas Jefferson Street NW, closed in 2002 and has been replaced by an office complex.

The Biograph Theater and The Foundry are just two examples of independent theaters that have closed in Georgetown.

Others include Key Theater, which closed in 1997, and Georgetown Theatre, which stopped showing movies in the ’80s, although the facade remains.

Against the Grain TOP: THE AVALON; BOTTOM LEFT: CAROLINE PAPPAS/THE HOYA; BOTTOM RIGHT: SUNS CINEMA

As D.C. changes, independent film theaters like The Avalon Theatre, top, Georgetown Theatre, bottom left, and Suns Cinema, bottom right, have had to shut down due to financial constraints and competition with larger commercial theater chains like AMC.

Independent theaters by nature operate outside the control of major corporations: An independent theater is a local

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to Benson-Allott. As a result of their independence, these theaters can curate an experience for theatergoers by showing films outside the mainstream, providing a distinct movie selection that larger chain theaters cannot compete with.

Sky Sitney, associate professor of the practice and director of the film and media studies program, explained that large theater chains lead to homogenous movie offerings because they need to cater to mass audiences.

“There might be 25 theaters in a city, but 15 to 20 of them might be playing the exact same content,” Sitney said.

Compared to larger theater chains, independent theaters are more likely to feature underrepresented voices, according to Sitney. Corporate theaters tend to focus on playing movies that appeal to the mass audiences, rather than experimental or niche films.

“Big theaters like an AMC will not make room for these tiny little precious gems, these weird films, because all they can think about is their bottom line,” Sitney said. “They’re not going to show a brilliant, amazing, incredible film that could change your life or inspire you immensely because they know that it might only appeal to the tiniest population.”

Beyond serving simply as an outlet to see movies, movie theaters hold an invaluable place in fostering a community’s culture. Watching movies together with other people adds value to the experience, according to Cook.

“There’s value added in the experience of watching with other people, ideally talking after the film,” Cook said. “There’s a program, conversation and building a common culture around film.”

Chad Davis (SFS ’19), co-founder of the Georgetown Independent Film Society, pointed out that independent theaters contribute to the creation of a distinct local culture. “[Independent theaters] make it so that the control isn’t by these higher ups in L.A. that have never been to D.C. and don’t understand the culture of D.C.,” Davis said.

Without independent theaters in

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D.C., the special film character of the District is at risk of being replaced by a corporate monoculture, and perspectives that fall outside the purview of Hollywood producers will be neglected.

Luckily, the D.C.-Maryland-Virginia area still boasts a few venues not controlled

by AMC.

Alternative Screens

Though the landscape of independent theater in D.C. has changed significantly with the mass closures of independent cinemas in the ’90s, Georgetown students can still find these places in the city.

AFI Silver Theatre and Cultural Center is a three-screen nonprofit in Silver Springs that houses a repertory theater that focuses on older films and curates fascinating programs, including its Latin American Film Festival. The theater also shows some screenings exclusive to their venue in addition to playing art house films.

Todd Hitchcock, director of programming at the Silver Theatre, describes how there is still a desire to watch older, classic films.

“We sometimes joke that we won’t show the studio blockbuster when it’s brand new, but we’ll wait 30 years and then we’ll show it as a classic,” Todd Hitchcock said in an interview with The Hoya.

The Silver Theatre is also distinct, as it has the equipment to present film with old-fashioned movie reels, which larger theaters with only digital projection technology cannot do.

The Avalon Theatre in Chevy Chase is another nonprofit theater, originally founded in 1923. The theater closed in 2001, but was able to reopen in 2003 after the work of a nonprofit community group called the Avalon Theatre Project.

These nonprofits rely on donations and community funding, demonstrating how financial models of independent theaters are adapting to new conditions.

For even more independent variety,

TOP LEFT: GU INDEPENDENT FILM SOCIETY, TOP RIGHT: AFI SILVER, TOP MIDDLE AND BOTTOM RIGHT: SUNS CINEMA

Despite the shifting landscape, film fans can still see art house and foreign films at alternative venues around the District like AFI Silver in Silver Springs, Md. moviegoers can visit Suns Cinema on Mount Pleasant Street in D.C. and Cinema Arts Theatre in Fairfax, Va. Independent theaters boast a way to see film from outside the mainstream or cultivated classics, but they are not the only way to see film outside of the mainstream.

Landmark Theatres represent a growing mid-tier niche of theater that is between independent theater and the large-scale chain. These types of theaters play more independent and niche films than the large chains, even though they are themselves a chain, owning 52 theaters across the country.

“We strive to deliver consistently diverse and entertaining film products from both art, foreign and independent film suppliers as well as larger studios

in a sophisticated, adult-oriented atmosphere,” Emilia Peixoto, senior regional publicist for Landmark Theatres, wrote in an email to The Hoya.

The growth of these mid-tier theaters is just one example of how theaters are adapting to the changing D.C. film landscape. Even as smaller theaters are threatened by their corporate counterparts, fans of independent film can visit alternative venues to keep their favorite venues in business.

“As long as film and movie theaters continue to be the leading force in film culture, supporting independent movie theaters and independent filmmakers gives them the fighting chance against the marketing behemoths of the studios,” Benson-Allott said.

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‘Game of Thrones Live Concert Experience’ Thrills cynthia sun Hoya Staff Writer

The “Game of Thrones Live Concert Experience” is the perfect immersive experience into the world of Westeros for dedicated fans of the Emmy Awardwinning HBO show “Game of Thrones.”

Through the spectacular use of visuals and riveting orchestral performances, German-Iranian composer Ramin Djawadi took fans on an epic musical journey that highlights the evolution of the show over its seven seasons on Sept.

25 at Capital One Arena.

Djawadi has composed music for a variety of notable TV shows and films including “Westworld,” “Iron Man” and “Pacific Rim.” With his impressive discography, he is undoubtedly worthy of both the critical acclaim he has received over the years and his recent Emmy win for his work on “Game of Thrones.”

Often an underappreciated aspect of the series, the score for “Game of Thrones” took front and center with Djawadi conducting and even performing at certain parts. Helping him and his talented team of soloists bring the show to life were a local Washington,

D.C. orchestra and choir.

The stage design was an impressive visual feat by itself. The main stage was occupied by a massive ensemble of instrumentalists and vocalists featuring the show’s iconic Iron Throne in the center. Behind the orchestra was a giant screen that displayed scenes from the show.

Another noteworthy aspect of the set was the use of pyrotechnics to emphasize scenes showcasing the dragons of “Game of Thrones.” From the main stage, a winding pathway connected two smaller stages that allowed for soloists to shine. Of the two stages, one was designed to imitate the f loor of the Sept of Baelor from the show, while the other was rigged with a rising platform.

The show began with a riveting performance of the iconic “Game of Thrones Main Title Theme,” paired with the animated title sequence projected onto the large screens by the stage. This song set the tone for the rest of show, as the performance by the massive ensemble of instruments and vocals transported the audience into the fantastical realm of Westeros.

The live experience was able to incorporate most of the highlights of the past seven seasons into a well-thought-out 2.5-hour show without feeling messy or rushed. Through scenes depicting the Red Wedding, Battle of the Bastards and the Stark reunion, the audience was able to re-experience the vast array of emotions evoked by those iconic scenes.

These scenes were ultimately underscored by the dynamic musical pieces.

The definitive standout of the second act was Djawadi’s haunting performance of the “Light of the Seven.”

The piece involved a slow buildup with him playing the piano and background vocals that crescendoed into a bombastic symphony of the organ and string instruments. The performance was dramatized by the display of an explosion that happens late in the series, as well as green lights and fog to recreate the scene’s visuals.

One of the greatest features of the live experience was its immersive quality. At the offset, Djawadi told the audience members to cheer whenever they saw their favorite characters or scenes on the screen. Visuals of villains like Joffrey Baratheon and Ramsay Bolton were

met with jeers and boos, while scenes featuring fan favorites like Daenerys Targaryen and Jon Snow received impassioned cries of “Khaleesi!” and “King in the North!” respectively.

Djawadi also took breaks between the songs to provide some insight into his music-making process. He mentioned how one of his favorite parts of working on “Game of Thrones” was that he was inspired to use instruments from across the globe, including the hammered dulcimer for Arya’s theme “Needle.”

The wide range of instruments and attention to detail demonstrate just how much thought was put into creating the show’s scores.

An ambitious undertaking, the “Game of Thrones Live Concert Experience” succeeded in transporting the audience into the realm of Westeros through its unique platform. The talented performers, under the direction of Djawadi and with the help of impressive set designs, created a powerful and unforgettable experience.

The “Game of Thrones Live Concert Experience” is perfect for diehard fans eagerly awaiting the eighth and final season of this HBO thriller.

LEFT: RAMIN DJAWADI, RIGHT: PRUDENTIAL CENTER

Pairing epic orchestral renditions of composer Ramin Djawadi’s “Game of Thrones” score with bold visuals of iconic scenes from the series, the “Game of Thrones Live Concert Experience” was an audiovisual experience that wowed fans of the HBO fantasy television show. Audience members shouted approval or booed when their most loved or hated characters appeared on stage.

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theater REVIEW

jose villalObos for the hoya

Hailing from the Czech Republic, the Svanda Theater brought its actors’ talents to the hilltop to showcase four of its shows at the Davis Performing Arts Center.

Among these shows, Pankrác 45 addresses heavy themes, such as treason and adultery, in its take on the Czech Republic following World War II.

‘Pankrác 45’ Poses Tough Questions About Nazi Women

Jose Villalobos Hoya Staff Writer

“Pankrác 45” boldly provokes introspection on the nature of culpability and the effectiveness of retribution. Set in the Czech Republic after the Holocaust, the production trains an unflinching eye on the fates of four women associated with the Nazi regime as the community struggles with the aftermath of the atrocities.

The Svanda Theater is one of the oldest and best-known theater companies in Prague, Czech Republic. For over a year, the theater has been working on an ambitious project — a weeklong residence in Washington, D.C., to showcase four of their shows at Georgetown’s Davis Performing Arts Center. The residence is part of the Center’s 2018-2019 program season, “Friends Far and Near,” which aims to promote partnerships and co-productions with other Georgetown theater groups and foreign embassies, bringing diverse perspectives and topics to local audiences.

With collaborations and support from the Embassy of the Czech Republic in D.C. and Georgetown’s Laboratory of Global Performance and Politics, this partnership brought Svanda’s best shows to stage, culminating with the English-language world premiere of “Pankrác 45” by Martina Kinská.

All these productions showcased at the Davis Performing Arts Center reference the events of the Holocaust and its effects on Bohemia and the rest of the world. They attempt to give proper honor and understanding to these events, to convey the

conflict and despair and, hopefully, to help people inch closer to finding closure and perhaps even peace vis-a-vis such terrible events.

“Pankrác 45” is based on the lives of five women who were incarcerated after the end of World War II amid a major effort to cleanse all memory of the Nazi regime and heal the wounds it left in Czechoslovakia.

Delivered completely from the perspective of a small, shared prison cell, “Pankrác 45” shares their stories — their different reasons for being accused of sympathizing with or supporting the regime in Prague and their own struggle and guilt.

Two of these women were famous actresses who had participated in films and performances associated with the German regime. Another was a member of the Czech resistance accused of spying for the Germans. A fourth, largely mysterious, shares little of her dealings or why she is in prison. Later, they are joined by a final woman, who eventually admits to being the wife of Karl Frank, an infamous general remembered for his disdain of Czechs.

As the Czech people clamor for justice and look for culprits, these women are thrust into a debate about responsibility, agency and blame. People might never forgive or forget the atrocities committed by the regime, but there is something to be said about the struggle to survive and the extent to which people can go in overcoming adversity.

Through conversations between the cell’s residents, streams of thought that spill onto the stage and sets of narration

that break from the timeline and setting, a powerful story is woven.

Strong writing, passionate acting and powerful history push the audience to explore the themes of truth, remembrance and restoration.

As the women open up and share their stories, themes of adultery, treason, substance use and physical abuse flair up in their conversation, reflecting the spirit of a flawed humanity. Love, ignorance, fear and misunderstanding are all cited as reasons for indulging the regime.

The characters clearly do not condone the horrific events, and regret their involvement, if any, or lack of opposition, yet there seems to have been little room for different choices. Are they as responsible as those who established the regime and perpetrated the violence? Surely not. But can these women be punished, and if so to what extent? The audience is faced with this dilemma again and again as the women inch closer to their verdicts.

The tension and claustrophobia of the tiny prison cell are effectively broken up through a series of pauses and interjections that bring in different perspectives to the story. News announcements are shown on screens or read by the characters and flashbacks are narrated. A few short monologues reveal the deepest thoughts of the protagonists, adding even greater context and emotion to the story.

At one point halfway through the show, one of the women starts to remember how, little by little, she lost her liberties as the war went on. A Bohemian Jew, she lists the months and years when she was deprived

of the freedoms to walk in the streets, to dress as she chose and to participate in public life.

This shocking intermission makes viewers reflect on banishment and shunning.

Another break is used to describe the sentiments of the public through a news release, which explains that the people of Czechoslovakia are to be the jurors of this brutal cleansing. They will be given power to decide who deserves punishment.

This powerful moment shows the darkest manifestations of human behavior, as people pursue each other, trying to hunt down those who wronged them. At this crucial point, it is unclear if the power to hunt down perceived perpetrators will allow victims to achieve closure. At what point will justice be served?

In the end, viewers are left with more questions than answers. All these women pay a price, sleepwalking through what seems to be the rest of their lives. The people of Bohemia remain broken, and the crimes of the war are not easily forgiven.

As the lights came down on the final scene of the show, most viewers remained stuck to their seats, feeling taken aback and conflicted. While the artists bowed, members of the audience applauded their performances, their ability to bring life back to such a powerful tragedy and to the desperate attempts to obtain justice and closure that followed. Was the fate of these women true justice? Are there other, better ways to overcome this tragedy?

These questions remained unanswered.

Thankfully, Svenda had the courage to ask them.

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Out of office

Finding Freedom in the Unfamiliar Alexandra Brunjes Routines form the basis of life at Georgetown. Class schedules provide the infrastructure, extracurriculars fill in the gaps, and the remaining free time is devoted to daily necessities like eating and sleeping.

Going abroad throws a wrench in this scheduling. When I got to Copenhagen, Denmark, my typically overbooked schedule suddenly consisted only of classes, and the remaining free space had strings attached: Without Yates, I need a gym membership before I work out; without Leo’s, eating requires grocery shopping and meal prep; and without being on campus to attend meetings and social events, some of my extracurriculars have to wait until I get back in the spring.

In the absence of the activities that typically fill my schedule, I suddenly found myself reassessing the components of my Georgetown experience. What is most im-

portant? What makes me the happiest?

Which things are on pause until I get back to Georgetown, and which things should I cut out?

As I began evaluating the ways I spend my time, I started to see the value in the disruption from routine that abroad forced upon me. Taking a break from the regularity of my Georgetown existence not only frees up space in my schedule to take advantage of being abroad — exploring a new city, taking weekend trips — but also allows me to look at the college life I’ve crafted for myself with the freshly critical perspective of an outsider.

When looking at study abroad programs, you’ll find that many boast that anything you do at your home university, you can do abroad. Any club, any team or any hobby — they say they can make it happen for you.

The longer I’ve been here, the less necessary I find this proclamation. In fact, it seems to counter the point of leaving your home university for a semester: Studying abroad is an exercise in mindful interruption of the comfort of familiarity, not an exercise in recreating your normal life in a new place. From what I can tell so far, it’s far more rewarding to embrace the disruption rather than to fight it.

My gym this semester isn’t as close to

my apartment as Yates would be, but the bike ride there is beautiful, and the treadmills overlook the Copenhagen harbor.

My articles for The Hoya are typically about art exhibit openings or movie screenings, but this semester I’m using this column to exercise my ability to introspect rather than report.

Studying abroad is an exercise in mindful interruption of the comfort of familiarity, not an exercise in recreating your normal life in a new place.

I also usually spend hours each week attending meetings, club-organized social events and university-scheduled programming, but while I’m here I’m trying to be less plan-based and more in-the-moment.

Without the ability to settle into my treasured and intimately understood college life, I’ve started to fall in love with the excitement of unfamiliarity. Not only is the challenge of the unfamiliar helping me better understand myself, but it is giv-

ing me a dry run at being an adult; the constant programming at Georgetown is incredible, but it can be a security blanket.

Having to pull out a blank schedule and decide how to spend my time has allowed me to craft my own life.

Being away has also made me realize that some of our habits are borne more out of expectation than out of necessity. Sometimes at Georgetown I eat because it’s lunchtime and the dining hall is open, not because I’m hungry, or I attend a social event because I’m expected to, not because I want to. Being free of your normal schedule allows you to shake the expectations that go along with it.

Distance from the wonderful familiarity of Georgetown life has reminded me of the important power of disruption to avoid the hazard of a myopic existence. Exercising the ability of open-minded adaptation to new circumstances is exhilarating and necessary. Worst case scenario, you miss the way things are at home; best case, you get a new perspective on the way that you’re living your life — one that you’ll bring with you wherever else you go.

Alexandra Brunjes is a junior in the College.

OUT OF OFFICE appears in print every other Friday.

Meatless MENUS

How I Learned to Love Radishes liflower and iceberg lettuce, are part of an exclusive club. That said, I’m nothing if not an adventurer, and in the spirit of thrill-seeking, I figured I’d give Fancy Radish a shot.

Prashant Desai I am, generally speaking, no great lover of radishes. The exact reason why is an enduring mystery — chalk it up to some childhood culinary trauma, perhaps, or to genetics. It makes sense, then, that I was skeptical at first of celebrated chefrestaurateurs Rich Landau and Kate Jacoby’s newest offering, a completely vegan outfit in H Street Corridor named — drumroll, please — Fancy Radish.

Still, I couldn’t help but be intrigued.

Landau and Jacoby’s two Philadelphia locations, Vedge and V Street, rank among the most exciting plant-based restaurants in the country, and both members of the duo have been nominated for the prestigious James Beard culinary award.

I’m no longer a vegan, but plants — and affiliated foods, like the humble mushroom — are still the cornerstone of my diet, and there are few I don’t like.

In that regard, radishes, along with cau-

I am, generally speaking, no great lover of radishes. I ordered the restaurant’s titular $14 dish “Fancy Radishes,” and suffice it to say that I’m a convert. Suffice it also to say that I have never seen so many different types of radishes in my life.

I should start by noting that Fancy Radish is, indeed, quite fancy. The restaurant’s interior was elegant but subdued, tastefully adorned with both small shrubs and larger plants. My only concern was the lighting — the weak glow provided by the candles didn’t make for an excellent photo of my entree.

And the food? I ordered the restaurant’s titular $14 dish “Fancy Radishes,” and suffice it to say that I’m a convert.

Suffice it also to say that I have never seen so many different types of radishes in my life. My long-standing aversion to the root vegetable, I’m embarrassed to admit, has left some significant gaps in my knowledge, and I could identify, at most, one or two of the varieties on my plate; Google was instructive in this case.

I poked gingerly at the concoction — a diverse assemblage of radishes, cucumber and pickled tofu served on a bed of crushed avocado with the East Asian citrus fruit yuzu and garnished with shiso leaf — before diving in. The dish was, in a word, spectacular. The flavor profile was at once bold and balanced, a testament to the possibilities of vegetable cooking.

It was also beautiful, dappled with reds, greens, purples and pinks.

Two conclusions seem appropriate.

The first, and for me the more surprising, is that radishes can be wonderful.

Too often they’re thrown into dishes where they don’t fit, or where their taste is overpowering, at least for the radishsensitive diner like myself.

But there is a second option, which dovetails nicely with takeaway number one: Vegetables can do more. Tellingly, Landau

and Jacoby don’t refer to their ventures as vegan or vegetarian restaurants.

Radishes can be wonderful. Too often they’re thrown into dishes where they don’t fit, or where their taste is overpowering, at least for the radish-sensitive diner like myself.

Landau himself, in a recent interview with The Washington Post, noted that vegetarian restaurants are about limitations rather than possibilities. He prefers to define his offerings in terms of what they do, rather than what they don’t — it’s about plant power, so to speak, rather than meatless menus. Perhaps I should consider a name change.

Prashant Desai is a junior in the School of Foreign Service. meatless menus appears in print every other Friday.

friday, september 28, 2018

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THE HOYA

B7

Theater REVIEW

POP-UP MAGAZINE

With subject matter ranging from the Westminster Kennel Club Dog Show to racial profiling, various creatives took to the stage to tell their stories. The writers, photographers and visual artists used tools like visual displays and envelopes containing never-before-smelled scents to add distinct flair to the show.

Pop-Up Magazine Covers Eclectic Topics With Style

Eleanor tolf Hoya Staff Writer

“If you’re someone who likes documentaries, podcasts, theaters, concerts, books … you’ll like our show. There’s a little bit of something for everyone.”

These were big promises from Pop-Up Magazine senior story producer and co-host Anita Badejo for a show that, on the surface, presented only a person speaking at the mic, live background music and a projection screen.

And yet, the 90-minute show at the Warner Theatre on Sept. 26, 2018, managed to cover topics ranging from Amazon Alexa to “thirst traps” to racial profiling, pictures of the Westminster Kennel Club Dog Show, original and inventive illustrations, and even the opportunity to smell a never-before-smelled scent. I can’t promise everyone will love each story, but failing to find one interesting or relatable aspect of the show would be almost impossible.

The show and company, Pop-Up Magazine, is the brainchild of co-founder and Editor-in-Chief Douglas McGray, a former writer for The New Yorker and The New York Times Magazine. While working for “This Ameri-

can Life,” McGray was baffled that none of his radio colleagues knew any of his writing friends. If they all had the same goal — to produce great stories and narrative nonfiction — why weren’t they working together?

McGray sought to bring his two worlds together.

The name “Pop-Up Magazine” is both truthful and deceiving. True, the show is popup in the sense that it prides itself on being temporary and transient. The stories change in each city visited and the shows aren’t recorded: They are gone once the night is over.

The word “magazine” in the title, however, is certainly a falsity. The performance in no way resembles the stagnancy of a magazine.

Rather, it brings together writers, radio producers, photographers, filmmakers and illustrators to create a mixed media piece unlike any other pop culture art form.

Nowadays, Pop-Up produces three tours a year and has its first international performance this coming October. Behind the scenes, there are three senior story producers, production and technical managers, a photo team, an art team, and an events team. In each tour, the stories change, and a couple region-specific storytellers join the mix.

The contributors are as stylistically diverse as their stories; some are lifetime veterans of journalism, while others are taking their first dive into storytelling. Pop-Up’s recent stop in Washington, D.C., featured Rebecca Skloot, author of bestselling book “The Immortal Life of Henrietta Lacks,” and poet and playwright Marc Bamuthi Joseph, as well as stories from artists whose words aren’t often heard, like photographers Landon Nordeman of The New York Times and Lara Shipley, whose art is displayed in the Museum of Modern Art in New York City.

The show’s innovative form enables contributors to branch out from their usual style or topic. Skloot, who is known for her in-depth investigative science journalism, spoke about her fervent teenage determination to become an animal rights lawyer after learning her family played a big part in the fur and leather booms in fashion. Nordeman, typically behind the camera, was able to offer his perspective on the similarities between New York Fashion Week and the Westminster Kennel Club Dog Show.

The end of Pop-Up’s D.C. stop cemented the influence of these innovative art forms.

Joseph spoke unapologetically and forcefully about his newly 16-year-old black son,

entering his “prime suspect years.” The rhythm of his words and the pleading in his voice rang out on top of the art projected behind him — a mixed style of abstract and graffiti.

Following that, science writer Rowan Jacobsen prompted audience members to open our programs and find a small envelope inside containing a scented paper.

We were about to perform a seance, he explained.

As members of the audience sniffed the rectangular cutouts, they learned that this odor was produced by a flower that existed thousands of years ago. Using the latest DNA technology, its essence was recreated in a lab and we were amongst the first living people to ever smell it. We sat there, noses in their programs, totally entranced in that moment.

Five minutes later, the show ended. Audience members walked from our seats and out of the theater with no evidence of what had just occurred — no pictures or recordings or transcripts. The fleeting nature of Pop-Up is what makes it so powerful in the 21st century. The stories are for us, in that moment, only to exist in our shared experience.

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friday, september 28, 2018

What to Do in DC

MUSIC

New Releases

sarah cammarota Hoya Staff Writer

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Faris Bseiso Hoya Staff Writer

oktoberfest

The popular Washington, D.C. beer garden Wunder Garten will be holding its fourth annual Oktoberfest this weekened from Sept. 28 to Sept. 30. The event harkens back to classic German traditions and will feauture “Bavarian Olympics,” German food, lederhosen and of course a selection of German beers. The event is free to attend and will take place from 3 p.m. to 12 a.m. Friday, 12 p.m. to 12 p.m.

Saturday, and 12 p.m. to 10 p.m. Sunday.

Rita ora

FUEGO

Fuego and Nicky Jam ‘Good Vibes’

Rita Ora ‘Let You Love Me’

A collaboration between a reggaeton artist and a bachata master is always sure to please. Sure enough, in their first teamup, Nicky Jam and Fuego present a minimalist, laid-back track. While it may not ignite dance floors, “Good Vibes” is perfect for setting a melancholic mood.

With reflective lyrics and graceful vocals, Rita Ora will be lighting up the charts with her new single. A pop record with heavy synths and a catchy chorus, “Let You Love Me” is sure to soon be a radio mainstay.

wundergarten

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art all night

Art has rarely been considered a latenight activity, but that won’t be the case Saturday, Sept. 29. Art All Night: Made in D.C. is a free art festival taking place in various neighborhoods in the District from 7 p.m. to 3 a.m. Sunday morning.

The festival will feature a wide array of art forms, including both visual and performance arts, and will be shown in indoor and outdoor spaces.

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art all night

Truckeroo food truck fest

Truckeroo is a monthly gathering of the city’s most popular food trucks at The Bullpen near the Capitol Riverfront.

The highly acclaimed festival features not only food trucks but also live music, games and drinks. Some of the food trucks featured at this month’s event are Peruvian Brothers, D.C. Empanadas and People’s Bao. The event is free to attend and will take place from 4 p.m. to 11 p.m.

Friday, Sept. 28.

mumford & Sons

Lil uzi vert

Lil Uzi Vert ‘New Patek’

Mumford & Sons ‘guiding light’

In anticipation for his upcoming album, “Eternal Atake,” Lil Uzi Vert continues to assert his status as a hip-hop fashion icon.

Over a Dolan Beats backing track, he lyrically showcases his knowledge of clothes and his expensive watches. With melodic keys and his energetic flow, Lil Uzi Vert builds anticipation for a full-length project.

While the British band hasn’t maintained the notoriety it achieved in the early 2010s, its new single aims to help it reclaim the mainstream spotlight. Mumford & Sons debuted the track live on “The Tonight Show Starring Jimmy Fallon” earlier this week, and its uplifting vibe left the crowd members joyful and on their feet.

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truckeroo

roaring 1920s lawn party

The National Cathedral will host its third annual Roaring 1920s Lawn Party on Saturday, Oct. 19 from 11 a.m. to 6 p.m. The event boasts all the Gatsby-era glamour a partygoer could ever want, from a strictly 1920s dress code to lawn games, period orchestras and everything in between. The event runs a high entry cost from $55 to $115 depending on the perks included such as an open bar and complimentary parasol. dardanella

friDAY, september 28, 2018

the guide

THE HOYA

B9

movie REVIEW

‘Smallfoot’ Brings Big Heart to the Silver Screen

Directed by: Karey Kirkpatrick, Jason Reisig Starring: Channing Tatum, James Corden, Zendaya Annah Otis

Hoya Staff Writer

The latest Warner Bros. family-friendly animation “Smallfoot,” opening Friday, reaches beyond the tropes of traditional children’s movies with its diverse range of music and unique moral lesson. Director Karey Kirkpatrick leads an all-star cast, including basketball star LeBron James and actress Zendaya, in this film adaptation of the book “Yeti Tracks” by Sergio Pablos.

The result is a heartwarming, singalong story that viewers of all ages will enjoy.

As the movie begins, the view pans across a utopian town whose yeti inhabitants happily toil away under the belief that their society is dictated by the infallible rules of the stones, which are protected by the Stonekeeper, voiced by rapper Common.

Not until the movie’s young hero Migo, voiced by Channing Tatum, discovers the exis-

tence of “smallfeet” — humans — does the yetis’ blind faith in their smallfoot-denying stones begin to disintegrate. Peace is restored when Migo, the Stonekeeper’s daughter Meechee, voiced by Zendaya, and three teenage village misfits risk their lives to prove that smallfeet are nothing to fear. Along the way, they learn a valuable lesson: The truth always triumphs, even when it is frightening or hard to accept.

“Smallfoot” serves as an allegory for the blinding effects of prejudice and mob mentality. A clear parallel emerges between the yetis’ snowy mountaintop village and the human equivalent of a community held in place by its unquestioning traditions and perspectives.

Some might argue that these traditions and perspectives are valuable culture, but the writers imply traditions are nothing more than refusals to acknowledge the validity of alternative lifestyles and people. The smallfeet are a standin for the feared “other” who have been typecast

based on misunderstanding.

However, the “other” — in this case humans — are not without faults. The smallfoot Percy, voiced by James Corden, is a TV personality who seeks high ratings above all else. He only gains integrity after meeting Migo and the yeti village, which he must save by sacrificing himself.

For humans, yetis are the “other” to be met with both fear and awe. Yet the fear and misunderstanding dissipates when the truth is revealed: Although both communities have their faults, they are filled with well-meaning individuals who transcend stereotypes.

The most disappointing aspect of “Smallfoot” was its conformity to the male-dominated action movie. However, the one woman with a significant role is a highly intelligent yeti whose ideas drive the plot. Meechee introduces Migo to the idea that it is okay to question everything in search of the truth. She teaches him that the world is bigger than their small village. Meechee

 is the moral compass by which everything else is evaluated.

Although “Smallfoot” is first and foremost the story of a hero’s journey, it is also a thoughtfully composed musical. Unlike other children’s movies with homogenous albeit catchy songs, “Smallfoot” makes an effort to feature a soundtrack with substance. In addition to the usual pop-rock suspects, Common provides the vocals for a single rap song. It may be far from genre diversity, but the track’s inclusion is a step in the right direction.

For fans of animated movies, “Smallfoot” is well worth the ticket price. Deeper meanings and moral lessons aside, the fun film evokes both song and laughter.

The incredible animation by Sony Pictures and strong music further make this film one to watch. Viewers will leave the theater feeling inspired and hopeful for a less prejudiced tomorrow.

movie REVIEW

‘Tea With the Dames’ Delights With Candor and Warmth

Directed by: Roger Mitchell Starring: Maggie Smith, Judi Dench, Eileen Atkins, Joan Plowright Anastasia Armendariz Hoya Staff Writer

“Tea With the Dames” invites viewers to escape the English rain for the gossip, wisdom and laughter shared in an afternoon chat between four women coming up on 60 years of friendship. The companionship between Dames Judi Dench, Maggie Smith, Eileen Atkins and Joan Plowright has been cemented by 60 years of illustrious acting careers. The candid moments captured on camera and pithy zingers delivered by the dames compensate well for the film’s slow pace, resulting in a touching and uplifting snapshot of the iconic actresses.

Each actress was appointed by the Most Excellent Order of the British Empire as a dame for her contribution to the performing arts scene. Not only did each of the four win an Olivier award in recognition of excellence in theater performances, but the home at which they gather is where Plowright and Laurence Olivier, a famous English actor and director, lived while they were married. However, in his documentary, director Roger Mitchell seeks to capture a non-performative glimpse into the stories: the lives beyond the stages and screens where the women have acted.

Mitchell’s direction is unobtrusive, yet the four friends readily critique the film crew from the

beginning. While taking photos of the actresses together in the garden in the opening minutes, Smith quickly establishes herself as the dame with the driest humor when she asks an off-camera crew member, “Is this your first day?”

The camera tracks from face to face around Plowright’s dining room table as each actress speaks, just as eager as the viewer to avoid missing a word of the memories they share or refrains of songs from long ago scores. All four concur that Olivier was “tricky” to work alongside, and Smith quips that the only time she saw “stars at the National Theatre” was when Olivier slapped her during a scene they had together.

From the first scene, director of cinematography Eben Bolter combines archival photos with shots taken of the actresses during filming to craft truly multi-layered portraits of the actresses on the screen. The transitions from the teatime conversation to footage excerpted from the four dames’ extensive play and film credits are complementary rather than disruptive, offering delightful views into both their work and the stories they tell.

At one moment, a crew member brings her laptop over to Dench to verify if footage from a play is of her — it is. These inclusions paired with questions to the actresses from behind the camera ensure viewers do not need deep background

knowledge of each artist and her work before viewing the documentary, while their candor and humor ensures even longtime fans to be entertained.

Atkins was bored and bought crumpets on her way home from a Vietnam War protest, only to later discover her husband had spent the night locked up alongside other actor friends. Smith admits she has never watched her own show “Downton Abbey,” even though she owns the boxed set, but tells Dench, “I shall have to hasten; I won’t last long enough to see the wretched thing.” Plowright and Smith complain that Dench “gets all the parts,” while Dench replied with, “Are you sure you want a menopausal dwarf to play this part?” when she was invited to perform the role of Cleopatra for the 1987 play “Antony and Cleopatra.”

At its core, “Tea With the Dames” is a documentary concerned with the challenge of understanding the minds of women who make their livings pretending to be other people.

The four’s self-deprecation slowly reveals that each actress is still afraid to take on big parts.

When Mitchell asks the friends if they can talk more about getting old, Dench responds with a quick expletive. This moment is quickly followed by laughing exchanges about hearing aids, which is sobered by discussion of how individu-

 als can speak to them as if each woman no longer has an individual identity.

At the same time, Mitchell’s openness to including even the minutia of Smith’s and Dench’s complaints of being unnaturally posed on a chair is a testament to the vulnerability each dame expresses. The documentary feels like footage taken from when cameras were supposed to be off.

The dames were comfortable with the most candid of observations: mutual reflections on the difficulty of marrying fellow actors, how the arrival of children meant delays to career, and the matter-of-fact assertion by Smith that award ceremonies are “for other people who’ve gotten you to where you are. Not for you.” Throughout the film, the unscripted humor and affection that characterizes their trajectories and friendship, and likely has supported their mutual careers, shines.

The pacing of “Tea With the Dames” could occasionally match all too closely the slow English afternoon of its setting. The title and moments of vulnerability seem to characterize the documentary as a quiet cup of tea with acting greats. But do not be fooled: The quartet’s gleeful eagerness for champagne more appropriately marks the film not as twee warmth, but rather a zinging celebration worth settling in for.

B10

THE HOYA

the guide

friday, SEPTEMBER 28, 2018

MOVIE REVIEW

For ‘The Children Act,’ Skip the Movie and Read the Book

Directed by: Richard Eyre Starring: Emma Thompson, Stanley Tucci, Fionn Whitehead Alexandra Brunjes Hoya Staff Writer

“The Children Act,” the latest film adaptation of an Ian McEwan novel, has a strong cast and compelling plot but fails to live up to the allure of its literary counterpart.

The film, which is directed by Richard Eyre and distributed by FilmNation Entertainment, BBC Films, A24 and DirecTV Cinema, is based in London and follows Fiona Maye, played by Emma Thompson, an esteemed judge frequently tasked with cases that fall into legal and moral gray areas.

In “The Children Act,” a 17-year-old Adam, played by Fionn Whitehead, is dying of leukemia and desperately needs a blood transfusion, but his parents are Jehovah’s Witnesses and refuse to give consent. Fiona must determine whether the hospital has the legal right to override the family’s wishes and infuse Adam, who is mere months shy of the legal age of consent and insists he does not want the transfusion.

The core issues explored in this film are contemporary and compelling: The protago-

nist is a powerful, intelligent woman, and the court cases she rules on are thought-provoking and reflective of current bioethical dilemmas. Without the subtle details and unspoken thoughts presented in McEwan’s novel, however, several aspects of the plot seem either predictable or unrealistic.

The most compelling subplot in the novel is Fiona’s rocky marriage and her husband’s announcement that he would like to have an affair. However, the film adaptation of this problem is louder and less nuanced. Fiona’s busyness and commitment to her work is an overused trope, and mentions of her childlessness seem superfluous and overwrought, in part because of the undue weight placed on certain scenes in the film as opposed to in the novel.

Despite these downfalls, the film has some areas of notable success, the first being Thompson’s performance. Her portrayal of Fiona is impeccable and succeeds in holding the story together and keeping your eyes glued to the screen. She gives a sharp, smart performance and perfectly emulates the interplay between Fiona’s quick-witted and suc-

cessful legal mind and her more vulnerable, quiet moments. These more tender scenes result from strong public backlash against her rulings or from arguments with her husband, played by Stanley Tucci.

One of the best short scenes in the film shows Fiona unflinchingly reacting to a revolving door of court cases, after which she retreats to her office and checks her phone to take stock of her crumbling relationship with her husband. In moments at home, we see Thompson’s character display a vulnerability and introspection that is not visible when Fiona is exercising her critical mind on the bench.

“The Children Act” also impressively captures the essence of a controversial court case, particularly when, as Fiona says, “This court is a court of law, not of morals.” In one of the most passionate and informative scenes of the film, Adam’s father, played by Ben Chaplin, argues with lawyers about the interaction between his beliefs and his love for his son. In doing so he allows viewers — many of whom may not understand the desire to withhold medical care — to better grasp his dilemma. When Fio-

 na meets Adam, he echoes similar sentiments: “We just want to live our lives in the truth as we see it, as we know it.”

Part of the power of “The Children Act” derives from the beautiful soundtrack, composed by Stephen Warbeck. Brilliantly placed classical music underlies most of the scenes, successfully amplifying emotional undertones and connecting the story arc.

Combined with the sharp visuals of gray and bright London, the soundtrack makes each scene impeccably realized and keeps viewers in tune with the emotional tone of the film.

Ultimately, “The Children Act,” released Sept. 14, is a worthwhile film. It has a strong plot and features admirable performances.

Although the film certainly could have improved upon a few areas of its production, the small problems are only apparent when directly compared to the book’s success. If you are looking to spend 105 minutes following a fascinating court case and admiring Thompson’s talent, watch this film. However, if you want the best version of this story, the film’s eponymous novel is a better way to go.

Film Nation Entertainment

Though “The Children Act” features compelling characters, it lacks the inner dialogue that rendered the plot of the book from which it was adapted more nuanced and realistic. Emma Thompson’s convincing performance as the hardworking Fiona Maye, an esteemed judge, brings strength to the film, despite its weaknesses compared with the novel.

friDAY, september 28, 2018

the guide

THE HOYA

B11

CONCERT REVIEW

CAR SEAT HEADREST

Car Seat Headrest took to the stage to deliver an electric performance at the 9:30 Club on Wednesday night. The band’s back-to-basics approach to the concert experience proved that a memorable musical performance is truly all about the bare bones of music and passion — no gimmicks.

Car Seat Headrest Rocks Bodies and Minds

sarah cammarota Hoya Staff Writer

Rarely in an era when flawless stage presence seems live par excellence will a band forgo pyrotechnics and flashy outfits for flailing limbs and guitars.

Although Car Seat Headrest unassumingly took the stage at the 9:30 Club on Sept. 19 outfitted like a high school garage band, its sound was far from juvenile. With a mix of ear-shattering guitars, vulnerable and poignant lyrics, and an audience filled with electric energy, the atmosphere at the 9:30 Club crackled with the magnetism of sheer noise.

Car Seat Headrest began as the solo act of singer and guitar player Will Toledo in 2010. From humble beginnings recording in the back seat of his car, Toledo began to gain positive attention from LPs released on the independent music streaming site Bandcamp.

In 2015 Toledo signed with Matador Records and released “Teens of Style” to critical acclaim. The solo project of the Leesburg, Va. native soon grew into a bona fide rock band that eventually led to the 2018 re-release of Toledo’s earlier recordings in fully fleshed-out form as the album “Twin Fantasy.”

The Seattle-based band Naked Giants accompanied Car Seat Headrest on tour and matched its energy every step of

the way. The smoky, lo-fi vibe of the 9:30 Club provided the perfect backdrop for what can most accurately be described as Naked Giants’ do-it-yourself psychedelic jam session.

The band was made up of a simple power trio of bass, guitar and drums. Yet with careful layering and the musical prowess of guitarist Grant Mullen, the band produced enough sound to leave the audience awestruck and dazed.

The turnaround between Naked Giants’ final track and Car Seat Headrest’s first was brief, allowing the audience’s energy to remain at fever pitch. Car Seat Headrest took the stage without fanfare or mystery, with the members of Naked Giants serving as part of Toledo’s backing band.

Car Seat Headrest led into its first track via a cover of the Lou Reed song “Waves of Fear.” The cover elicited some confusion from the crowd — which was quickly resolved when the band launched into “Fill in the Blank,” a moshy power-rock track off its 2016 album “Teens of Denial.”

With no more than the introduction, “We are Car Seat Headrest and we’re gonna play some songs,” the band jumped into the next track, “Bodys.” The track presents a matured version of teenage angst in which carelessness is forfeited for the beginnings of self-consciousness and consequence rears its ugly head.

Toledo pleadingly crooned on stage

“Don’t you realize our bodies could fall apart at any second? / I’m terrified your body could fall apart at any second” while flailing his body with reckless abandon.

The theme of an Icarian fall after the height of teenage reckless abandon permeated the set list last Wednesday night, most notably with the performance of “(Joe Gets Kicked Out of School for Using) Drugs With Friends (But Says This Isn’t a Problem).” Toledo dedicated the song to the college students in the crowd before singing lyrics that would hit close to home for many college students.

Cruising at a deliberately lagging tempo, Toledo sang, “Hangovers feel good when I know it’s the last one / Then I feel so good that I have another one.” Toledo delivered this line with a vocal intonation like he was experiencing not his first and certainly not his last hangover.

The lyricism and drowsy nature of Toledo’s performance perfectly encapsulated the piquant feeling of teenage denial in the face of drug culture.

Even more pointedly, Toledo juxtaposed the high expectations of drug use with their disappointing rewards by singing, “Filled with loathing and religious fervor / I laid on the floor of my friend’s bedroom for an hour / And tried not to piss my pants.” In this way, he managed to elegantly sum up the incredibly inelegant nature of being a “teen of denial”

or “teen of style” conforming to what he acerbically calls “the modern style.”

After performing the relatively obscure “America (Never Been),” Car Seat Headrest switched to the crowd favorites “Drunk Drivers/Killer Whales” and “Destroyed by Hippie Powers.” The crowd began to mosh during these two infectious songs.

The easily singable chorus of “Drunk Drivers/Killer Whales” almost disguised the fact that the song is a poignant vignette of the internal debate whether to drive home after drinking. The song takes a humanizing approach to the pitiable state of would-be drunk drivers, conceding, “We are not a proud race / It’s not a race at all / We’re just trying / I’m only trying to get home.”

The concert ended with an encore featuring the 13-minute electrifying dirge “Beach Life-in-Death,” Toledo’s magnum opus of youthful ennui. With the crowd now in full mosh-mode, Toledo and company mixed crackling guitar licks with percussive anguish for a truly jolting finale.

Rock may have been pronounced dead, but it seemed like it was resurrected on Wednesday night by Car Seat Headrest.

By releasing vulnerability, fear, confusion and teenage angst through the tension of pure sound, Car Seat Headrest left the audience emotionally exhausted and musically astounded.

ILLUSTRATION BY: ANNA KOOKEN/THE HOYA