The Hoya: The Guide: October 26, 2018

the guide F R I DAY, O C T O B E R 2 6 , 2 0 1 8

ARTISTIC ACCOUNTABILITY

IILLUSTRATION BY: ANNA KOOKEN/THE HOYA

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THE HOYA

FRIDAY, OCTOBER 26, 2018

Fans, Industry Debate Response to Artists’ Misconduct FARIS BSEISO AND JULIANA ALBUQUERQUE Hoya Staff Writer and Special to The Hoya

On Oct. 5, 2017, The New York Times published a story describing decades of sexual harassment perpetrated by Hollywood mogul Harvey Weinstein. The scandal is considered the spark that led to the viral spread of the #MeToo movement.

Originally coined by civil rights activist Tarana Burke in 2006, the movement’s primary goal is to highlight and condemn the pervasiveness of workplace sexual assault. According to Facebook,

around 45 percent of users in the United States had at least one friend who made a post on the platform using the term.

In the wake of the Weinstein accusations and the popularization of the #MeToo movement, the appropriately named “Weinstein Effect” unspooled and brought upon a cascade of allegations against many men in positions of power, from Brett Kavanaugh on the U.S Supreme Court to smaller artists such as punk duo PWR BTTM. Other artists accused include indie singer-songwriter BØRNS, who was dropped by a Washington, D.C. festival, and pop singer Chris Brown, who pleaded guilty to felony assault. The musicians have been received by the public post-accusation in wildly different ways, demonstrating the inconsistent responses of music distributors and audiences.

As allegations against other artists on the screen or on the radio continue to surface, the age-old debate of “art vs. artist” has been pushed to the center of society. Can the work of artists be appreciated separately from the artists themselves?

INDUSTRY REACTIONS

Local music festival All Things Go made headlines recently when festival orga-

nizers removed indie singer-songwriter BØRNS from the lineup Oct. 1, one week before he was set to perform. The removal happened amid a string of sexual misconduct allegations.

BØRNS was accused of grooming a 16-year-old girl and becoming aggressive when she denied his advances. According to her, the two met at one of his concerts, and BØRNS was fully aware of her age when he invited her up to his hotel room. The relationship continued until the girl turned 18, with BØRNS allegedly requesting intimate videos and becoming “aggressive and controlling.” The survivor, whose Twitter handle is @alyssaadaniele, wrote that “the things he did were things I did not want, and it hurt.”

BØRNS responded and denied the claims with an Instagram post, which was met with disappointment from his accuser.

“You couldn’t even say sorry,” @alyssaadaniele tweeted.

Following the allegations, the festival organisers released a statement on the matter: “BØRNS will no longer be performing at the 2018 All Things Go Fall Classic. We hope, in all years and especially this one, that the Fall Classic continues to be part of making the music world a better, more equal place,” a Facebook post from All Things Go reads.

Indie pop band MisterWives replaced BØRNS at the weekend festival, which featured a Saturday lineup of all women.

Issues like these are not new in the visual art world, just as they are not in the music and film industries. Albert Pierce, an adjunct ethics professor at Georgetown, believes that the issue is more analytical than people usually assume.

“When looking at an issue like this and trying to evaluate an artist, there are several questions you need to ask,” Pierce said. “How serious is their of-

fense? When did it occur? Is this isolated for that artist, or is it a pattern?”

These questions can be used to analyze the BØRNS situation. His offense was serious, because he made sexual advances on a minor. These actions occurred over a two-year period, meaning his conduct was recent. The prolonged nature of his interactions with the minor demonstrates consistency on his part and clearly underscores a pattern of predatory behavior.

Pierce’s framework provides a logic that can lead to decision-making and action, such as the decision by the festival owners to cut BØRNS as a headlining act.

The choices made by festival organizers and music distribution services significantly affect listeners’ access to music. Beyond moral considerations, campus musician Jacob Zonis (COL ’22) contends that festivals also take financial concerns into account.

“Festivals are institutions that seek profit and therefore avoid bad press when possible. Dropping artists for their actions is always a business decision,” Zonis said.

Festivals tend to experience positive financial results when making socially responsible decisions. In a survey conducted by SocialEvents.com, 83 percent of festivals reported that their ethical activities “have a positive effect on their bottom line as their reputation was enhanced and they were differentiated from competitors.”

Choosing to cut controversial performers is good for business, because many consumers care about backing ethical artists. In this way, the onus falls on listeners to make their own decisions about supporting artists accused of misconduct.

THE PEOPLE VS. PERPETRATORS

Ultimately, at the heart of a festival’s decisions is its audience.

Attendees do not incorporate the financial considerations in their decision to watch an artist perform. For Rob Jansen, an assistant professor in the department of performing arts, a decision to listen to an artist’s music depends

TOP LEFT: FILE PHOTO: STEPHANIE YUAN/THE HOYA; BOTTOM LEFT: ALL THINGS GO; MIDDLE: XXXTENTACION; RIGHT: BØRNS

Listeners, festivals and music platforms have had inconsitent reactions to musical artists facing allegations. Listeners’ responses depend more on whether the artist’s actions affect their enjoyment of the music than on the nature of the misconduct, according to Rob Jansen, an assistant professor in the department of performing arts.

FRIDAY, OCTOBER 26, 2018

more on the listener’s experience of it.

An artist’s persona, not just the music itself, can impact audiences’ experiences, Jansen said.

“At the root of everything is how the receiver of the art reacts to it. It can affect people in many different ways, and the source of the art can have an impact, too,” Jansen said.

In other words, the consumer is at the epicenter of the artist’s chance of popularity retainment. As long as the artist in question does not alienate their fanbase, they may carry on as usual with no further repercussions. The way that an artist’s actions affect listeners’ experience rather than the actions themselves is the relevant factor, Jansen said.

“If the artist has done something that hinders people’s enjoyment of their art, that’s what’s more likely to stop people from consuming it,” Jansen said. “It’s not the action itself, but it’s the way it changes people’s enjoyment of the art.”

Listeners are not always united on the appropriate response to unethical artists. Although BØRNS lost his festival spot, artists like Chris Brown have not always faced consequences for their actions.

In February 2009, in what was possibly one of the highest-profile domestic violence cases in Hollywood, Brown and Rihanna were spotted in a public altercation before she was rushed to the hospital with major contusions on her face, a bloody nose and a split lip.

Brown pleaded guilty to felony assault in June and was sentenced to five years of probation, six months of community service and one year of domestic violence counseling. He has since been accused of assault by other women and has been arrested multiple times.

Yet those incidents seem to have helped the growth of Brown’s “bad boy” image; his fanbase, nicknamed “Team Breezy,” is comprised of mostly women, and after the singer’s performance in the 2012 Grammys, many of them wrote tweets along the lines of “he can beat me.”

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The support for Chris Brown seems to be unconditional: He still boasts 17 million followers on Twitter and, despite his repeated legal problems, is still booked for shows and festivals. After his most recent arrest in June 2018, Brown took to Instagram to poke fun at the incident, saying, “What’s NEW????? Show tomorrow!!!!”

The post in question has 594,903 likes as of Oct. 24. On the same platform, he regularly posts pictures of sold-out concerts, with thousands of people commenting their support for each one.

Even with all the controversy surrounding Chris Brown, his fans remain as dedicated as ever, selling out his shows and going as far as sending death threats to anyone who dares voice a negative opinion on the singer — including model Chrissy Teigen in 2012.

While listeners are able to decide for themselves where to draw the line for an artist’s ethics, it is much more difficult to build a consensus based on all these decisions. Consequently, there are many artists with problematic pasts who are still provided a platform.

Platforms like Spotify have attempted to address this issue by removing artists’ music, announcing a new censorship policy. Among those affected by the new policy was XXXTentacion, a rapper who was awaiting trial for battery of a pregnant woman and witness-tampering, among other charges. However, after the rapper’s death, Spotify put his music back on the service and created a playlist as a tribute to his work.

The debate concerning whether Spotify’s actions were an appropriate response underlines the lack of agreement among the music community in dealing with these issues. Without a unified way to respond to artists confronting allegations, the consequences faced by different artists will remain inconsistent.

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TOP LEFT: CHRIS BROWN; TOP RIGHT: FILE PHOTO: AMBER GILLETTE/THE HOYA; MIDDLE: @alyssaadaniele; BOTTOM LEFT: MISTERWIVES; BOTTOM RIGHT: TARANA BURKE

Allegations of sexual misconduct and abuse committed by musicians raise the question : Should music distributors and listeners promote and consume music by artists who have done wrong?

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FRIDAY, OCTOBER 26, 2018

Director Reveals Familial Drive Behind Debut Film ELFRIEDA NWABUNNIA Hoya Staff Writer

“What They Had” tells the touching story of a family battling through trying times. Bridget Ertz returns home to a mother suffering from worsening dementia, a father refusing to let go and a brother who has been caring for them in her absence. First-time director and writer Elizabeth Chomko weaves a striking narrative of supporting family, finding yourself and letting go.

The Hoya sat down with Chomko to discuss the film, her creative process and the true story behind “What They Had.”

What was the inspiration for “What They Had”? How did Bridget Ertz and her family first begin to come to life?

Well, the film was inspired by my family, my grandparents. My grandmother had Alzheimer’s disease, and they had a really beautiful love story, and it was really heartbreaking that this could be the end of their love story. I wrote it to capture them at first, and then, through the course of many rewrites, I developed the other characters. And Bridget is the lens through which we see this story that is really about the family and their challenges with caregiving for her, for Ruth, and trying to figure out what to do when there is no right thing to do and how

that prompts a reckoning in all of them.

It’s a lot of me and coming of age for me in a way.

There’s a scene in the film where Ruth and Bridget are in the shower, and there’s this incredible overlap of captivating cinematography and this heartfelt dialogue. How did you go about creating moments like that?

That scene was inspired by when I was visiting my grandparents. My grandfather wanted me to help her bathe because she couldn’t do it on her own. It was one of those moments where I was realizing the scope of the job of caring for her and what his days looked like. Being with her in the shower was the most beautiful thing — this beautiful intimacy of her looking at me and saying, “You’re so nice to do this for me.” A lot of this movie was about me not wanting to lose the memory of the moments that moved me. The shower really moved me, and my grandfather passed away, and my grandmother was wondering whose wake we were at. I didn’t want to lose those memories. They were just too something, too precious, too important somehow.

The film’s core develops many heavy themes such as grief, sadness and love.

Nonetheless, humor is never too far behind. What did it mean to you to include

that kind of balance in the film?

Well, I grew up in Chicago. [My uncles and I] never took anything seriously. We were always teasing each other, and so when my grandmother was diagnosed with Alzheimer’s, I thought that nothing could ever be funny anymore. That wasn’t the case at all. We laughed even harder than we did before, because we knew what we stood to lose. I think when you know your heart is just about to break, that’s when you make that connection between laughter and tears. I just wanted to kind of capture that and try to walk that tightrope of tone, that hilarity and heartbreak boundary.

Were there any small decisions, small moments that actually felt much larger to you as far as importance when it came to including them? If yes, what were they?

Yes, there were many decisions. You never really know on set, but you have an idea of what’s going to be the most important. Sometimes you’re really obsessed with the thing, and I still have those feelings. I still wake up in the middle of the night like, “Oh my gosh, this line of dialogue,” “I should’ve put this in; I ruined it by not putting it in” — just really stupid things like that that you kind of obsess over. But I think also you don’t really know the editing room; somebody else said that the editing room is a really

redemptive place ’cause you can really figure out, “OK I have this, and I know the story I’m trying to tell, so let’s tell it now with what we have,” and then you find things that didn’t feel that important on set that end up being a turning point for you.

If audiences could only take one thing away from the film, what would you like it to be?

Well, I didn’t set out to have any message. I want people to come in and feel whatever they feel. But I do think — as I’ve gone through this process of making this film, all the way from the beginning and seeing people respond to the script and then to the film now that it’s finished, and how many people have said, “Wow this is my family,” and “I went through this” or “I’m going through this now” — I just think that it’s a shared experience, and it’s an isolating thing we feel shame and guilt about, because it’s hard to care for a loved one. Sometimes it makes us hard on each other, and I think for people to understand that they aren’t alone at all, that this is something that’s probably a lot more normal than they think.

“What They Had” opened in select theaters across the United States Oct. 19 and is set to open in Washington, D.C., on Oct. 25.

IMDB

Elizabeth Chomko’s first film as a director, “What They Had,” delves into heavy themes of family, love and loss. She drew from personal experience to create a vivid and accurate emotional experience for viewers. Directing on set and flexibility in the editing room allowed her directorial debut to develop organically into an impressive work.

FRIDAY, OCTOBER 26, 2018

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THE HOYA

B5

MOVIE REVIEW

UNIFIED PICTURES

Elizabeth Chomko’s debut film, “What They Had,” starring Blythe Danner and Hilary Swank, explores the pervasive effects of degenerative illness on family bonds. Careful casting and deft directorial choices anchor the film’s emotionally resonant narrative. These choices prove Chomko’s skill as a talented storyteller throughout the film.

‘What They Had’ Poignantly Conveys Family Tragedy

Directed by: Elizabeth Chomko Starring: Blythe Danner, Hilary Swank, Michael Shannon ELFRIEDA NWABUNNIA Hoya Staff Writer

“Any later and I’d have forgotten him.

Any earlier and I’d have missed him too much,” whispers Ruth, played by Blythe Danner, to daughter Bridget Ertz, played

by Hilary Swank in a heartfelt moment that embodies the thoughtful, honest nature of director Elizabeth Chomko’s debut film.

“What They Had” tells a gripping story about Bridget, who struggles to deal with her mother’s dementia, and the pair’s collective next steps. Through her homecoming, Bridget grapples with finding her own happiness in the shadow of her parent’s devoted marriage. Chomko traces the connections between the family members — father and son, mother and daughter, sister and brother — in a fashion that weaves one collective, captivating and almost-too-quick picture of family, love and letting go.

A first-time writer and director, Chomko delivers a film in which every feeling

is calculated and purposeful in the most artistic way. She flawlessly balances humor and heartache, grief and hope in a way that captures a multifaceted picture of family, love and life. Her images will enthrall audiences, connect them to the story and hold their attention as they root for the family.

The film’s dialogue feels authentic yet artful, each interaction moving audiences forward into the story but also importantly into the nature and spirit of the family.

Their dysfunction is relatable, which in less capable hands may have read like a sitcom and played out. Yet nothing feels gimmicky about the conversations, images and relationships charted in the movie.

Oscar-nominated actor Michael Shannon’s Nicky, Bridget’s brother, is possibly one of the best aspects of this film. He is a character to remember, one who will sit with you long after most of the others have in part faded. Shannon delivers bursts of tasteful, realistic humor to the film without becoming the comedic token of an otherwise heavy piece. Rather,

he meets every actor beat for beat, if not surpassing them, in emotional range and poignancy. In “What They Had,” Shannon’s performance breathes life and dimension into the film and does so with a genuineness that propels off the screen.

Chomko puts many levels into the film’s story, with each one feeling properly committed to explored. The levels seamlessly tie into a larger narrative that audiences will connect to on at least one level -- or even many. Chomko reaches the peak to which most films of similarly emotionally anchored narratives strive. She creates a story that audiences will walk away still thinking about.

The picture of devotion created in the relationship between Bridget’s mother and father will leave viewers pondering love in the then and the now. Swank’s character takes time to unfold to viewers, but there is a compelling nature to her emotional range when she does. Bridget is nowhere near as lovable and enjoyable as Nicky, but she finds expression with a similar authenticity.

 Bridget feels a bit like everyone does as she tries to figure it all out — love, family, how to say goodbye. Yet she never slides into the frequent Hollywood trope of overly glamorous and contrived sudden bursts of middlelife-crisis-induced epiphanies.

Finally, a worthy review of this film would not be complete without discussing the incredible performance of Danner, who is grippingly believable as Bridget’s ill mother at the center of the film’s conflict. The moments of Ruth’s lucidity seem to clear a fog in Danner’s eyes and mannerisms. In those instances, she frequently delivers key dialogue — true staying moments, including the aforementioned one. Just as with Shannon’s Nicky, Danner seems made to walk the lines of this film’s emotional tightrope.

Chomko delivers wonderfully cohesive storytelling — the kind of well-woven piece to which directors all year will hope to ascend. On each level in cinematography, writing and acting exist as a shared final image. Films seldom feel so rightly sewn together.

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THE HOYA

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FRIDAY, OCTOBER 26, 2018

OUT OF OFFICE

Defending the American Identity Abroad Alexandra Brunjes In the United States, I am from New York City. In Copenhagen, this identity is secondary to being from “the States.”

As a student studying abroad, I have had to grow accustomed not only to being a conduit for U.S. ideas and realities but also to being interrogated or berated about the various inequalities and injustices frequently associated with our country, particularly in comparison to Scandinavia — namely, our lack of universal health care, our education costs, our current president and our frequent instances of gun violence.

Being a representative of the United States has made me consider perceptions of our country that have caused me to suppress my instinct to blindly defend the country that I love. Rather, I have tried to stick with objective comparisons between the experiences of those in the United States versus those in Denmark.

Denmark is known as one of the happiest countries in the world. When I decided to study abroad here, I initially suspected I would begin thinking its

system of doing things is far superior to that of the United States. While I definitely admire several Danish norms, I have also unexpectedly found my time here to grant me a newfound appreciation for my home.

Denmark is a tiny, distinct country, with a population of under six million people, its own currency and language, a state religion and little diversity. The population of Denmark is 86.9 percent ethnically Danish. Compared to the United States, Denmark is therefore a fairly homogenous country where citizens are part of a small community accustomed to and supportive of its social structure.

Arguably the biggest differences in Denmark compared to the United States are its drastically different education system, welfare system and enormous middle class — all of which are facilitated by the approximately 50 percent income tax.

In Denmark, the community’s needs are prioritized over the individual’s: Having a highly educated, well-cared-for country is of the utmost importance.

Thus, elementary and secondary education are free and excellent — Denmark’s educational system is the 10th best in the world, according to the World Top 20 Project. Students get paid to attend university and are even encouraged to study subjects and enter fields that have spaces opening in the

workforce, so the unemployment rate is around 4 percent and steadily declining.

Additionally, health care is free for children until they turn 18, at which point they only lose access to dental care. Danish residents — and even visitors — must only pay for health care that isn’t strictly medical, like dentistry, psychologist visits and the chiropractor.

While this system certainly sounds utopian, after being here for two months I’ve started to consider the downsides of a supportive state, namely the absence of the scrappy, passionate motivation often seen in the United States.

Education in the United States — particularly university education — is expensive and oftentimes exclusive.

While the increased price means that a smaller percentage of citizens receive diplomas in the United States than in Denmark, it also provides more of an incentive to study hard and enter the workforce quickly.

Higher education is rarely a casual next step, as it can often be in Denmark.

Particularly in the field of medicine, which I have been exposed to in my coursework and field studies, I have realized the spirit of competition in the United States is a driver of innovation and motivates professionals to try to be the best. Having to continuously fight for success keeps people moving forward.

In the United States, there is an overwhelming sense that you can start

anywhere and become anything — what we have defined as “the American Dream.” It’s unfortunately true that “anywhere” can be extreme poverty, which is unseen in Denmark, but the potential of “anything” is incredible.

I will openly acknowledge that the United States is in many ways a disaster: We are divided, contentious and combative. Yet being here in Denmark has made me newly appreciate what that means: We are also passionate, diverse and unafraid to cultivate and express our own beliefs.

I frequently have to respond to claims that the United States doesn’t care about the health or education of our country, that our president is frightening and that our politics are laughable. Sometimes I cede to certain points, but I increasingly defend the things that make our country great.

While I am personally in favor of Denmark’s strict gun laws and permissive abortion legislation, I am also appreciative of the diversity of experience that causes others to disagree with me. I love this small, beautiful country and the way it has created widespread social equality and maintained a strong national identity — but I am also grateful to call the United States my home.

Alexandra Brunjes is a junior in the College. OUT OF OFFICE appears in print every other Friday.

MEATLESS MENUS

Beefsteak Serves Bold, Simple Meals Worth Craving Prashant Desai Truth be told, I didn’t intend to review Beefsteak this week. I was heading to the Whole Foods in Foggy Bottom when, as underfed and overworked college students often do, I found myself craving a quick bite.

On this particular evening, I was in luck: Right next to Whole Foods was the vegetable-centric brainchild of famed chef José Andrés, Beefsteak.

For those who follow the food industry, Andrés needs no introduction. The SpanishAmerican chef, who was featured in Time Magazine’s 2018 list of the world’s 100 most influential people and won the James Beard Foundation’s Outstanding Chef award in 2018, is something of a culinary superstar.

Andrés is also a committed social reform-

er: Following the earthquake that devastated Haiti in 2010, Andrés founded World Central Kitchen, a nonprofit dedicated to crafting smart solutions to the problems of hunger and malnutrition.

In 2015, after contentious remarks by President Donald Trump about immigrants, Andrés scrapped plans to open a restaurant in the Trump Hotel. Then, when the Trump Organization sued him, he stood his ground — and sued them back.

Finally, in the aftermath of Hurricane Maria in 2017, Andrés and his affiliated organizations were again at the forefront of hunger relief efforts, at one point serving more than 150,000 meals daily.

In classic Andrés fashion, Beefsteak is a bold new concept: In the restaurant’s own words, it offers “America’s bounty in a bowl.” On the face, Beefsteak is not wholly unlike a Chipotle or any of the other createyour-own-style fast-casual franchises that have popped up in recent years.

Beefsteak also has something more — the labor of love of a highly celebrated, Michelinstarred chef. Beefsteak even grows its own herbs: In the back, there’s a bookshelf-type

indoor garden that provides all the restaurant’s parsley, basil and cilantro.

Patron can even the elevated ambiance in the decor. The restaurant’s interior is a beautiful, delicately organized space, though a little impractical in some regards — a few of the tables are dimly lit, and some are too small to eat at.

The walls of the restaurant are adorned with cartoon-style illustrations of tomatoes and other vegetables, and the ambience is warm and elegant. The serving counter feels vaguely cafeteria-like but not austere or impersonal in the slightest — rather, quite the opposite. Even the restaurant’s wide, curved bowls were beautiful.

The best word to describe it is fantastic.

I settled on the Beet Poke, a Japanese-inspired warm veggie bowl. The mainstay of the $7.99 dish was sesame-marinated cubed beets, served over rice and accompanied by scallions, diced cucumber and seaweed. I opted to throw in mozzarella with the base entree for an additional $2 and added Sriracha for a kick of spice.

The dish was visually impressive: The beets were an intense, deep purple and

the contrast provided by the varied hues of the cucumber, scallions and seaweed made for a handsome display. However, the entree was more than an aesthetic feat. The sesame marinade tempered and moderated the vegetable’s natural bitter, earthy aftertaste; the seaweed salad and scallions provided a vibrant contrast to the sweetness of the beets and sesame.

Yet the dish was not particularly elaborate: The entire thing was assembled in a couple of seconds by the server. Still, that is exactly what makes Beefsteak so special. It’s a bold, veggie-driven vision for the future of fast-casual dining.

I’ll admit that, at first glance, Beefsteak didn’t seem quite so exciting. I’ve been let down before by plenty of plant-based restaurants that are generally both flavorless and overpriced. I’d bet few people look forward to a meal composed of beets, scallions, seaweed and rice. Somehow, though, Beefsteak makes it a meal worth craving.

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

the guide

FRIDAY, OCTOBER 26, 2018

THE HOYA

B7

MOVIE REVIEW

‘JUMP’ Deftly Addresses Mental Health Stigma Directed by: Kofi Siriboe Starring: Kofi Siriboe ELIZA PHILLIPS Hoya Staff Writer

This article discusses depression and suicide. Please refer to the end of the article for resources on campus.

“JUMP” is a poignant exploration of the darkness surrounding grief and depression. The short film follows Ziggy — played by Kofi Siriboe, who also wrote, produced and directed the film — a young man struggling to cope and share his pain with his loved ones. Although those around him try to engage him in their lives and social activities, Ziggy remains distant and melancholy, even contemplating suicide.

The short film’s all-black cast is consciously used to reflect the unique mental health-related difficulties that the black community faces. According to a report by the U.S. Department of Health and Human Services Office of Minority Health, black people are 10 percent more likely to report having serious psychological distress than non-Hispanic white people.

Furthermore, a paper published in the Journal of the American Medical Asso-

ciation reported that black children are nearly twice as likely to commit suicide than their white counterparts. Siriboe attributes this fact to the stigma around mental health and the avoidance of open conversations about it in the black community.

In an interview with The Grio, Siriboe said that this film was inspired by the realization that “[he] didn’t have to feel the shame and stigma [he] inherited just by being born a black man.” [“Black people] don’t do therapy. We don’t hear it in the lyrics of our music or see it in our movies. Celebrities didn’t talk about it until recently,” he said. “JUMP” speaks to the perils of this stigmatization, highlighting the need for more discussions and better support systems within the community.

Little dialogue is used in the film, an artistic choice that strikingly portrays the difficulty of expressing one’s struggles with mental health. Music is used as a powerful alternative, with solemn lyrics such as “No one knows if you’re dead or alive inside / No one knows if my heart stops breathing” employed to evoke the haunting nature of depression and the toxic thoughts it cultivates.

 Though the film’s use of symbolism through the little girl is mostly effective, there are a few moments where its intended purpose is unclear. A prime example is the character Jael, a young girl who seems to be a figment of Ziggy’s imagination and often appears suddenly throughout the film, with Ziggy chasing after her each time to no avail.

The viewer is left uncertain of whether or not she is a symbol of the childhood innocence and joy Ziggy craves, or contrastingly, if Jael is a symbol of the suicidal thoughts that haunt him. The latter possibility is offered in the final scene when she leads Ziggy to the edge of a bridge and waves goodbye, seemingly encouraging him to jump. Greater clarification of Jael’s meaning to Ziggy would have made the short film all the more compelling.

Nonetheless, the film leaves a powerful lasting impression. Together, Anthony Brooks’ gorgeous cinematography and the emotive acting push the viewer to think more critically about mental health and the various societal factors that compromise it. The final words of the film, “God’s got you,” are an unexpected yet bold statement from Siriboe,

presenting faith as a key motivating force to overcoming depression.

However, he warns his viewers not to take these words as a suggestion that religion is the remedy to mental health troubles. “If we do believe in God and believe He is going to heal us, He relies on our actions and our faith,” Siriboe says in the film. “We can’t just sit back and keep dying and keep smoking blunts and keep being depressed and believing some savior is going to come out of thin air and save us. We are gonna have to do our part.”

Though “JUMP” could have more deeply explored what individual and collective action about mental health would involve to elevate its purpose and impact, the film powerfully addresses the significant and poignant topic through compelling artistic choices in dialogue and symbolism.

To access confidential mental health resources, reach out to Counseling and Psychiatric Services at 202-687-6985, or for after-hours emergencies, call 202-4447243 and ask to speak to the on-call clinician. You can also reach out to Health Education Services at 202-687-8949.

KOFI SIRIBOE

“JUMP,” a short film by Kofi Siriboe, who is known for “Queen Sugar,” confronts the distinct mental health problems faced by the black community and the stigma around talking about it. Reflected through clever stylistic choices such as minimal dialogue and symbolism, Siriboe evokes a powerful and original message.

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THE HOYA

FRIDAY, OCTOBER 26, 2018

What to Do in DC

MUSIC

NEW RELEASES

SARAH CAMMAROTA Hoya Staff Writer

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FARIS BSEISO Hoya Staff Writer

TASTE OF DC

The Mid-Atlantic’s largest culinary festival Taste of D.C. will kick off Friday, Oct. 26, to mark its 89th consecutive year of serving up District eats. The festival will move to its new home at Audi Field for the celebration and will feature over 50 of the area’s best restaurants. The event also boasts a beer garden, artisan market and two live performance stages. Tickets range from free to $49.99 for included “taste tokens,” and the event runs from 6 p.m. to 10 p.m. Friday and 12 p.m. to 10 p.m. Saturday.

LUIS FONSI

LIL YACHTY

LIL YACHTY FT. CARDI B & OFFSET, ‘I’M STILL HERE’

LUIS FONSI & OZUNA ‘IMPOSSIBLE’

In one of the standout tracks from his new album, “Nuthin’ 2 Prove,” Lil Yachty teams up with hip-hop’s prince and princess to add another mainstay for people’s playlists. The catchy chorus, coupled with the stellar guest verses and an even stronger Tay Keith beat, give all the ingredients for a certified chart-topper.

After releasing the biggest worldwide track of 2017, what’s next? Luis Fonsi tries to create a worthy follow-up, as he gets ready to deliver his latest album since “Despacito.” In his newest single, he teams up with Puerto Rican singer Ozuna to deliver a reggaeton track that is sure to uplift listeners across the world.

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BENTZEN BALL COMEDY FESTIVAL

Curated by comedian Tig Notaro in collaboration with D.C’s “Brightest Young Things” online magazine, the Bentzen Ball Comedy Festival boasts a weekend of big-name comedians with a humanitarian goal. With events running from Thursday, Oct. 25, until Sunday, Oct. 28, the Bentzen Ball will take over the Lincoln Theatre and feature popular comedians Amanda Seales of HBO’s “Insecure,” Jonathan Van Ness of the popular Netflix series “Queer Eye” and more.

The ball will partner with two nonprofit organizations, Human Rights Watch and WhitmanWalker Health. Tickets range from free to $116.

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BILLIE EILISH ‘WHEN THE PARTY’S OVER’ Given the sophistication of Billie Eilish’s records, it is tough to believe that the Los Angeles native is only 16 years old. In her newest single, she creates her typical melancholic vibe through the use of various vocals coupled together. After riding off the success of her debut EP, “Don’t Smile At Me,” listeners should hope for more tracks like these to come.

THE 1975 ‘IT’S NOT LIVING (IF IT’S NOT WITH YOU)’

THE 1975

The indie rock band’s latest love ballad is a happy track designed to be played with your car roof down during a clear, sunny day — the album on which the song was supposed to appear was even originally called “Music for Cars.”

The new single represents a more pop-oriented approach from the Brits compared to their previous work. Only time will tell if the track’s sound will be a consistent theme as they prepare to release two albums during the next year.

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BRIGHTEST YOUNG THINGS

SMITHSONIAN AFRICAN AMERICAN FILM FESTIVAL

This weekend marks the first African American Film Festival sponsored by the Smithsonian National Museum of African American History and Culture. The festival will feature over 60 screenings of films highlighting the black experience in the United States and will also include paneled discussions and a juried competition. The event takes place at the museum from Oct. 24 to Oct. 27, and tickets range from $10 to $300.

BILLIE EILISH

TASTE OF D.C.

SMITHSONIAN AFRICAN AMERICAN FILM FESTIVAL

PETWORTH DIA DE LOS MUERTOS CELEBRATION

The Petworth Arts Collaborative located in the eponymous Petworth neighborhood will sponsor its second annual Dia de los Muertos celebration Saturday, Oct. 27, from 9 a.m. until 6:30 p.m. The event celebrates the Mexican holiday of remembrance with altar-making workshops all day at different venues around the Petworth neighborhood and culminates with a screening of the family film “Coco,” which deals with themes of the holiday at Powell Elementary School. The event will take place at a variety of neighborhood venues including the Petworth Community Market.

PETWORTH ARTS COLLABORATIVE

FRIDAY, OCTOBER 26, 2018

the guide

THE HOYA

B9

ALBUM REVIEW

Heartbreak on ‘Malibu Nights’ Moves Listeners MALIBU NIGHTS



LANY DENNESE MAE JAVIER Hoya Staff Writer

“What do you do with a broken heart?” If you are Paul Jason Klein, frontman of indiepop trio LANY, you write an album.

The genesis of LANY’s sophomore album was not premeditated. After experiencing the incomparable pain of a first heartbreak, Klein’s music was his method of survival. According to an interview with Harper’s Bazaar, after 41 days of studio time, Klein “lifted [his] head up for the first time and [said], ‘Holy s—t, we just wrote album two.’” Thus “Malibu Nights” was born, concluding LANY’s “rose era,” a reference to the iconic rose emblem of its debut self-titled album, and ushering in its “moon era.”

The band’s first advance single, “Thru These Tears,” was released in mid-July and exhibited promise for the remaining eight tracks on the album. While this song retains LANY’s signature synth-pop style, it introduces unexpected sections of stripped vocals and piano.

The only other time LANY has minimalized the musical traffic in a song was in “ILYSB – Stripped,” and even that did not reach the simplicity found in “Thru These Tears.”

Furthermore, though much of “Malibu Nights” was inspired by Klein’s very public breakup with pop star Dua Lipa, the project is more than a break-up album. Klein initially

wrote the track to make sense of the painful situation he was in, but the song is relatable for anyone who seeks hope in even the most sorrowful situations.

Yet “Malibu Nights” still leaves something to be desired. LANY was cognizant of its gloomy subject matter and created an effective juxtaposition through the upbeat nature of its tracks and visuals to combat the sad undertones. However, the heavy repetition of this technique engendered the album’s principal downfall: its noticeable lack of musical diversity.

While “Malibu Nights” employs sonic patterns reminiscent of the group’s previous discography, there is a clear variation of style between the 2018 release and its 2017 eponymous album. The problem of uniformity arises when “Malibu Nights” stands alone.

Individually, the songs have their own merits, but when the album is played in its entirety it is difficult to differentiate the tracks from one another until the lyrics emerge.

However, upon further encounters with the album, there is a certain depth to be derived from “Malibu Nights.”

The authenticity and depth of emotion in this album are its saving grace. Each track showcases an intense and brave vulnerability that results in universality. Those who have suffered from heartbreak will feel a potent connection to Klein as he recounts the stages

of grief he endured, while those who have not can still absorb the album’s vast emotional range.

The coupling of the snare drums with Klein’s confusion in “Thick and Thin” lays the groundwork for his personal crisis. This stylistic decision is merely one example of the artistic thoughtfulness for which LANY is notorious. Alongside Klein, credit is owed to other LANY members Charles Leslie Priest and Jake Clifford Goss for the execution of these decisions; their masterful work with drums and synthesizers establishes the foundation for “Malibu Nights.”

The album finds its turning point in “I Don’t Wanna Love You Anymore,” which departs from the two preceding songs by changing the energy and slowing the tempo, signalling Klein’s own decisive moment.

The following track, “Let Me Know,” maintains the subdued rhythm of the former, while also infusing hints of jazz and an increased focus on the lyrics. This amalgamation of old and new mirrors the song’s dilemma of simultaneously longing for the past and needing to move on.

“Run” and “Valentine’s Day” are more explicit in their messages, with direct lines such as “I heard from a couple friends / That you’re back with your ex again / But I know there’s no way / After everything you said ’bout him,” and “No matter what I tell myself / She’s not

as good, she’s not as good / She’s not as good as you.” Through these tracks, LANY reintroduces its traditional sound with a twist, expressing a sort of revival.

The album comes full circle with its title track. The song comes in the form of a ballad, which is atypical for LANY. Powerfully honest lyrics like “There’s no reason, there’s no rhyme / I found myself blindsided by / A feeling that I’ve never known / I’m dealing with it on my own” are accompanied by an unprecedented emphasis on the piano and Klein’s vocals. Though not devoid of additional instrumentals, this heightened attention allows the emotions behind the lyrics take center stage.

“Malibu Nights” cues not only the finale of the album but also the resolution of Klein’s heartbreak.

Aside from the initial impression of musical monotony, LANY’s endeavor to confront the complexities of the highs and lows of human life through music is a triumph.

Though the band’s sophomore album is seven tracks shorter than its debut, LANY effectively curated a collection of tracks that stays true to their sound while daring to exhibit courageous vulnerability. This injection of risk into LANY’s distinct sound results in a beautifully introspective product that does not merely speak to listeners but also takes them alongside Klein through his emotional journey.

LANY

Written spontaneously in response to Paul Jason Klein’s breakup with Dua Lipa, LANY’s sophomore album “Malibu Nights” captures the intense vulnerability Klein experienced. The emotionality of the album not exhibited in LANY’s previous work moves listeners who have experienced heartbreak as well as those who have not.

B10

the guide

THE HOYA

FRIDAY, OCTOBER 26, 2018

MOVIE REVIEW

Stilted Dialogue and Dull Colors Spoil ‘Boy Erased’

Directed by: Joel Edgerton

Starring: Lucas Hedges, Nicole Kidman, Joel Edgerton PAULINA ENCK Hoya Staff Writer

“Boy Erased” is a dull examination of tragic circumstances: The talented cast can only do so much to breathe energy into an otherwise lifeless film.

Based on the memoir of the same name by Garrard Conley, the film follows Jared, played

by Lucas Hedges, the 19-year-old son of a Baptist minister who is forced to undergo gay conversion therapy after being unwittingly outed to his parents.

The lack of any sense of direction proves to be the film’s biggest weakness. Actor Joel Edgerton wrote and directed “Boy Erased” and seems comfortable allowing the story to sit in its somber tone without any real movement.

While narratives like those discussed in “Boy Erased” need to be told, the film deserved a more capable director and writer to do such an important and sensitive topic justice.

Without a clear through line, the focus of the film is awkwardly split between two competing narrative threads of Jared and his parents, which do not cohere as well as they should.

Ostensibly, “Boy Erased” is about Conley’s

experience in conversion therapy and the associated trauma. Yet only about a third of the film’s nearly two-hour run time is dedicated to the main storyline. Rather, the bulk of the movie focuses on the effect of Jared’s outing on his conservative, southern Baptist family.

While either plotline could have made a compelling film, the split focus prevents the story from exploring either in any satisfying way. Instead, the film just scrapes the surface of both competing plot threads.

“Boy Erased” manages to make complicated and interesting topics feel dull. Edgerton treats everything he touches with kid gloves, failing to delve deeply into any storyline.

Eduard Grau’s cinematography only exacerbates the banality of the film by using a muted color palate and dark, unsaturated coloring. While the color manipulation is meant to stress the protagonist’s pain, the visually uninteresting and one-note choice falls flat.

Restricted to stilted dialogue and monologues that could be taken directly from after-school specials or public service announcements, the characters often speak in a heightened manner that rings false, particularly when dealing with the film’s messages.

While no film’s dialogue is entirely representative of actual human conversation, Edger-

ton’s script is distractingly unrealistic and untrue.

However, Hedges shines in the lead role as Jared. He exudes a sensitivity and earnestness that draw viewers in, making him the perfect choice for the character. His character’s anguish is clearly displayed in Hedges’ expressive face. Through his expressiveness, he gets the audience to follow Jared’s complex inner life without the need for words. His acting choices never come across as performative or false.

Unfortunately, though Jared is the central focus of the narrative, Edgerton does not give him enough to do. More often than not, he is a passive participant in his own story, only reacting to the horrors around him. While there are some moments of incredible power, including a flashback to an innocent night in bed platonically with a boy from university and his confrontation with the head of the conversion therapy program, these scenes are few and far between.

In their roles as Jared’s parents, Nancy and Marshall, Nicole Kidman and Russell Crowe garner varying degrees of sympathy. The film makes it clear that they are both trying, in their own misguided ways, to do what is best for their son, whom they love.

 Kidman plays the more overtly sympathetic role, emphasized by various monologues expressing Nancy’s love for her son and desire to protect him.

Crowe is saddled with a tougher task.

Where a lesser actor would have reduced his character to a hateful, Bible-quoting stereotype, Crowe infuses Marshall with humanity and a genuine belief that he is doing what needs to be done to save his son. His redeeming moment feels well-earned and strikes one of the stronger emotional chords in the film.

Impressively, the film does not take the bait of outright vilifying the parents or bashing Christianity. Rather, Edgerton’s script takes a more nuanced approach in assessing its characters and their motives.

While the film’s strong performances — led by the talented Lucas Hedges — are exciting to witness, “Boy Erased” is a flat look at a tragic situation. Lacking a unified narrative, the film meanders lifelessly. Only a few moments of great strength temporarily show viewers of the film’s potential for better direction.

Under a more seasoned director or writer, “Boy Erased” could have been a hard-hitting, standout drama. However, as it stands now, the film does not deserve the great performances by its leads.

FOCUS FEATURES

“Boy Erased” covers the tragic story of a survivor of gay conversion therapy in a flat and lifeless way. Although the lead actor, Lucas Hedges, excels as the 19-year-old son of a Baptist minister, the passive role gives Hedges little room to shine. Furthermore, the dull cinematography and unrealistic dialogue suck the energy from the film.

FRIDAY, OCTOBER 26, 2018

the guide

THE HOYA

B11

MOVIE REVIEW

Devoid of Ingenuity, ‘Halloween’ Disappoints Directed by: David Gordon Green Starring: Jamie Lee Curtis, Judy Greer, Andi Matichak JAMES KIM

Hoya Staff Writer

Forty years after the first installment, “Halloween” fails to meet audiences’ high expectations with unnatural and impractical plot development and a lackluster approach to building up the iconic villain that even Jamie Lee Curtis’ solid performance and the occasional witty dialogue cannot overcome.

Following a rewarding career as a producer and director for “Joe” and “Prince Avalanche,” David Gordon Green returns to Hollywood with “Halloween,” the latest in the “Halloween” movie series that kicked off in 1978, depicting the murder spree of a serial killer on Halloween night.

The latest installment deals with the final encounter between Laurie Strodes, played by Curtis, and serial killer Michael Myers, played by James Jude Courtney and Nick Castle, who tried to murder her and many others on Halloween night 40 years ago. Laurie has since

trained herself for one last confrontation with Michael to hopefully put an end to his horrifying rampage.

Curtis deserves much praise for her latest history-making performance as Laurie, the character that made her career 40 years ago. As the film’s protagonist, Laurie shows great charisma and tenacity throughout.

Moreover, Laurie must also protect her daughter Karen, played by Judy Greer, and granddaughter Allyson, played by Andi Matichak. Her demonstrations of love as a mother moved the audience.

Curtis compellingly portrays Laurie as a strong and resolute contender while also capturing the emotional depth of a mother who cares deeply for her children’s safety.

Occasional wit and humor are embedded effectively into the film, making it more enjoyable. In a scene midway through the movie, Michael invades a house where a boy named Julian, played

by Jibrail Nantambu, is staying with his babysitter Vicky, played by Virginia

Gardner. Just as Michael is secretly entering the house to begin his series of murders, Julian amusingly jokes about the rumors he has heard of Michael. The macabre juxtaposition of Michael’s horror and Julian’s humor strikingly breaks up the tone of the film, bringing many viewers to laugh out loud.

Still, aside from Curtis’ strong acting and its comical moments, “Halloween” does not have a lot to offer. Many of the scenes felt too intentional in their setup to the violent scenes of Michael’s evil nature. During most of Michael’s appearances, his forthcoming victims seem to voluntarily lead themselves to places where Michael could easily kill them. Such a lazy development of the plot actually weakened Michael’s aura as a heinous and merciless murderer, as it left almost no room for the element of surprise to bolster Michael’s presence as the terrifying antagonist.

Furthermore, many of the characters were included in the film merely to get caught and eliminated by Michael, as a

 way of simply bolstering the body count of Michael’s murder spree. Though the director did give each of these characters a relationship to the main protagonists of Laurie, Judy and Allyson, their impact in helping the protagonists stop Michael was minimal.

Instead, many of these characters unconvincingly ended up in Michael’s proximity somehow and did not even present a decent struggle against him when they were about to get killed. Had Green done a better job of integrating more creative ways for Michael to eliminate his victims instead of just leading them to him, the film would have been more intriguing.

With lots of room for improvement, “Halloween” disappoints as a sequel to its legendary predecessors. While Curtis’ performance and the occasional humorous scene beg compliment, the film’s uninspired setups to Michael’s murders and excess of unnecessary characters nevertheless fail to reach its viewers’ expectations.

BLUMHOUSE

While audiences have been highly anticipating the newest installment of the iconic “Halloween” franchise, they will be disappointed in writer and director David Gordon Green’s uninspired take. The excessive inconsequential characters and lacking build to the legendary villain fail to match the impressive performance of Jamie Lee Curtis.

ILLUSTRATION BY: ANNA KOOKEN/THE HOYA