The Hoya: The Guide: March 23, 2018 by The Hoya

the guide F R I DAY, M A R C H 2 3 , 2 0 1 8

ILLUSTRATION BY: VALERIE MA AND ANNA KOOKEN/THE HOYA

the guide

THE HOYA

friDAY, MARCH 23, 2018

SHEEL PATEL/THE HOYA

Despite growing isolationist attitudes worldwide, Georgetown continues to prioritize offering an education that promotes intercultural exchange and global awareness. This is demonstrated through the university’s increase in number of languages offered, with Hindi being the most recent addition.

Language Landscape Promotes Multiculturalism Sarah cammarota Hoya Staff Writer

Since Georgetown University’s founding in 1789, the school has encouraged students and faculty members to broaden their worldviews and dedicate themselves to others, regardless of cultural and linguistic differences. Back then, the university offered language courses in Spanish, French and English for nonnative speakers, even publishing a pamphlet for prospective students in each of those three languages in 1789 to reflect the university’s multilingual demographic. From John Carroll to Fr. Edmund Walsh, S.J., Georgetown’s leaders have argued that being people for others requires members of the Georgetown community to cultivate an understanding of others by traversing linguistic barriers. Today, Georgetown has maintained and amplified its dedication to being a linguistically diverse community. Despite increased isolationist sentiments in domestic politics the university continues to be a place where faculty and students are encouraged to explore the rich intersections of culture, language and learning. A History of Internationalism As World War I drew to a close in 1919, Georgetown further built upon its global emphasis through the establishment of the School of Foreign Service under the di-

rection of Walsh himself. Intended to prepare students for international service, the school offered eight languages at the time of its formation: English, French, Spanish, Russian, Portuguese, Chinese, Japanese and Arabic. “We have, in fact, much less concern for numbers than we have as to the caliber and trustworthiness of the training these men will have who shall leave this school and enter foreign service,” Walsh said when revealing his plans for the SFS to faculty and students in 1919. In 1949, the SFS founded the Institute of Languages and Linguistics, which offered programs in 30 languages. Its rigorous teaching system was revolutionary for its time because it utilized Simultaneous Interpretation, a process pioneered by the United Nations that allows people to communicate directly across language boundaries, right from its Electronic Learning Laboratory, according to university archives. This commitment to languages is still present in the SFS today; students must be enrolled in a language course each semester until they reach advanced proficiency as determined by an oral exam proctored by faculty from that language department. “Part of our goal is to have students that are very aware of and engaged in the world,” Senior Associate Dean for Undergraduate Affairs Daniel Byman said in an interview with The Hoya. “When a student graduates from the School of Foreign Ser-

vice, they can really function in a foreign language in a professional setting.” Georgetown’s emphasis on language stems from its dedication to being an international institution. The emphasis on languages in curriculum of SFS is mirrored by that of the College, which requires students to demonstrate proficiency in a language through the intermediate level, and the McDonough School of Business, which requires its International Business Regional Studies and International Political Economy and Business majors to complete the equivalent of an intermediate language level. According to Byman, Georgetown’s student body also exhibits this commitment to language immersion and cultural studies. “I think the size of the student body at Georgetown that’s interested in these issues and that participates in intellectual or club or other activities that are focused on the world is really stupendous,” Byman said. “It marks our campus in a way I really admire as a teacher, not as a dean, that makes our classes special” A Growing Plurality of Languages The College currently offers programs in 20 languages through the Faculty of Language and Linguistics; 10 languages are offered as majors and 13 are offered as minors. In 2016, 5.1 percent of all bachelor’s degrees conferred by the university stemmed from this department, according

to the Common Data Set initiative. The department continuously adds new areas of study, as well as develops the language programs already in place. The newest addition to the language curriculum will be courses in Hindi, which are planned to begin fall 2018. The SFS offered Hindi in 2007, but cut the program after a year because of budget restrictions. This addition comes just two years after the SFS began allowing students to pursue language minors through the College. The Polish program began in 2002 as part of the department of Slavic languages and the Center for Eurasian, Russian and East European Studies. Pioneered by associate professor Svetlana Grenier, who joined the department of Slavic languages in 1991, the Polish program is one of the youngest language programs on campus. In recent years, the current Director of Polish Studies Iwona Sadowska, who also teaches Russian language and Slavic literature, observed a sudden surge of students desiring to learn Polish. “When I ask why the students decided to learn Polish, the answers vary from Polish being linguistically rich, complex and fascinating to a language increasingly popular both within the region and outside,” Sadowska wrote in an email statement to The Hoya. “In England and Wales, Polish has become the most commonly spoken nonnative language.”

friday, MARCH 23, 2018 The rich nature of Georgetown’s Polish program extends beyond the classroom walls. Like many of the language programs at Georgetown, the program actively engages in the intersections between language and community through exhibitions, film screenings and guest lecture events in the Intercultural Center Galleria. The Polish Studies program and the Polish Association of Georgetown have co-sponsored events enjoyed by members of both the Polish community at Georgetown and the larger university community. These events included guest lectures with former Polish President Aleksander Kwaśniewski in 2006 and former U.S. Ambassadors to Poland Stephen Mull (SFS ’80) and Victor Ashe. Additionally, Sadowska noted the importance of language at Georgetown as a means of community for native speakers. “It is natural that students look for spaces on campus that promote the language they grew up listening to. That linguistic link between their homes and the Hilltop is often the only constant part on campus while everything else is new,” Sadowska wrote. Cultural Community With more than a dozen culture and language groups on campus, language at Georgetown extends beyond the classroom, also acting as the basis for community. One such student group is the Georgetown University Russian Association, which arose from founder Cailin Brady’s (COL ’20) desire to fill a language gap on campus.

the guide “I came to Georgetown as a freshman super excited to participate in Russian department life and I just assumed there was Russian club because it’s Georgetown,” Brady said in an interview with The Hoya, alongside fellow GURA executive board members Oksana Reed (COL ’19) and Camilla Aitbayev (COL ’19). Brady soon discovered that Georgetown lacked a Russian student group. So, in spring 2017, she formed GURA, which was quickly approved by the Student Activities Commission. Language-related student groups at Georgetown, however, are not limited to native speakers or those currently learning the language. In fact, many student groups, like the Asian American Student Association and the GU French Cultural Association, engage with members across a number of cultural and linguistic backgrounds. “Most of our members’ parents are from Russia or they are Russian themselves, or take the language here, but we do have quite a number of people who are interested in the culture,” Brady said. “It’s not only people coming from Russia but a lot of the countries that have spoken Russian historically,” Aitbayev added. Other student groups, such as the Latin American Student Association or the South Asian Society, use dance or artistic activities to celebrate the intersection of linguistic culture and the communities. One such event is Reventón Latino. Established in 2006 to showcase Latinx diversity through the music, dance and social justice, Reventón is sponsored by

THE HOYA

over 10 on-campus organizations, including the Georgetown University Center for Latin American Studies and the Caribbean Culture Circle. On March 17, Reventón brought together the rich traditions of a diverse range of Latin American and Caribbean cultures and ultimately raised $5000 toward the rebuilding of hurricane-damaged Puerto Rico. Reventón is not the only cultural event on campus dedicated to social justice through the celebration of diversity. It is also not the only one that does so through dance. Rangila, sponsored by the SAS, is a showcase of South Asian dance styles held each fall in Gaston Hall. Similar to Reventón, Rangila utilizes its celebration of community in diversity for a social good. In 2017, all proceeds from the event went toward Lend-A-Hand India, an nonprofit with the goal of spreading vocational education and development to underpriviledged youth in India. Whether through student clubs or campus events, language and culture work hand in hand on campus not only as a means to enrich cross-cultural dialogue but also as a tool for amplifying social justice. Looking Toward the Future Language is a constantly evolving part of the academic and cultural community at Georgetown. As international and domestic demographics change, so do the means by which individuals communicate. While Georgetown has plans to add languages like Hindi in the future, the

university is still lacking in many critical languages from South Asia, Southeast Asia and Africa. At present, the only opportunity for students to take coursework in languages like Hindi, Burmese, Indonesian and Vietnamese is through classes offered by Johns Hopkins University’s School of Advanced International Studies located on Massachusetts Avenue. These courses do not count toward a Georgetown student’s GPA. Additionally, it can be difficult to take multiple language courses at once, which is why a group of students is pushing for the FLL to add one-credit language courses. According to Byman, this deficit stems not from a lack of desire to provide these languages, but a lack of resources. “I want to make sure that it’s a language that we can offer through proficiency,” Byman said. “This is something that I personally support but is something that’s very much a resource issue at the university.” While resources substantially handicap the implementation of new curricula in any department, students continue to request new language programs. Sadowska hopes the aspirations of Georgetown students will shape the future of language curriculum. “If we have students who are strongly committed to contribute to the study of a particular language, I don’t see a reason why we should not offer it at Georgetown,” Sadowska said. “The university is for our students. They should be involved the decision-making process regarding their studies.”

LEFT: GEORGETOWN UNIVERSITY; RIGHT: GEORGETOWN RANGILA

Georgetown’s language programs have changed greatly since the university’s founding, when only three languages were offered. Still, many languages are not represented in the curriculum. There are future plans to add a Hindi language program, and a group of students is pushing for one-credit language courses, increasing the number of courses available to students.

THE HOYA

the guide

friDAY, march 23, 2018

feature

D.C. ENVIRONMENTAL FILM FESTIVAL

The D.C. Environmental Film Festival was founded in 1993 by Flo Stone, an environmentalist who has spent a large portion of her professional career serving her community through conservation education. This year, the environmental film festival featured 100 films at nearly 30 locations across Washington, D.C.

Environmental Film Festival Combines Art and Activism

Alexandra brunjes Hoya Staff Writer

Screening over 100 films at nearly 30 locations across Washington, D.C., the D.C. Environmental Film Festival is informing and impressing audiences from March 15 to 25 with a broad selection of environmental cinema. The DCEFF, now in its 26th year, is the largest film festival in the District and the largest environmental film festival in the world. “It takes a very small village about a year to plan this,” Maryanne Culpepper, executive director of the festival, said in an interview with The Hoya, noting the intricate marketing and scheduling efforts that underpin the festival’s continued success. The DCEFF is a meticulously planned and truly remarkable feat of programming. The DCEFF was founded in 1993 by Flo Stone, an environmentalist who has spent a large portion of her professional career serving her community through conservation education. Her many achievements include serving as the Film Chair for the Smithsonian’s National Forum on Biodiversity, authoring the filmography for the Ocean Planet exhibit at the National Museum of Natural History and receiving

Washingtonian Magazine’s first “Green Hero Award” in 2008 and the Rachel Carson Award from the Audubon’s Women in Conservation in 2015. In 1989, Stone cofounded Trees for Georgetown, an organization dedicated to preserving Georgetown’s historic character that transplants trees that have been damaged by inclement weather. Despite Stone’s many achievements, DCEFF is arguably her most successful brainchild — last year, the festival had about 30,000 participants, a number that seems to be growing. One of the primary draws of the festival is the breadth of the topics that it covers: Films consider subjects such as food waste and ocean pollution but also discuss more niche and fascinating subject matter. One of the highlights of the festival was the screening of “Jane” at the National Geographic Society on March 20. “Jane” is a 90-minute film detailing the life of Jane Goodall, a British secretary-turned-primatologist who is widely considered the leading expert in chimpanzee research. The film features footage from the 1960s that was rediscovered in 2014 and juxtaposes brilliant shots of Goodall’s experience with chimps against current interviews of

her recounting her experience. In a testament to the remarkable planning of the DCEFF, the screening of “Jane” was bookended by two wonderful supplements. Before the film’s start, the audience was first addressed by Culpepper and then by Kathy McLeod, a Bank of America expert in global financing and environmentalism who previously worked at The Nature Conservancy. Bank of America is one of the festival’s largest sponsors, and as McLeod stated, in giving capital to the DCEFF and similar important causes, “the bank lives the ethic of making the world a better place.” After the introductory addresses, a clip was shown of Goodall speaking to the DCEFF audience and expressing her belief that this film was an accurate and inspiring reflection of her life. “I hope you’ll feel something of the magic of exploring the unknown world,” she said. Following the film was a panel with the executive director of the Jane Goodall Institute and the documentarian who made the first film about Goodall in 1989, both of whom were receptive to audience questions. This hands-on and interactive programming was provided by the DCEFF for only $10 per ticket.

A less extravagant example of the DCEFF programming is that at E Street Cinemas. On March 18, the theater screened four short films as part of the festival, listed on the program as “Shorts Program 4.” The first was titled “La Cumbre,” or “The Summit,” and told the story of Kathy Pico, an Ecuadorean woman who lost her leg and then rediscovered her sense of joy when she tried to summit Mount Cayambe with a group of other amputees. “When I lost my foot, I put two feet on the ground,” Pico said. The film ended with a biting statistic — 80 percent of amputees are in developing countries and only 2 percent have access to prostheses — and a nod to the Range of Motion Project, which gave Pico her prosthesis. The second film, “Return from Desolation,” focused on Garrett Eaton, an Afghanwar veteran who says that he was “saved” by Desolation Canyon in Utah. The film features sweeping shots of the canyon and of Eaton rafting on the river, as well as touching close-up shots of Eaton describing his “four rad kids” and the way that his family comes together in the outdoors. The third film was titled “The Mirnavator” and focused on Mirna Valerio, an overweight runner from Brooklyn who

friday, march 23, 2018

the guide reads and reacts to a hateful email calling her a “fraud” for insinuating that people who are overweight can run and be beautiful. Valerio, an endurance athlete who spends her weekends training and running 30 kilometers at a time, was sunny and positive in her response. “I feel strong and powerful, and in that, I feel beautiful,” she said, describing how constantly proud she feels of the athletic feats that her body is capable of. “A Steelhead Quest: Portrait of a Rivered Life” was the fourth and final film shown in “Shorts Program 4.” The film focused on Terry Myers, a steelhead fisher who embarked on a quest to catch a steelhead in a different river for each month of an entire year, a journey that brings her and her husband across the country and even to Alaska. The film discusses Myers and her husband’s lives on their ranch and the joy that they find in steelhead fishing, as well as the ways in which it has diminished because of environmental changes. “Shorts Program 4” exemplifies the diversity and scope of the DCEFF’s programming and the range of environmental issues that the festival works to shed light on. In addition to its broad scope, one of the cornerstones of the DCEFF is its reach: Selections from the festival are screened at myriad locations across the city, which allows residents to participate in the festival without travelling long distances. “Our founder Flo Stone started this festival 26 years ago, and it was always her ambition that it was a citywide festival for the people,” Culpepper said. “It is part of our DNA that we want to be across the city. We don’t want to just focus on one place.” The nearly 30 locations that house

THE HOYA

the festival include movie theaters, embassies, universities and museums; this year’s events took place at the National Archives, E Street Cinemas and the Embassy of Canada, among others. Culpepper feels that this is important because it enables interested citizens from to partake in the festival regardless of geography. Despite the broad span of locations, the DCEFF has four signature venues: National Geographic Society, Carnegie Institution for Science, E Street Cinema and the Naval Heritage Center. No matter the location of the screening, the DCEFF is admirably well-organized and welcoming to all viewers. At each location, volunteers in green aprons greet guests and direct them to the screening; a table laden with DCEFF flyers and schedules stands near the theater; and each film is presented cheerfully presented by an informed and excited volunteer. In this way, and in many others, the DCEFF is truly remarkable. It presents high-quality, easily accessible films, and despite the spread of locations and co-occurrence of many of its screening times, the festival never seems rushed or frazzled, but rather like a labor of love. Staying true to the goals of its founder, the success of the DCEFF is driven by the passion of its team and the strength of its message of environmental preservation. “I really hope that people walk away from one film or 12 films and are inspired to do something to make the world better,” Culpepper said. “If everybody walked away from one of these movies changing one small thing that they did, that’s also going to affect somebody else and somebody else — it’s a way to change the world. And that’s my goal.”

TOP LEFT: lET MEDIA; BOTTOM LEFT: D.C. ENVIRONMENTAL FILM FESTIVAL; BOTTOM RIGHT: NATIONAL GEOGRAPHIC STUDIOS

The D.C. Environmental Film Festival featured films covering a variety of environmental topics, including “A Steelhead Quest: Portrait of a Rivered Life,” which follows a fisher on her quest to catch a steelhead in a different river each month for an entire year, highlighting the increasing difficulty of the pasttime because of climate change.

the guide

THE HOYA

the music on my playlist

friDAY, march 23, 2018

table for two

Gandhi: Music on My Playlist Impossible Trinity of Dining Maya Gandhi (SFS ’20) currently serves as an executive editor for The Hoya and previously served as Opinion Editor.

‘Sit Next To Me’ by Foster the People With a slow, dramatic introduction that builds into a head-bopping beat and an irresistibly catchy chorus, “Sit Next to Me” stands out on Foster the People’s 2017 album “Sacred Hearts Club,” which otherwise fell flat. The song’s psychedelic undertones harken back to the band’s 2014 album “Supermodel,” but the group’s typical electronic, synthesized style is balanced by a poppy rhythm that gives the song mainstream appeal. Above all, this fast-paced, fun song invites listeners to further explore Foster the People’s work.

‘cOME THROUGH AND CHILL’ BY MIGUEL (FEAT. j cOLE AND SALAAM REMI) In “Come Through and Chill” — first introduced to me by a review in The Hoya — Miguel’s effortlessly relaxed vocals are paired with J. Cole’s bars: “In case my lack of reply had you catchin’ them feelings / Know you’ve been on my mind like Kaepernick kneelin’ / Or police killings, or Trump sayin’ slick s--t / Manipulatin’ poor white folks because they ignant.” Though the gravity of the issues J. Cole invokes, such as police brutality and systemic racism, starkly contrasts Miguel’s playful nature, both elements create a sense of relatability: By evoking both our greatest anxieties and our small twinges of regret, the duo creates a thought-provoking, melancholy song with lyrics that will stick in your head for months.

Toby Hung and Daniel Almeida

CAGE THE ELEPHANT

‘CIGARETTE DAYDREAMS’ BY CAGE THE ELEPHANT Rounding out my playlist is this ode to the crown jewel of Southern California by none other than my middle school icon, Miley Cyrus. Powerful vocals lift up this emotional performance, and Cyrus’ honest self-evaluation connects with any audience. A summer release, “Malibu” reminds me of both sandy beaches and seagulls back home and the journey that’s brought me where I am today. “Malibu” is a triumphant song, presenting a singer who has matured and grown over the past 10 years and causing me to look back at the obstacles I have overcome to become the person I am today.

‘fLUORESCENT aDOLESCENT’ BY ARCTIC MONKEYS The Arctic Monkeys’ quintessential sense of rebellion and angst comes through clearly in “Fluorescent Adolescent.” Though the lyrics are perhaps pessimistic, warning that “the best you ever had is just a memory,” the upbeat tempo — paired with the teasing vocals of lead singer Alex Turner — transforms the song into a deceptively cheerful romp through the challenges of aging and its accompanying nostalgia.

‘tWO WEEKS’ BY gRIZZLY bEAR

MIGUEL

Odds are that you have probably heard this song. The iconic keyboard introduction of Grizzly Bear’s 2009 tune can be heard in a slew of places from an episode of the CBS show “How I Met Your Mother” to a Volkswagen commercial that ran during Super Bowl XLIV. Still, what is most impressive about “Two Weeks” is its sheer power in simplicity. Despite the song’s minimalistic lyrics, the band’s harmonious vocals dovetail perfectly with the synthesized keyboard and underlying drums to create a sense of drama that makes this song an underrated indie classic.

n earlier iterations of this column, we sought to describe singular experiences we have had at restaurants, reporting the highs and lows of dining in Washington, D.C. Since our last piece, we have surveyed a dozen more toothsome bites and gourmet grub, including those found at Garrison, Cafe Berlin and Thip Khao in the District, and flour + water and Auberge du Soleil in the San Francisco area. Two weeks ago, as we closed off an excellent meal at California’s flour + water with a salted caramel gelato, we pondered the very question of what makes a restaurant superior: Is it the aggregate quality of all the dishes combined? Or the experience of being in the physical space, surrounded by food, beverages and company? Of course, the most appropriate system would consider a holistic set of criteria, taking the entire dining experience into account. With our experiences in mind, we derived the theory of the impossible trinity of dining. Any introductory course on international economics worth its salt will feature at least a cursory discussion of the impossible trinity. The hypothesis essentially states that it is impossible for a nation to have more than two of the following: a fixed exchange rate, an independent monetary policy and free flow of capital. We shall skip over the mechanics of this theory, at risk of re-traumatizing any readers enrolled in International Trade. Such an impossible trinity exists too in the restaurant business. From our experience, we have found the majority of restaurants can only excel at a maximum of two of the following: cuisine, service and decor. Our first case study is the esteemed Restaurant at Auberge du Soleil, a staple of Napa Valley, Calif., and a gastronomic treasure trove. Stepping into the ligneous dining room is an experience, not to mention the sweeping vista of the vineyards afforded by the outdoor terrace. Our server and sommelier were both knowledgeable and attentive, especially as our meal extended into the late evening. Yet the dishes were disappointingly standard for their hefty price, featuring an overly-salted Petrale sole and peculiarly cold veal sweetbreads. The restaurant prioritized style over substance, though the former certainly impressed.

The restaurant flour + water offered a phenomenal pasta tasting menu: The gold beet chitarra with Dungeness crab, pomelo, uni butter and mint stood out from an already terrific repertoire. The waitstaff was properly trained in thoroughly explaining the dishes, as well as the wine that paired with each pasta. The decor, however, was nothing to write home about. The space was dimly lit — unconducive to the photographic documentation of our meal. If the interior of the restaurant was decorated at all, we would not have noticed. Occasionally, one comes across a restaurant that — in delivering neither adequate eats nor etiquette — satisfies little more than the eye. Garrison, a New American eatery in Barracks Row on Capitol Hill, fit this description. Serving self-proclaimed seasonal and locally sourced fare, the restaurant underwhelmed with its overpowering fondue, overpriced bison hanger steak and overfamiliar cauliflower. The chic surroundings did little to salvage the subpar experience. Still, the more catastrophic part of the meal was the ineptitude of our servers. The plural is no mistake: We had at least four waiters tend to our table over the course of the meal, all of whom seemed puzzled about our queries. One dish was mysteriously retracted after it was served, without explanation. The maitre d’ lost one of our jackets at the coat check and did not care to help recover it. It appeared the only thing that was locally sourced at Garrison was the lack of coordination and glacial inefficiency of the staff. Fortunately, a few restaurants defy the trinity altogether and offer an all-around superb culinary experience. D.C. Laotian joint Thip Khao was a delight — full of pleasant surprises for any diner unacquainted with the cuisine. Who knew fried pig ears could be so moreish? The hustle and bustle of the open communal space also added an excitement to the evening and the waitstaff was swift and adept. Another exception is Cafe Berlin, a German eatery that serves some of the best Bavarian-style pretzels and currywurst in D.C. The homey ambiance and friendly staff affirmed the restaurant as one of our new favorites. For the average restaurant, however, the impossible trinity remains an unfortunate reality. Most restaurants cannot be good at everything, but we will continue, as we have done, to seek them out. We eagerly await the day the exceptions to our theory outweigh the rule. Daniel Almeida is a senior in the McDonough School of Business. Toby Hung is a senior in the College. Table for Two appears in print every other Friday.

friday, march 23, 2018

the guide

THE HOYA

Theater review

FOLGER SHAKESPEARE LIBRARY

“The Winter’s Tale” uses colorful costumes, designed by Kelsey Hunt, that draw from early 1900s fashion as well as 1970s style to distinguish Sicilians from Bohemians. The actors also bring life to Shakespeare’s classic language with exaggerated mannerisms and folksy music that keep the show moving.

‘The Winter’s Tale’ at the Folger Theatre Mesmerizes kATHRYN bAKER Hoya Staff Writer

“Love makes beggars of us all.” This poetic phrase encapsulates the central theme of the Folger Theatre’s performance of William Shakespeare’s “The Winter’s Tale” — the inextricable nature of love and suffering. A trio of romance, tragedy and comedy, Folger’s rendition of this Shakespearian classic transports its audience to a realm of possibility where love has the power to heal even the harshest wounds. “The Winter’s Tale” follows the families of King Leontes of Sicilia, played by Michael Tisdale, and his longtime friend King Polixenes of Bohemia, played by Aldo Billingslea. Blinded by jealousy, Leontes accuses his pregnant wife, Hermione, played by Katie deBuys, of having an affair with Polixenes and banishes them both from Sicilia. Once Hermione gives birth to a girl named Perdita, Leontes demands that his newborn daughter also be banished from Sicilia. Polixenes, too, flees to his country, Bohemia, where the play’s action resumes 16 years later. The second half of “The Winter’s Tale”

begins with the revelation of the forbidden relationship between the now grown and beautiful Perdita, played by Daven Ralston, and Polixenes’ son Florizell, played by Drew Drake. From here, the play centers on forgiveness as a grieving Leontes seeks mercy for his injustices toward Hermione, Polixenes and Perdita. “The Winter’s Tale” is riddled with dualities — life and death, beginning and end, fact and fiction — that director Aaron Posner perfectly executes without distracting from the play’s dialogue. The characters often break the fourth wall to engage directly with the audience. In one instance, the audience becomes the jury for Hermione’s trial, highlighting the interplay of fantasy and reality inherent in Shakespeare’s work. Duality is also present in Kelsey Hunt’s costumes. While the Sicilians don sophisticated culottes and gowns reminiscent of the early 1900s, the Bohemians’ wardrobe matches their name, aligning more with the carefree vestments of the 1970s. One standout is Perdita’s white lace dress, complemented by a crown of pink carnations on her head, which mimics her status as a pure embodiment of hope and goodness. Although the whole cast works together

to make Folger’s “The Winter’s Tale” successful, it is the women of the show who hold the spotlight. Under Posner’s direction, Shakespeare’s lines take on new meaning, representing a feminist demand for recognition and equality. Ralston and deBuys bring spunk to their roles, elevating the traditional portrait of mother and daughter. When Hermione is accused of adultery, she boldly proclaims, “I am not prone to weeping as so our sex commonly are.” Later, overcome by anger, Hermione’s closest confidant, Paulina, played by Grace Gonglewski, risks her life to stand up to Leontes. Together, the two are powerful reminders to women everywhere to remain steadfast when faced with adversity, especially poignant considering today’s #MeToo movement and Women’s Marches. In terms of the show’s male characters, the strongest performance comes from Tisdale. Mastering an array of emotions, from jealousy to pain to contentment, Tisdale brings an element of authenticity to the role of Leontes. He embodies the joy that can stem from pain and proves that it is possible to redeem oneself from sin. Although the antiquated language of “The Winter’s Tale” is not as difficult as some

of Shakespeare’s other works, its plethora of plotlines can be hard to follow. However, the thespians account for this possibility through exaggerated, often comedic, mannerisms and crisp musical numbers. Mostly folksy in style, the show’s music, directed by Liz Filios, captures the comedic, tragic and romantic moments that may be hard to grasp otherwise. One standout moment is when the thief Autolycus, played by Kimberly Gilbert, performs a cheery song on the ukulele, but struggles to swap what were previously raunchy words with clean content. What follows is a moment of pure comedy, an escape within an already escapist work. Despite its chilling name, “The Winter’s Tale” leaves the audience with feelings of warmth and optimism. It transports the audience to two magical lands, each filled with its own toils and possibilities. To echo Filios’ musical motif, Folger’s “The Winter’s Tale” is sure to make a beggar out of any Shakespeare lover.

Folger Theatre’s “The Winter’s Tale” is at Sidney Harman Hall until April 22. The show is about two hours and 45 minutes long and tickets range from $35-79.

THE HOYA

the guide

friDAY, march 23, 2018

FEATURE

CAROLINE PAPPAS/THE HOYA

Finger snaps and light laughs filled the corner of Uncommon Grounds on Tuesday evening as Georgetown students shared their poetry, music and comedy acts for the Uncommon Voices spoken word night, part of the Georgetown University Arts Week. Here, Gilbert Saldaña (COL ’19) performs spoken word.

GU Arts Week Stresses Need for Creative Resources

Eliza Phillips Hoya Staff Writer

Though the Georgetown University Arts Week began slowly with a sparsely attended arts forum, the tenacity of its leaders and the passionate performances of its participants resulted in a light-hearted and highly creative five days. In a muchneeded attempt to foster the arts scene at Georgetown, students with diverse artistic backgrounds came together to celebrate the ways art can empower and enlighten the human experience. Arts Forum: Small but Mighty Perhaps because of the last-minute location change from the Arrupe Multipurpose Room to a starkly lit room in the Reiss Science Building, the kick-off event of the GU Arts Week, the “State of the Arts Forum,” started out slowly. Several people arrived late and a few left early, which could not have been helped. However, the small audience quickly proved their passion and strong opinions would make up for their number. The moderator Ahmed Latif began the discussion by encouraging participants to “express your joys, express your frustrations with Georgetown arts.” Though the rewards of artistic expression certainly may lead to joy, it became apparent in the first few minutes of dialogue that there are also many frustrations with the arts scene at Georgetown. Foremost among student complaints was the over-controlling and expression-

limiting Georgetown bureaucracy. Alex Mitchell (COL ’18), executive producer of the Georgetown Improv Association, felt that this bureaucracy forces students to think outside the box and tap into their creativity. “The fantastic bureaucracy that we have does something very interesting,” Mitchell said. “It encourages people to be truly ambitious and to be self-starters when it comes to things artistic on campus. It means that people who do end up in the arts at Georgetown are extremely driven and creative.” The flipside of this positive perspective is that the arts administrators are not working hard enough to make the arts accessible and visible for all, according to Mitchell. He immediately noted the limited artistic environment when he first came to Georgetown. “I was very frustrated because I was like where are the creative people? It is so preprofessional. It’s so pre-Deloitte,” Mitchell said. Andrew Molinari (COL ’21) brought an interesting perspective to the conversation as someone new to Georgetown, pointing to Georgetown’s lack of resources for budding student artists. “If I have a band and I want to start a show on campus there are very few resources for that. I feel like there aren’t very many arts-specific spaces on this campus,” Molinari said. With the exception of the Davis Performing Arts Center, Poulton Hall and the art galleries, Molinari is right. Bulldog Al-

ley and the LXR Multipurpose Room, both places where performances have been held in the past, are used by a wide range of other organizations like Georgetown University Boxing Team and Georgetown Club Fencing. Toward the end of the hour-long discussion, the group agreed that two main points should be considered in promoting the arts at Georgetown: visibility and funding. Molinari again highlighted the need for better relations with Georgetown as a whole. “A lot of the discussion and ideas moving forward is how do we cater our art to the rest of the community,” Molinari said. “How do we get people to see us?” Jemma Fagler (COL ’18), a member of Mask and Bauble Dramatic Society, echoed his point. Speaking from the perspective of an actress, she discussed the restrictions of the limited arts audience at Georgetown given that many people respond only to popularized shows. “Can we put on a show nobody recognizes? There’s a chance nobody is going to show up,” Fagler said. Despite the thin crowd and room change, the arts forum turned out to be an incredible platform for students to share their ideas and opinions, many of which centered around frustration with the bureaucracy. Yet, there was also a general consensus that Georgetown encourages its students to be both creative and persistent. Hopefully, the arguments and proposals put forth during the forum will help spark a change in the Georgetown arts scene.

Uncommon Voices: A Spoken Word Open Mic Finger snaps and light laughs filled the corner of Uncommon Grounds coffee shop on Tuesday evening as Georgetown students shared their poetry, music and comedy acts. Though the noise and lighting of the location made a truly magical open mic impossible, the content of the poetry and the comedy act made up for this. Poetry topics ranged from reverse exorcisms and heartbreaks to child crusades and summer antics. Poetry novice Caroline Healey (COL ’20) approached the microphone with a small journal in hand, shyly telling the crowd she had committed to writing a poem every day of 2018 and asking them to pick the dates for her to read poems from. This encouragement of audience interaction kept the mood light and created a sense of community in the room. Particularly memorable was event organizer Egan Barnitt’s (NHS ’21) performance of a poem detailing a past relationship, which taught her something extraordinary can happen in the most ordinary places. Her skillful pacing and intonation strikingly portrayed the intense feelings this relationship involved. The true highlight of the night, however, was the honesty and vulnerability of the performers; each came without any false airs, presenting their ordinary student lives in entertaining ways using wit, and emotion to captivate the audience. The student art gallery, which was scheduled to be in the Healy Family Student Center at 7 p.m., was cancelled due to inclement weather.

the guide

friday, March 23, 2018

THE HOYA

Concert Review

Billie Eilish Black Cat Annie Gott

Special to the Hoya

Gray-haired, 16-year-old singer Billie Eilish is full of paradoxes. Her voice is light, angelic and mature well beyond her years, but allusions to violence in her lyrics and more ominous production give her songs a darker, biting edge. Her stop at the Black Cat, a music venue in downtown Washington, D.C., on March 20 as part of her Wheres My Mind tour was no different, as Eilish effortlessly shifted between raving across the stage and slowing down for her most delicate songs. An employee of the Black Cat said that in the 16 years he has worked at the venue he had never seen so many people arrive so early for an artist. The punctuality of the attendees is a testament to the devotion of Eilish’s fans, who have helped her go from a SoundCloud discovery to a major label artist who performed on “The Tonight Show with Jimmy Fallon” on March 22. The crowd was overwhelmingly female and young, so much so that the tables at the far back of the venue were populated with parent chaperones, and the hysteria at the concert surrounding Eilish rivaled that for any boy band.

An eager audience was greeted by opener Reo Cragun and his hype man and DJ kIEroglyphics. Cragun, a rapper who incorporates elements of rhythm and blues, did a good job of keeping the crowd’s energy up while waiting for Eilish. Sometimes the distortion of his voice in songs was excessive, but his reflective, slow jam “inconsiderate” about a relationship gone wrong was a standout that allowed his vocals to shine. However, the crowd was extremely antsy for Eilish after Cragun finished. The audience members started three separate “Billie” chants before the show finally began around 9:30 p.m. Her brother and keyboardist, Finneas O’Connell, and another bandmate first appeared with “BILLIE” printed on bandanas over their faces and distributed money with Eilish’s face on it to the audience using money guns. Eilish then finally emerged amidst the stage fog to deafening screams dressed in her signature outfit: a hoodie, beanie and gold chains. Her hip-hop inspired attire is an example of how Eilish subverts expectations. She made the most of the small stage with a white screen surrounded by round light bulbs that changed colors and flashed along to the music. Eilish kicked off the show with the upt-

The Neighbourhood

empo and delightfully twisted track “bellyache” from her EP “dont smile at me,” but she was barely audible over the roar of the crowd. She then moved into the softer, piano-backed ballads “idontwannabeyouanymore” and “watch,” which were flawless when her airy voice was able to rise above the singing of the audience. Her performance of “watch” blended the original with the more avant-garde “&burn” remix, during which she rapped the verse of Vince Staples, who appears on the studio version of the track. After continuing with softer tracks “bored” and “six feet under,” she invited her brother, O’Connell, to perform one of his own songs, a sultry rock number, solo. As O’Connell wrote or co-wrote all of the songs on her EP and plays the keyboard for her live performances, fans were familiar with him and eager to hear him sing. After his performance, Eilish came back out, ukulele in hand, and fans knowingly cheered in anticipation. First, she launched into a stunning, stripped-down cover of Drake’s “Hotline Bling,” which perfectly showcased the purity of her falsetto and was a highlight of the night, before segueing into the expected “party favor.” When Eilish talked to the audience in between songs, she appeared as a goofy, self-dep-

Album Review

The Neighbourhood CHARLOTTE LINDSAY Hoya Staff Writer

Weakly grasping at straws to regain the magic of its early career, alternative rock band The Neighbourhood fails to inspire listeners through the repetitive lyrical themes and awkward incorporation of current musical trends on the group’s self-titled third album. The Neighbourhood first appeared on the music scene in 2013 with “I Love You.,” an alt-rock album featuring No. 1 charting single “Sweater Weather.” Other early works of The Neighbourhood include “#000000 & #FFFFFF,” a project that was released for free in 2014. These early sounds were cohesive and amassed a following of “Hoodlums,” a term fans call themselves. Five years later, however, this fan base is dwindling –– the group’s third album has reached only No. 61 on the United States Billboard 200, while “I Love You.” reached no. 25 –– and “The Neighbourhood” explicates the crisis of the identity that comes with the end of a band’s 15 minutes of fame. The band appears to have been chasing after

recating teenager who showed a lot of love to her fans, telling the audience: “I want to thank you guys for existing.” When it came time for her to perform an unreleased track she hinted at the crowd to put away the phones that had been a near constant presence in the air, saying “if you just look up and look at me,” prompting everyone to be present and savor the soft ballad that sometimes rose only above a whisper. “ocean eyes,” the delicate and hypnotic song that launched her career and was just certified Gold in the U.S., selling over 500,000 units, ended with a sweet a capella singalong, and after it concluded Eilish exclaimed: “You guys hit a spot in my heart, f--k!,” one of many expletives throughout the show. After bringing back the energy with “my boy,” she left the fans shouting for the encore before reappearing to shush the crowd and sing “hostage,” arguably the most delicate and haunting ballad off the EP and another standout of the show. She noted that “this is one of the best crowds I’ve ever had” and asked the crowd to “jump like a motherf---ing kangaroo” for the last song, “COPYCAT.” The audience enthusiastically obliged and when the concert was over Eilish happily collapsed into the arms of the crowd, a symbol of her close connection with her fans and of a job well done.

 the success of “Sweater Weather,” falling short each time. Many songs from “The Neighbourhood” have already appeared on previous EPs released by the group, leaving fans with little in terms of new content. “Flowers,” which opens the album, responds to those attempting to put The Neighbourhood in a box –– those who want the band to behave and perform like more normalized hyper-masculine artists. Doing so would, however, be a departure from traditional alt-rock culture, best embodied by the ’90s band Nirvana. A scroll through lead vocalist Jesse Rutherford’s Instagram reflects this desire to stand out as he appears shirtless, lips smeared with red lipstick in several photos. Somewhat ironically, it seems that The Neighbourhood is trying too hard to reinvent their sound, desperately clinging to relevancy and employing current pop trends, largely unsuccessfully. “Flowers,” especially, is far too autotuned. The band’s failure to capitalize on current trends is clear in the second song on the

track list, “Scary Love, ” the first single from The Neighbourhood’s 2018 EP “To Imagine.” The transition from “Flowers” to “Scary Love” is rough and reflects the group’s inability to find –– and more importantly, to stick with –– one sound. “Scary Love,” as implied by the title, is dark and heavy, featuring knocking synth and strong drum beats. Whereas the previous track was pop-based, “Scary Love” is clearly not. Thematically, the works of The Neighbourhood reflect little growth and personal development. The songs are almost exclusively downers, with a focus on lost, happier days. “Sadderdaze,” track 7 on the album, reflects this trend perfectly. With “Saturdays are not the same as they used to be / Sadder days, why do they keep on using me? / They keep on using me” as the chorus, the group’s wistful, bitter perspective on fame is clear. The repetitive thematic nature of The Neighbourhood’s music has little longevity. It seems like the band is just making the same song over and over, making “The Neighbourhood” a tedious, boring listen. On “#000000 & #FFFFFF,” the group at-

tempted more of a hip-hop approach, and when the album did not get the reaction they hoped for, The Neighbourhood went right back to the moody, reflective tunes that first made them famous. The return feels, however, like a detached, uninvolved effort. “The Neighbourhood” is dramatic, over-the-top and dark for the sake of being dark –– none of which is executed in a convincing or powerful way. Track 9, “You Get Me So High,” proves to be the most honest on the album. The group reflects on hit-track “Sweater Weather,” with Rutherford singing that “for a long time I took it all for granted / I really thought we had it.” This lyric makes clear that the group is aware of their downward trajectory, with a strong start in 2011 and a gradual decline –– with the occasional spike, to be sure –– since then. Listening to “The Neighbourhood,” it is hard not to feel sorry for the group. If The Neighbourhood wants to succeed in the future, the band will need to truly reinvent itself. In doing so, it must pick a style and stick to it, instead of haphazardly hopping on and jumping off various trends.

B10

the guide

THE HOYA

FRIDAY, MARCH 23, 2018

What to Do in DC

MUSIC

NEW RELEASES

WILLIAM LEO

Hoya Staff Writer

MADDIE FINN AND NOAH HAWKE Hoya Staff Writers

FALL OUT BOY CONCERT

Tonight the Anthem will feature a concert by Fall Out Boy. This concert is part of a tour organized to help end gun violence. The punk-pop band will be playing songs from its new LP, “Mania,” as well as classics from throughout its career. Tickets can be purchased at the door for $50 with a student discount.

SNOOP DOGG

THE MAGIC GANG

SNOOP DOGG FT. SLY JORDAN THE MAGIC GANG AND DAZ DILLINGER, ‘CHIZZLE’ ‘GETTING ALONG’ Snoop Dogg took his music in an unexpected direction with his new album, “Snoop Dogg Presents Bible of Love” by combining rap and gospel in a sophisticated 32-song opus. “Chizzle” stands out with its ethereal groove and relaxed rap that can be appreciated by Snoop Dogg fans and skeptics alike.

The Magic Gang, a four-piece British band from Brighton, recently released its longawaited debut album. With tastefully angsty lyrics and a driving beat, it seems like it could be from any era. Taking the music scene by force, “Getting Along” and The Magic Gang both have the makings of a hit.

MARCH FOR OUR LIVES

On March 24, millions of people of all ages will come together in D.C. from across the country to protest gun violence in the United States. The March for Our Lives will take place from 12 p.m. to 3 p.m., between Third and 12th Streets NW.

The National Gallery of Art will be showcasing its fabulous collection of Cezanne’s innovative and influential portraits beginning March 29. This exhibit is an opportunity to study the highly personal craft of one of the most accomplished painters of the 20th century. It will also feature some portraits visiting from overseas, including paintings that have never before been shown in the United States. Admission is free.

JIMI HENDRIX

PANIC! AT THE DISCO

JIMI HENDRIX ‘$20 FINE’

PANIC! AT THE DISCO ‘SAY AMEN (SATURDAY NIGHT)’

“$20 Fine,” with Stephen Stills, Mitch Mitchell and Duane Hitchings, is featured on the album “Both Sides of the Sky,” a compilation of 13 remastered songs recorded by Jimi Hendrix. This track in particular harkens back to the crazy era in which it was recorded while still being something that can be played in 2018. They croon, “But I know our time is comin’ / Everything we want is just around the corner,” one example of the tracks timeless lyrics. The attitude and musical mastery of “$20 Fine” serves as a reminder of why Hendrix has withstood the test of time.

Fresh off a surprise show in Cleveland the other night, Panic! at the Disco dropped the first single from its upcoming album, “Pray for the Wicked.” A fast-paced and exciting track with some interesting samples, “Say Amen (Saturday Night)” features lead singer Brendon Urie reconciling his career and lifestyle with the rigidness of his Mormon roots. He uses witty wordplay like “swear to God, I ain’t ever gonna repent” and “I pray for the wicked on the weekend” to paint a picture of an ambiguous dichotomy between the two perspectives. “Pray for the Wicked” is set to be released June 22 and is sure to include a few more rousing tracks.

FALL OUT BOY

HANNAH LEVINE FOR THE HOYA

CÉZANNE PORTRAITS

NATIONAL GALLERY OF ART

LA GRANDE FÊTE

Come celebrate French culture, language, and food March 23 at the Embassy of France to the north of campus on Reservoir Road. Doors will open at 7 p.m. and festivities will last until 11 p.m. There will also be music from across the Francophone world, including the Caribbean, Africa and Asia.

American history is filled with examples of the misrepresentation of people of color. With “UnSeen: Our Past in a New Light: Ken Gonzales-Day and Titus Kaphar,” the two sculptors address this abscence in American colonial sculpture. The exhibit will take place at the National Portrait Gallery starting March 23. Admission is free.

FRANCOPHONIE FESTIVAL

UNSEEN

NATIONAL PORTRAIT GALLERY

friday, March 23, 2018

G-Eazy

the guide

THE HOYA

B11

concert review

DAR Constitution Hall tarina touret Hoya Staff Writer

Dressed in an all-black outfit with his hair greased back and gold chains bouncing off his neck, G-Eazy turned the DAR Constitution Hall, a theater-like venue with carpeted floors, into a club last Saturday. As he ripped through songs off his latest album “The Beautiful & Damned,” as well as a few of his other popular songs, G-Eazy inspired the audience to jump, sing and shout. Constitution Hall was transformed — doused in flashing lights as the audience, consisting mostly of young adults and teenagers, bopped their heads and pumped their arms. G-Eazy, born Gerald Earl Gillum, grew up in Oakland, Calif., and rose to prominence after releasing his major-label debut album “These Things Happen” in 2014. His third album “The Beautiful & Damned” was released in December 2017 and features artists like A$AP Rocky, Cardi B, Charlie Puth and G-Eazy’s current girlfriend, Halsey. On the album, G-Eazy uses his buttery vocals in an alluring and captivating manner to

Annihilation

underscore the preeminence of his lyrics, which pair well with the beats in the background. As the clock eased to nine, the lights dimmed and the audience screamed. The words “Part I: The Beautiful” appeared on the LED screen on the stage. As soon as G-Eazy appeared, the audience began to dance. G-Eazy was not accompanied by any background dancers; rather, he dominated the stage and invigorated the audience with his presence. Confidently rapping “But a Dream,” he attempted to split the crowd in half, determined to see which side was “going harder.” Covered in sweat and taking only brief, occasional breaks between songs to drink water, G-Eazy was extremely engaging. Perhaps the most defining feature of the concert was G-Eazy’s ability to tailor his songs to the audience, adding an intimate touch to the concert experience. He incorporated the letters “D.C.” into his lyrics several times and, at one point in the evening, even brought an audience member onto the stage and danced with her for a few minutes. Later, before

performing “I Mean It,” he spoke broadly about human nature with a humorous anecdote about never wanting to drink again while still wanting to go out and party. After these dance-intensive songs, stars began to twinkle on the LED screen and G-Eazy asked everyone to turn on their flashlights. Gradually, the audience’s faces were illuminated as he rapped about letting go of the past in “Fly Away.” Following this moving and expressive performance, there was a long pause. Suddenly, the words “Part II: The Damned” were projected in red. G-Eazy returned, decked in white with a fringe jean jacket. In Part II, G-Eazy continued to hype the audience with songs like “Random” and “You Got Me,” which was a particular hit with the audience. Between songs, he spoke about his struggles as an artist and the importance of having a big imagination, as he once envisioned the nine people who showed up to a show early

movie review

Directed by: Alex Garland Starring: Natalie Portman, Oscar Isaac, Tessa Thompson Megan Shapiro Hoya Staff Writer

Back in 2015, director Alex Garland made his debut with surprise hit “Ex Machina,” which blended compelling visuals with a poignant discussion of sentience, transcending the modern science fiction genre. Garland’s latest film “Annihilation,” based off Jeff VanderMeer’s 2014 eponymous novel, further expands the definition of science fiction, while maintaining the sense of mystery that permeates the genre. The movie’s action takes place in some part of the Southern coast, presumably in Florida, at a government Area X facility. After a meteor crashes into a lighthouse, the surrounding area is forever altered by the “shimmer,” an iridescent aura that transforms the laws of physics. This shimmer becomes the subject of intense curiosity to the U.S. military: Specialized troops are sent into the shimmer in an attempt to study the phenomena only to end up missing. Merely one veteran, Kane, played by Oscar Isaac,

in his career as the immense crowd now cheering in the DAR Constitution Hall. The impression these words left on the audience was vast: His vulnerable message gave the audience hope to succeed in their dreams. G-Eazy dedicated “Part III: Epilogue” to his most popular songs: “Him & I,” “No Limit” and “Me, Myself and I.” Before starting, he revitalized the crowd by telling them he was only going to perform “platinum s--t” in this last phase. He ended the concert with a “message for the guy who lives next door.” As he coolly walked off stage “FDT (F--k Donald Trump)” began to play and the audience could be heard chanting the song as everyone left Constitution Hall. G-Eazy gave a charming and authentic performance, projecting an enthusiastic desire for everyone to enjoy the night. Whether or not listeners are familiar with G-Eazy’s songs, his concerts are definitely worth attending: The party he throws rivals that of any club or bar.

returns, but he is ill from the expedition. The film then turns to Kane’s wife Lena, played by Natalie Portman, who is also a veteran. To investigate the cause of her husband’s illness, Lena decides to enter the shimmer with a team of female scientists. Garland’s “Annihilation” departs from the norm of casting primarily male protagonists, featuring an almost entirely female cast, including Portman, Jennifer Jason Leigh, Gina Rodriguez, Tessa Thompson and Tuva Novotny. Together, they bring a new perspective to the maledominated science fiction genre. Moreover, these characters’ scientific backgrounds provide a fascinatingly analytical look at the alien environments they face, as opposed to the often violent or imperialistic tones that often underlie other examples of the genre. The scientists’ goal is to understand and study the shimmer, rather than conquer or kill it. The slow, suspenseful pace of “Annihilation’s” takes a deeper look at humanity by exploring how the situations thrust upon us can change us in unforeseeable

ways. As the film progresses, it becomes clear that the shimmer might not be the most dangerous threat. While the shimmer causes the surrounding area to morph into a wild nightmare, the real danger lies within the people who choose to enter it. The intense situation leads the women to question their sanity and the sanity of those around them. All the protagonists bring their own baggage with them into the shimmer, treating the dangerous mission as an escape. In such an alien environment where the familiar is transformed, the protagonists’ inner conflicts are refracted into the world around them. Although their struggles always existed, the life-threatening situation of the shimmer brings their issues to the surface, and they can no longer ignore the problems that had previously been drowned out through ordinary distractions. This conflict between the internal and external is one of the film’s strongest themes. The film’s cinematographer Rob Hardy, who also shot “Ex Machina,” works with Garland to transform the natural world

 into a stunningly chilling scene. Often the camera will focus on one aspect of the shimmer and quickly subvert to the next image, disorienting the audience and capturing the inner turmoil of Lena and the crew. The bone-chilling attacks of mutated animals paired with the intricate set design further immerse you in the characters’ world. Ben Salisbury and Geoff Barrow’s haunting score adds the final chilling element to the film. “Annihilation” is by no means an easy viewing. There is no single theme; rather, it is a movie about biology, marriage, self-destruction, Earth’s environment and humanity. The film’s multiple points of access welcome varying understandings and beg the audience to reinterpret its initial conclusions. Garland’s risky subversion of Hollywood’s expectations for science fiction paid off in this intellectual, breathtaking film. Mimicking Lena’s belief that the shimmer aims to create new life, “Annihilation” is “not destroying” the science fiction genre; rather, “it’s making something new.”

Illustration BY: MINA LEE AND MICHELLE ZHU/THE HOYA