1 0 . 2 6 . 1 7 / / F R E E E V E RY T H U R S D AY
LET THEM EAT CAKE
Take a bite out of the wedding cakes that are trending in CoMo this year PAGE 5
SPOOKY TUNES
Show off your best Monster Mash at these Halloween music events PAGE 15
T he future is female
( fi lms) As Citizen Jane celebrates 10 years, the world needs its spotlight on women’s voices more than ever before PAGE 7
IN THIS ISSUE
ONLINE
October 26, 2017 VOLUME 19 ISSUE 28 | PUBLISHED BY THE COLUMBIA MISSOURIAN
FEATURE Every year, the Citizen Jane Film Festival recognizes feminist power in the film industry. On the cover, Vox recreated a photo of Ms. magazine founders from 1979. PAGE 7 THE SCENE You don’t have to be a pro to whip up some hearty eats. Any cook can master these easy slow cooker recipes. PAGE 4 June might seem like the most popular month for weddings, but October has grabbed the bouquet. Chow down on these trending cakes. PAGE 5 NEWS & INSIGHT Some state officials now carry opiod overdose reversal medication Narcan. Vox has a breakdown of what you need to know. PAGE 6 MUSIC Halloween music doesn’t have to send chills down your spine. Get fancy, or go crazy with these four music events. PAGE 15 ARTS & BOOKS Stomp, clap, tap and slide. Sit back and watch as dance groups perform Pantsula and Gumboot, two South African dance styles. PAGE 16 Step into the world of modern art. The 2017 Autumn Exhibit at Sager Braudis Gallery features etchings, portraits and more. PAGE 17
SWEET AND SALTY Don’t settle for plain Gala or Fuji apples. Get creative with these recipes for sparkly caramel or pretzel-covered apples. THE COSMO IS THE LIMIT Local entrepreneur Bea Doheny combined her love of astronomy and business to create jewelry that’s out of this world. In this video, learn how to make her stylish Pluto choker. LOOKING THROUGH THEIR EYES Dare to imagine. Every year, the Columbia Art League pairs local artists and writers to trade works with one another. They then depict the works in their own medium. Take a look at the entries compiled this year.
EDITOR’S LETTER
Q&A: ASHLEY CRAFT Ashley Craft graduated from MU with a degree in Science and Agricultural Journalism. Now, she’s preserving the program’s impact. PAGE 18 CORRECTIONS: From the Oct. 19 issue, the updated 2017 number of immigrants naturalized in the U.S each year is 700,000 to 750,000; “free-from” is the correct name of the baking trend. From the Oct. 12 issue, Maude Vintage owner Sabrina Garcia-Rubio’s name was spelled incorrectly.
COVER DESIGN: ALEXANDRA WOZNICZKA COVER PHOTO: EMILY JOHNSON
MADISON FLECK EDITOR-IN-CHIEF
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Like millions of other women, I have been sexually assaulted and harassed. Men in positions of power as well as men I thought were friends or mentors have touched me in ways they shouldn’t have and called me explicit names that made me uncomfortable. They told me I was sexy and that I need to smile more. They told me the “erotic” blue color of my dress made me look more attractive that day. In the past few weeks, more than 12 million women have come forward with #metoo posts on Twitter and Facebook about being sexually harassed or assaulted. This, brought on by the dozens of women who have now said film producer Harvey Weinstein sexually harassed them over decades. Many industries are plagued by men like Weinstein or Bill O’Reilly who prey on women, convincing them they must submit in order to be successful. It’s a move fueled by power and ego, and it’s become a norm in some careers. It must stop. It’s vital to bring these issues forward, and part of that is shining a light on the inequity in positions of power in such industries. This is something that Stephens College’s Citizen Jane Film Festival has been doing for a decade. The festival highlights the contributions of women in film, because women still make up such a small number of big-budget and big-box office directors and other leading roles. On the pages of this week’s feature (Page 7), you’ll find a guide to the female-directed films in this year’s Citizen Jane. Our film matrix navigates you to which movies best fit what you’re looking for, and we’ll tell you about the new award this year for the women who have long been pushing the film industry forward. Citizen Jane is a light in a long, dark tunnel of inequality. But it’s highlighting the issue and continuing the much-needed discussion.
VOX STAFF Editor: Madison Fleck Deputy Editor: Sten Spinella Managing Editor: Kelsie Schrader Digital Managing Editor: Lea Konczal Multimedia Editor: Meg Vatterott Online Editor: Brooke Vaughan Art Directors: Keegan Pope, Alexandra Wozniczka Photo Editor: Erin Bormett News & Insight Editors: Lauren Puckett, Rachel Treece The Scene Editors: Brea Cubit, Brooke Kottmann, Lily Zhao Music Editors: Lis Joyce, Amanda Lundgren Arts & Books Editors: Karlee Renkoski, Mary Salatino, Micki Wagner Contributing Writers: Taylor Banks, Emma Beyer, Kristin Blake, Alex Edwards, Jasmine-Kay Johnson, Kaylin Jones, Caroline Kealy, Meghan Lally, Rick Morgan, Rachel Phillips, Bianca Rodriguez, John Sadler, Samantha Stokes, Caroline Watkins, Meghan Weinewuth, Catherine Wendlandt, Chloe Wilt Editorial Director: Heather Lamb Executive Editor: Jennifer Rowe Digital Director: Sara Shipley Hiles Office Manager: Kim Townlain
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RADAR
Vox’s take on the talk of the week
SPICE UP YOUR HALLOWEEKEND Whether you’re looking for a fright or just to have some October fun, these three events offer a variety of excitement for kids and adults alike: Halloween Spooktacular Monday, 5–7 p.m. Missouri Children’s Museum
Fearfest Haunted House Thursdays, 8–10 p.m., Fridays and Saturdays, 8 p.m.– midnight and Sundays, 8–10 p.m., through Nov. 6 6402 Highway 40
Shryock’s Callaway Farms Corn Maze Fridays, 4–9 p.m., Saturdays, 10 a.m.–9 p.m. and Sundays, 2–6 p.m. through Nov. 7 2927 County Road 253
GOODBYE, BENSON
JFK DOCS RELEASED Never-before-seen documents related to the 1963 assassination of John F. Kennedy are being released today.
54
years since the documents were sealed in 1963.
3,000+
will be released online.
88%
Actor Robert Guillaume died Tuesday at age 89 in his Los Angeles home. He was born in St. Louis and made his way up in the acting world. Depending how old you are, you might know Guillaume as Benson Dubois in the sitcom Benson or as the mystical voice of Rafiki in Disney’s The Lion King. He was the first black actor to sing the title role of Phantom of the Opera, and he earned a Tony nomination for his role in the all-black cast of Guys and Dolls in 1977.
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of pages had already been disclosed by the National Archives with redactions. Visit 2017jfk.org to access these files.
ALERT! MU said Friday its alert system is just fine even though students complained about lack of detail and direction during an active threat situation this past week. It’s at least a reminder to sign up at: mualert.missouri.edu
If you’re in need of a new soundtrack to keep you upbeat as the weather turns dreary, search no further. Here are some autumn album releases to look out for: Nov. 3: If you liked his single “Too Good at Goodbyes,” stay tuned for Sam Smith’s The Thrill of It All. Collaborations are headed your way in Maroon 5’s sixth studio album Red Pill Blues featuring ASAP Rocky, SZA and more. Nov. 10: Taylor Swift is keeping up her new scandalous style with her album Reputation. Nov. 17: Tim McGraw and Faith Hill’s first joint album The Rest of Our Life gives a sneak peek into the artists’ life as a married couple.
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Written by: Mary Salatino, Micki Wagner and Lily Zhao PHOTOS COURTESY OF AP IMAGES, PIXABAY AND WIKIMEDIA COMMONS
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THE SCENE
Dishes you’ll be goblin up
Get this party started with four Halloween-themed slow cooker recipes BY SAVANNAH WALSH One cold, dark All Hallows Eve, an eerie silence consumed the kitchen, which was illuminated only by moonlight. The scariest thing wasn’t the costumes or prospect of unwrapped candies but an impending Halloween party. Without. Any. Food. Fear not, busy party hosts and culinary novices. Local personal chef Gaby Weir has four fright-free recipes that require nothing more than a sixquart slow cooker and a preference for the flavors of fall. These recipes will take away the pressure of cooking party-themed treats and let you focus on what really matters: throwing the spookiest party of the year.
Apple Butter Bourbon
Created exclusively for Vox, this witches’ brew is designed to raise your temperature and get you tipsy. Start to finish: About 6 hours Servings: 22 What You’ll Need: 1 teaspoon allspice 4 cinnamon sticks 1 teaspoon cloves, whole 1 teaspoon nutmeg 1 gallon apple cider 1 cup brown sugar 1 liter bourbon 4 large apples, julienned 1/4 cup pomegranateseeds What to Do: Place the allspice, cinnamon sticks, cloves, nutmeg, cider and brown sugar into the slow cooker. Cook on low for 4 to 6 hours. When ready to serve, add the bourbon. Garnish with apples and pomegranate seeds. Serve in a heat-resistant mug.
Pumpkin Crostini with Caramelized Apples and Onions In this savory dish, Weir pushes the boundaries of pumpkin-inspired cuisine. Start to finish: 4 hours 30 minutes Servings: 8 What You’ll Need: 2 cups pumpkin, medium diced 1 tablespoon extra-virgin olive oil 1/4 teaspoon salt 1/4 teaspoon pepper 1 onion, chopped 1 apple, julienned 1 ounce balsamic vinegar 1F renchb aguette, cut into 1/4-inch slices What to Do: Place the pumpkin in a slow cooker, and drizzle with oil, salt and pepper. Cook for 4 hours on low, or until soft, and then drain. Place pumpkin back into slow cooker to keep warm. Smash with a fork. Preheat oven to 350 F. In a skillet, place the onion, apple and balsamic vinegar. Add a few drizzles of oil and salt, and cook over medium heat until caramelized. The vinegar and any liquid should be completely reduced to a syrup-like consistency. Place the bread slices on a baking sheet, drizzle a bit of oil on top, and bake 6 to 8 minutes, or until 4
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The Pumpkin Crostini’s caramelized apples and onions are meant to resemble edible worms. Local personal chef Gaby Weir creates and modifies four slow cooker recipes exclusively for Vox readers’ Halloween parties.
golden brown. Spread the pumpkin puree on toasted bread slices, and top with caramelized onion mix.
Pumpkin Soup Infused with Coconut and Cilantro
Inspired by Weir’s Venezuelan roots and current Midwestern home, enjoy this non-traditional take on an October classic. Start to finish: 4 hours 15 minutes Servings: 8 What You’ll Need: 1 cup onions, chopped 1/2cupcarrots, diced 1/2 cup fresh fennel, diced 4 cloves garlic, minced 4 cups pumpkin, medium diced 1/2 teaspoon kosher salt 1/2 teaspoon freshly ground pepper 4 quarts water, enough to cover all of the veggies 1 cup coconut milk 1–2 ounces of lime juice, to taste 1/2 bunch fresh cilantro What to Do: Place the onion, carrots, fennel, garlic and pumpkin into a slow cooker. Season with salt and pepper, and toss to coat all of the vegetables. Pour water over vegetables until almost covered. Cook for 4 hours on low. Once tender, transfer to a blender, or insert a hand-blender, and blend with coconut milk, lime and cilantro. Season with salt and pepper to taste. For an extra frightful and spicier variation, add smoked chipotle peppers or curry powder to the vegetables.
The Perfect Skewered Caramel Apple Bar
Weir encourages you to be a guest at your own party. Prep
this deconstructed caramel apple a day ahead of the party by creating caramel sauce out of sweetened condensed milk in a slow cooker. Start to finish: 8 hours 20 minutes Servings: 36 What You’ll Need: 2–4 14-ounce cans of sweetened condensed milk 1 cup mini chocolate chips 1 cup unsweetened coconut flakes 1 cup assorted milk chocolate candies, such as M&M’s 1 cup peanuts, chopped 1 cup pepita seeds 6 apples, sliced in sixths, soaked in water with a dash of lemon juice 36 small skewers or large toothpicks What to Do: Day before party: Place cans of unopened sweetened condensed milk into the slow cooker, and fill slow cooker with water so the cans are completely submerged. No part of the cans should be out of the water during cooking process. Cook on low for 8 hours. Replenish water if necessary. Pull cans out of water with a canning gripper, or tongs, and allow the cans to cool to room temperature on counter before opening. Day of party: Skewer each apple slice, and place in container filled with water and a dash of lemon juice to keep the slices fresh. Arrange a display of small bowls, and fill each with the cooled caramel sauce, mini chocolate chips, unsweetened coconut flakes, milk chocolate candies, chopped peanuts and pepita seeds. Pull the slices from the water, and place them on a large serving platter beside the topping bowls when ready to serve. PHOTOS BY OR COURTESY OF JEREMY JOHNSON AND GABY WEIR
THE SCENE
October weddings take these cakes
Step aside, June; there’s a new matrimonial month BY ALEX EDWARDS
October signals the start of colorful leaves, sweater weather and spooky house decorations. It’s also now the most popular month for weddings, beating out June, according to The Knot. If you got married on Oct. 7 or 14, you joined couples everywhere in matrimony on the most desired days of 2017. In honor of weddings taking place this month, Vox talked with local baking experts Edith Hall, master sugar artist at Edith Hall Cakes, and Cherie Rutter of Cherie’s Cake Boutique to see what they’ve been whipping up in the kitchen.
IN Dummy cakes
OUT
Rose gold cakes
Drip cakes
Rose gold has always been favored in the fashion industry, but we can also credit the iPhone 6S for helping popularize the color. Hall says women in their mid-to-late 20s are asking for an exact rose gold or some sort of copper variation. “I would say it’s definitely come in the last year,” she says. Rutter says she expects the color to continue to rise everywhere because trends sometimes reach the Midwest later than the coasts.
Unicorn cakes
If you’ve been on social media, you’ve probably noticed that the unicorn phenomenon has skyrocketed. Starbucks frappuccinos, makeup tutorials and Drake’s pajama set helped popularize this 2017 trend. But if you’re looking for a pastelcolored wedding cake, Hall has a warning. “The only problem with a lot of colors is that if your guests eat them, they also get to have lips, teeth, tongue that color,” she says.
Traditional cakes
Buddy Valastro made fondant icing a craze with his over-the-top creations on Cake Boss, but Hall says that’s not the case anymore. Buttercream borders and stringwork, which used to cover every cake in the ’80s, is making a comeback for a more classic look. As for fondant cakes, Rutter says they are expensive and labor-intensive.
Last year, Facebook was cluttered with videos of how to make a cake look like the icing was dripping down the sides. But the drips aren’t here to stay. Both Hall and Rutter have barely had any customers ask for one. Rutter has never had a couple ask for a drip cake, and Hall says she’s probably done one.
Shape cakes
Let’s throwback to when we were tiny humans, and all we wanted was a cake shaped like Mickey Mouse and other beloved Disney characters. Although those might have been popular during childhood, Rutter says they’re slowly starting to fade as people are preferring molded shapes that are more 3D. “They’re trademarked cakes,” she says. “Disney doesn’t allow those to be sold, so I think that kind of helped take care of those going out of style.”
Naked cakes
These cakes are made exactly how they sound — naked, either partially or completely. The icing is spread so lightly that the cake underneath peeks through. Hall says she hopes this trend will start to fade because it doesn’t show her skill level as a baker. Rutter agrees. “If you don’t like a lot of frosting, it’s okay, but to me it’s like you’ve forgotten something,” she says. “It’s more of a crumb coating, and then you didn’t finish what you started.”
and
If a couple wants an elaborate, sugary display to last the entire night, a dummy cake might be the right move. Hall made one that was 42 inches in size. “The cake had one little place in it where the bride and groom could slice,” she says. “They got to exchange their pieces, but the cake stayed on display all night long.” The rest of the cake is made out of material such as styrofoam. However,
couples should be careful. Rutter warns that the dummy cakes can be just as expensive as regular cakes.
PHOTOS COURTESY OF FANTASTIC DESSERTS
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NEWS & INSIGHT
The necessity of Narcan Access to the overdose-reversal medication has expanded, so here’s what that means for the Show-Me state BY SAMANTHA STOKES More than 900 Missourians died from an opioid or heroin overdose in 2016, according to the Missouri Department of Health and Senior Services. If you find that number staggering, you’re not alone. In July, Gov. Eric Greitens signed a bill that gave the Department of Health and Senior Services power to make medication for opioid overdoses available across the state, among other changes. Over the past few months, Missouri State Highway Patrol troopers, conservation agents and park rangers began carrying naloxone, an opioid-overdose antidote. Narcan is a brand name of the drug. Here’s what you should know about how the drug works, its safety and who’s using it.
save a life. “Since 2010, in the U.S. the No. 1 cause of accidental death has not been motor vehicle crashes,” O’Connell says. “It’s been accidental drug overdoses. It’s got to start with saving a life, and so that’s what the patrol is doing (with) Narcan. That’s just the start.” It’s safe and easy to administer. Troopers, conservation officials and park rangers carry naloxone nasal spray. The spray is designed to work regardless of sex, size or weight. “In the setting of a suspected overdose, giving the medication is low-risk and high-reward,” says Dr. Howard Tseng, an emergency medicine resident physician for MU Health Care. It’s made to be simple so that first responders with minimal training can safely use Narcan in the field.
Troopers, conservation agents and park rangers are being trained to handle Narcan for a reason. Brandon Costerison of the MO-HOPE Project, an organization that provides training on using the drug, says these officials are likely to respond to or witness an overdose before an ambulance’s arrival. “In an emergency, that’s who gets called,” he says. Their use of Narcan helps bridge the gap until the ambulance can arrive on-site.
Narcan reverses the effects of an opioid overdose when it reaches the brain. Prescription opioids treat severe pain by interacting with the brain’s pain receptors. An overdose on these opioids can cause someone to stop breathing, which can result in death if not treated. Narcan competes with the opioid to displace it from the receptors. “By displacing the opioid medication, it basically can reverse the effects of an overdose,” Tseng says.
In August, 75 officials were trained to administer Narcan nasal spray. Mike O’Connell, communications director for the Missouri Department of Public Safety, emphasizes how important it is to
It works quickly. Narcan can be given through several routes of delivery. The preferred form of administering naloxone is via IV, Tseng says, but this can be difficult to do in a high-stress situation even with
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Some say easy access to Narcan promotes substance abuse, but Brandon Costerison of the MO-HOPE Project disagrees. It saves lives until people can receive treatment, he says.
proper medical training. So the nasal spray of Narcan is a good alternative because it’s easier to use and can prevent spreading of blood-borne illnesses, among other reasons. The drug can reverse the effects of an opioid overdose in as little as 2 to 3 minutes, according to Narcan’s website. “There is a high concentration of blood vessels in the nasal area that can rapidly absorb the medication administered there,” Tseng says. Multiple Narcan doses might be necessary. Narcan might not outlast an opioid overdose, Tseng says. Whoever administers the medication must continue to monitor the victim for returning signs of an overdose and issue another dose if necessary.
PHOTO COURTESY OF AP IMAGES
THELMA AND LOUISE*
A DEC ADE OF
put ting female filmmakers in the spotlight The Citizen Jane Film Festival continues to connect female students with film professionals who create stories that empower women BY ANN MARION
A
decade ago, a popular film lecture series at Stephens College evolved into what would become an internationally recognized festival of women’s contributions to an industry that so often overlooks them. The Citizen Jane Film Festival is a feminist powerhouse that has the ambiance of an intimate gathering of close friends and has drawn approximately 6,000 film-focused women (and men) to the heart of mid-Missouri every year. Although the festival has expanded in size and content, at its core, it remains dedicated to launching Stephens College students into film careers with guidance from industry professionals. Festival director Barbie Banks, who has been a part of Citizen Jane for quite some time, has seen the festival do just that. After the screening of Love Stinks last year, the film’s producer and director met with veteran filmmakers and connected with students. Banks says she sees that as the epitome of Citizen Jane. “You could see this clear line; that’s why we do this festival,” Banks says. “We’re making changes in women’s lives who want to be filmmakers.” Stephens senior Ty-Kiera Berry met Love Stinks director Alicia Harris during the event in 2016. The two discussed their experiences as women
CITIZEN JANE BOX OFFICE: 1405 E. Broadway Box office hours: Thursday, 3–8 p.m.; Friday, 9 a.m. to 8 p.m.; Saturday, 9 a.m. to 9 p.m.; Sunday, 10 a.m. to 6 p.m. 815-5849; boxoffice@citizenjanefilm.org *For this feature, Vox recreated classic feminist images from history and film. Read more about our source materials on page 14.
T IMELI N E: THE EVOLUTION OF CITIZEN JANE 2008:
The Citizen Jane Film Festival begins as a way to expand the Stephens College film lecture series, which connects students with industry professionals.
2010:
Lena Dunham’s Tiny Furniture opens the festival. Dunham, who wrote, directed and starred in the film, would go on to create the HBO hit series Girls and pen the bestselling autobiography, Not That Kind of Girl: A Young Woman Tells You What She’s Learned.
2009:
Festival attendance doubles from the previous year, and Citizen Jane becomes a mainstay of Columbia arts and culture. PHOTOS BY OR COURTESY OF EMILY JOHNSON, AP IMAGES, PIXABAY AND CITIZEN KOCH
2011:
Citizen Jane screens Niki Caro’s drama Whale Rider, starring Keisha Castle-Hughes. At the movie’s release in 2003, then 13-year-old Hughes was the youngest-ever nominee in the Academy Award Best Actress category.
2012:
The festival hosts its first-ever Citizen Jane Summit, a discussion on the current state of women in film that brings together filmmakers and scholars from across the country.
2013:
Citizen Jane screens controversial documentary Citizen Koch, co-directed by Tia Lessin, which explores how money influences American politics after the Supreme Court’s Citizen United decision. 10.26.17
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S TEPHENS COLLEGE’S HOLLYWOOD HIS TORY Any Stephens College attendee will proudly inform you that iconic actress Joan Crawford was a student in fall 1922. She left to become one of the most well-known names in Hollywood but not before making a lifelong friend of then dean James Madison Wood. Each year, Stephens presents “The Joan Crawford Effect,” which showcases her letters to Wood and gowns similar to Crawford’s in the 1930s and ’40s. This year’s exhibit at Lela Raney Wood Hall will stay open until Dec. 17.
HIT REWIND, AND WATCH THESE FILMS FROM PAST FESTS Trouble in the Water: Tia Lessin’s 2003
Academy-Award nominated documentary offers a sobering look into Hurricane Katrina. Citizen Jane showed the film in 2008. Watch it on SundanceNow and Amazon Prime.
Daughters of the Dust :
Citizen Jane screened Julie Dash’s 1991 classic about the multi-generational journey of an African-American family in 2016. Find it on Netflix.
I Believe in Unicorns: Director Leah
Meyerhoff brought her first feature-length film, the 2014 coming-of-age drama, to Citizen Jane following critical acclaim at SXSW Film Festival. Watch it on Amazon Prime.
Tiny Furniture: In 2010, before HBO’s Girls fame, Lena Dunham wrote, directed and starred in this film about a woman coming of age as an artist in New York. Stream it on Netflix.
Abortion: Stories Women Tell:
Following a limited theatrical release, Missouri filmmaker Tracy Droz Tragos brought her female-centric documentary to Citizen Jane in 2016. Find it streaming on HBO.
The Invitation: In 2015, Citizen Jane showed
director Karyn Kusama’s thriller that takes place at a dinner party. Watch it on Netflix.
Appropriate Behavior : Desiree Akhavan wrote, directed and starred in her 2014 debut film following a young Persian-American in her journey through same-sex love. Catch it on Hulu. A Teacher : A high school teacher has an
of color in the industry. “We have to be on our game and never give up on our dream just because one person doesn’t like it,” Berry says. “It was like the best motivation speech and heart-to-heart as a college student working on their senior project.” The two still keep in touch. This year, Citizen Jane also started a brand-new screenwriting competition called Screengrab, which gives Stephens students the opportunity to have a screenplay produced. Submissions to Screengrab will be critiqued live at the festival on Friday, and a producer will buy the winning screenplay. The Greenhouse Theater Project will do a table read on Sunday. Banks says she thinks the program will be beneficial for Stephens College. She says she hopes the director will be a woman so that the winning screenplay can be made into a Citizen Jane film. This year’s festival also premieres the Frances Award, which celebrates the contributions of Frances Marion, who was the first-ever female screenwriter. The first recipient is Linda Woolverton, the highest-grossing female screenwriter in Hollywood. In true student-oriented, Citizen Jane spirit, the award will be sculpted by an MU graduate student. Also new this year is Citizen Jane Suggests, a partnership with Ragtag Cinema that launched in July. Each month, Ragtag showcases a film by a female director. October’s film is Battle of the Sexes featuring Emma Stone and Steve Carrell as tennis rivals Billie Jean King and Bobby Riggs. “Ultimately, numbers at the box office are the most important,” Banks says. “So if we’re not getting these films out to play after they’re shown at our festival, we’re not really doing our job.” Banks says the two programming directors of the festival, Amy Sharland and Donna Kozloskie, have delivered the best film lineup to date this year. The festival opens with Landline, directed by Gillian Robespierre, who co-wrote the film alongside Elisabeth Holm. Banks says the opening film is meant to reach the widest audience. “You don’t have to be a film buff to enjoy it.” The Citizen Jane Summit began in 2012 as a lecture on women in the film industry and has become a Citizen Jane cornerstone over the years. The 2017 Summit will offer a comprehensive discussion on the status of women in film in the past, present and future. It features Carri Beauchamp, a scholar on historical women in Hollywood, Lauren Domino, who focuses on the representation of minorities on screen and Rae Leone Allen, the writer, producer and costar of the web series 195 Lewis. Landline will play on Friday at 7:30 p.m. at the Windsor Auditorium. 195 Lewis will play on Saturday at 4 p.m. at The Warehouse Theatre.
2014:
Director Leah Meyerhoff visits Citizen Jane and helps begin the Missouri chapter of Film Fatales, an international network of women filmmakers who meet, collaborate and mentor one another.
2015:
2016:
Camp Citizen Jane, where middle school girls create their own films, breaks with Columbia Public Schools after eight years of partnership and becomes an independent entity.
2017:
affair with one of her students and watches her life begin to unravel in Hannah Fidell’s 2013 directorial debut. Watch it on Netflix.
MovieMaker Magazine names Citizen Jane one of the 25 coolest film festivals in the world, alongside festivals in Lebanon, the Bahamas and Poland.
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PHOTOS BY OR COURTESY OF EMILY JOHNSON, ANNA BRETT, CITIZEN JANE AND MOVIEMAKER MAGAZINE
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Citizen Jane awards its first-ever Frances Award, a lifetime achievement in filmmaking award named for famous screenwriter Frances Marion, to Linda Woolverton.
The director’s cut Of the top-grossing movies of 2016, only 7 percent were directed by women BY LIDIA MOORE
ROSIE THE RIVETER
When you ask a friend, “Who is your favorite film director?” statistically speaking, they will most likely name a man. When asking Google that same question, it spat out 55 examples of critically acclaimed directors, including Martin Scorsese, Steven Spielberg, Quentin Tarantino and Alfred Hitchcock. Of those 55, not one of them was a woman. In the age of Academy Award-winning directors Kathryn Bigelow (Zero Dark Thirty) and Sofia Coppola (Lost in Translation), alongside the only female director to win the Palme D’Or Jane Campion (The Piano), why are their names not as recognizable? “I think it actually starts right from the beginning,” says director and animator Lindsey Martin, who is attending this year’s festival. “Even before that, though, when you’re watching film and you’re watching television, and you don’t see yourself reflected in what you’re consuming. You don’t even have an idea of, ‘Oh, I can do that. Or I can be that.’” Of the highest-grossing 250 movies in 2016, only 7 percent were directed by women, which is a 2 percent decline since 2015, according to a 2016 study from the Center for the Study of Women in Television and Film at San Diego State University that has tracked women’s representation in television and film for 20 years. So why aren’t women directing big-budget movies? Is it the lack of financial backing from male-dominated film studios? According to writer and producer Lauren Domino, she makes a conscious effort to hire women and underrepresented groups of people in all facets of the filmmaking process. “There are so many talented women in the field that aren’t getting the opportunities or the financing to work, but instead of letting that statistic get me down, personally, as a producer, I combat that.” Domino is the producer of the film Intersection, playing this year at the Citizen Jane Film Festival. The recent revelations about studio head Harvey Weinstein sexually harassing and assaulting young women shows the necessity for change in Hollywood. He is a glaring symbol of systemic problems in the industry — not just
“There are so many women that are in the field that aren’t getting the opportunities or the financing to work, but instead of letting that statistic get me down, personally, as a producer, I combat that.” LAUREN DOMINO Writer and producer PHOTO COURTESY OF LINDSEY MARTIN
Above is a still image from “Little Wilderness,” a project director and animator Lindsey Martin is currently working on.
for women on screen but in all roles. Privilege and access are major barriers for underrepresented individuals in film. “Especially coming from an educator’s point of view as well as a filmmaker’s point of view, I can see at 17, 18 years old those folks who have access to college and film schools, and those tend to be of certain socioeconomic makeup of people who have the privilege,” Martin says. “So, right away, it tends to be mostly white men who have access to that.” According to the SDSU study, when looking at the top 250 films of 2016 as a whole, women accounted for 7 percent of directors, 13 percent of writers, 17 percent of executive producers, 24 percent of producers, 17 percent of editors and 5 percent of cinematographers. In television, women are most likely to be hired as actors, but according to the study, female characters were younger than their male counterparts and less likely to be seen at work. Although the number of female producers is markedly higher than directors, this information displays a need for mentorship and role models for women filmmakers to show how other women are making it in the industry. However, film schools such as NYU’s Tisch School of the Arts have an almost even divide of male and female students enrolled. And celebrities including Meryl Streep and Oprah Winfrey are taking initiatives to help female filmmakers. Streep and Winfrey fund The Writers Lab, a project that helps women over the age of 40 develop screenplays. In Columbia, the annual fall film festival, Citizen Jane, combats this statistic by only showing independent films made by women and providing opportunities to meet female filmmakers. “We try and step in and create a space during the festival where seasoned filmmakers can meet with brand new filmmakers and even some of our students here to try and start creating that and getting them to the top,” says Festival Director Barbie Banks. Citizen Jane works to combat a lack of visibility and gives more women the opportunity to show their films and seek mentors. Supporting underrepresented people in film doesn’t stop at the three-day festival. Each month, Ragtag and Citizen Jane spotlight a new, woman-directed film as part of “Citizen Jane Suggests,” helping to make female directors accessible. Intersection will play on Saturday at 7 p.m. at the Macklanburg playhouse. 10.26.17
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find the film for you Vox helps you navigate this year’s Citizen Jane lineup
BY ALEX EDWARDS
With nearly 20 feature films and multiple shorts programs in a variety of genres, the Citizen Jane Film Festival can make it difficult to pick which movies to view. Film Programmer Donna Kozloskie gives insight into each film’s style to help you create your must-watch list. If you feel like a good cry or want to laugh, use our Citizen Jane Film Matrix to make your weekend schedule.
IN CASE OF EMERGENCY
LOL-WORTHY SCREWED
Through short installments, an Omaha native — armed with a shameless ego and interesting moves — attempts to make it as a ballerina in Brooklyn. 10 minutes. Sat., 9:30 p.m.
HOT & BOTHERED
What do you get when two friends create the lesbian version of Grindr? A hilarious web series touching on everything from gender norms to marijuana. 15 minutes. Sun., 4:30 p.m.
SNOWY BING BONGS
Called “uncategorizable” and “indie-weird” by The Hollywood Reporter, the film follows the Snowy Bing Bongs, a trio of women with absurd choreography and ’90s pop covers. Will they save an alien planet from a beach ball attack? 42 minutes. Sat., 9:30 p.m.
BROWN GIRLS
After getting hit by a taxi, a NYC socialite loses her status but gains a new outlook on her life in this raunchy, rebellious comedy. 89 minutes. Sat., 6:45 p.m.
You’ll get serious Broad City vibes watching this film that features Leila and Patricia, two millennial women of color in Chicago. 60 minutes. Sun., 4:30 p.m.
195 LEWIS
VEGAS BABY
The documentary gives insight on a Las Vegas doctor’s annual social media contest, where the grand prize winner receives a free round of in vitro fertilization. 77 minutes. Sun., 1 p.m.
LEMON
Considered a breakout film at the Sundance Film Festival, this dark comedy is a satirical commentary on the reality of failure. 83 minutes. Sun., 4 p.m.
LANDLINE
The festival kicks off opening night with a light, ’90s family comedy that turns dark after infidelity casts a shadow. 97 minutes. Fri., 7:30 p.m.
THE REVIVAL: WOMEN AND THE WORD
From the imaginations of children in a Swaziland orphanage comes the story of a Swazi girl on a journey to rescue her twin brothers. 74 minutes. Sat., 10:30 a.m.
A group of queer, polyamorous women of color navigate life in Brooklyn in this five-episode dramedy series. 45 minutes. Sat., 4 p.m.
SNL alum Noël Wells stars as a Texan-turned-starving L.A. actress who must face her ex’s newly “perfect” life upon returning to the Lone Star State. 90 minutes. Sat., 10:30 a.m.
This sisterhood-driven documentary presents The Revival, a group of queer women of color who travel across the country to bring their poetry to various audiences. 82 minutes. Sat., 1 p.m.
FACES PLACES
The documentary follows Agnès Varda and photographer JR as they interact with locals on a road trip across the French countryside. 90 minutes. Sat., 4:30 p.m.
BITCH
A psychological thriller, this film has a bizarre comedic twist when a neglectful husband drives his suburban housewife to assume the psyche of a dog. 93 minutes. Sat., 3:45 p.m.
THE LONG HAUL
SHORT AND SWEET
LIYANA
MR. ROOSEVELT
IN THE RADIANT CITY
INSIDE THESE WALLS
Through firsthand interviews and handwritten letters, this film tells the story of family struggles after the father is sent to Chinese prison for political crimes. 44 minutes. Sun., 10:30 a.m.
A family deals with the stigma surrounding a murder one family member committed 20 years ago in the closing film of the festival. 95 minutes. Sun., 7 p.m.
MARLINA THE MURDERER IN FOUR ACTS
Based on Indonesia’s gender constrictions, this dramatic thriller includes a powerful, vengeful widow seeking justice for rape, pillaging and murder. 93 minutes. Sat., 10 p.m.
BLAME
Quinn Shephard writes, directs, produces and stars in this drama that parallels The Crucible and shows the battle of two high school classmates for their substitute teacher’s attention. 100 minutes. Sat., 7 p.m.
SAMI BLOOD
This coming-of-age drama follows a teen of the indigenous Sami people in Sweden. She is forced to attend a Swedish boarding school, where she faces prejudice in hopes of gaining an education. 110 minutes. Sun., 1:30 p.m.
THE LIGHT OF THE MOON
BRING THE TISSUES
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With Law & Order SVU vibes, this NYC-based drama comments on the struggle and painful reality of sexual assault victims. 95 minutes. Sat., 1 p.m.
PHOTOS COURTESY OF CITIZEN JANE
MOVING TO THE BEAT New music coordinator Robin Anderson connects the sights and sounds of the festival BY TRAVIS MEIER
Liyana mixes animation and real footage to follow the journey of a Swazi girl as she embarks to rescue her two young brothers.
genre-bender The festival offers a diverse cast of films including animation, documentary, comedy and web series BY CONNOR LAGORE Many films that will be shown at the Citizen Jane Film Festival this weekend combine elements of multiple genres, resulting in films that will make viewers laugh, cry and gasp. From a comedic and absurd film about a woman turning into a dog (Bitch) to an animated documentary about Swazi orphans (Liyana), this weekend’s Citizen Jane Film Festival has no shortage of diverse genres. Quite a few of the films on Citizen Jane’s slate this year are classified as comedies, but a number of those draw from other genres as well. Specifically, the opening night headliner, Landline, uses the drama of a deteriorating family to support an otherwise hilarious film, and Marianna Palka’s Bitch employs some psychological horror tactics to enliven a ridiculous plot about a woman who turns into a canine. A few dramatic narratives featured in this year’s festival challenge viewers with fictional tales of very real issues. The Light of the Moon, starring Stephens alumna Stephanie Beatriz, follows the main character as she copes with her recent sexual assault, and the foreign narrative Sami Blood is a portrait of the ethnic prejudices of 1930s Sweden. Sami Blood also has historical context as director Amanda Kernell drew from her grandmother’s experiences. Another foreign drama, Marlina the Murderer in Four Acts, brings an empowering feminine touch to a film much in the vein of a Quentin Tarantino Westernstyle film such as Django Unchained. One film in particular takes “genreblending” to a whole new level. Liyana PHOTO COURTESY OF CITIZEN JANE
combines real footage of young storytellers with animation. Many of the short films don’t mix genres on their own, but they’re part of a variety of subject matter on a similar theme. “Emerging Voices” is a collection of coming-of-age films from students across the country and the world. “Fests Like Us!” is a collaborative project of shorts with eight other festivals supporting women in film. For a local angle, “Ms. Ouri Made” is made up of shorts shot on location in the Show-Me state. Citizen Jane also features buzzed-about web series from online platforms. Some of the web series shown provide an enjoyable perspective on modern life, specifically two series focusing on women of color: Brown Girls, which has been picked up by HBO, and Hot & Bothered, which tackles gender norms, racism and even marijuana. In all, these films will expose viewers to the world around them. Although it’s only a few days long, the festival promises a great range of genres, storytelling and styles through the featured films and shorts. Landline, Friday, 7:30 p.m.; Ms.Ouri Made, Saturday, 10 a.m.; Liyana, Saturday, 10:30 a.m.; Light of the Moon, Saturday, 1 p.m.; Bitch, Saturday, 7:45 p.m.; Fests like us!, Saturday, 9:30 p.m.; Marlina the Murderer, Saturday, 10 p.m.; Sami Blood, Sunday, 1:30 p.m.; Emerging Voices, Sunday, 4:15 p.m.; Brown Girls and Hot & Bothered, Sunday, 4:30 p.m.
The collision of a musician’s and a filmmaker’s creative passions led to the reintegration of music leadership at the Citizen Jane Film Festival just in time for its 10th anniversary. Musician Robin Anderson was looking to network with other local musicians, and Melissa Lewis, the director of the documentary team for the festival, was trying to start a music video festival. Lewis then introduced Anderson to Barbie Banks, the director of Citizen Jane, who created a part-time music coordinator position for Anderson this year. In the past, students filled many leadership roles at Citizen Jane, including the music roles, but each year, many of those students graduated. This is likely what caused the music coordinator position to slip through the cracks. “As (Citizen Jane) gets bigger, we’re starting to realize we can’t satisfy or fulfill our needs by just students,” Lewis says. Previous Citizen Jane festivals included music programming throughout the weekend to highlight women, supplement the films and promote the festival’s mission. The recreation of the position is an attempt
to do that by providing a platform for women musicians from Columbia. “I’m passionate about creating opportunity for local musicians,” Anderson wrote in an email. “We wanted to start at home to give area female artists an opportunity to showcase and network with filmmakers and attendees. Ideally, building those relationships at home would lead to more chances for musicians to expand into other roles.” The 2017 festival schedule includes four concerts that combine with other events. This year, the Citizen Jane Summit on Thursday includes a kickoff concert by Audra Sergel, a Columbia singer and pianist. According to Anderson, in the past, the event has served to create a sense of community among filmmakers, musicians, volunteers and attendees. “We are ultimately a film festival, and our events, including music, supplement the amazing films,” Banks wrote in an email. Most of the performances require a pass, but the first concert is open to the public. Check out the lineup of music performances this year.
AUDRA SERGEL WITH DRUMMER JACKIE BRANSCOM Thursday, 3–5 p.m., no pass required, Summit Senior Hall Audra Sergel is an experienced and well-known musician from Columbia. Her piano playing accompanies her jazz-inspired vocals, creating a fresh sound that makes for both edgy and easy listening.
ROBIN ANDERSON WITH DRUMMER ANNA PROVO Friday, 5:30–7 p.m., Insane Jane pass required, Hellis Communication Center Columbia-based singer-songwriter Robin Anderson studied music before becoming a performer, administrator and songwriter. She expresses her energy through high-powered soprano vocals, matched by a piano-pop vibe.
THE BURNEY SISTERS Sunday, 10 a.m.–12 p.m., Insane Jane pass required, Senior Hall Olivia (12) and Emma (9) are a Columbia sister music duo that formed in early 2017. The two have played pop covers as well as written original songs. They create a popfolk sound laced with precise harmonies.
EMMA “ELLOUISE” WICKS Sunday 1–1:30 p.m., Insane Jane or Plain Jane pass required, Sager Braudis Gallery Emma Wicks is a 20-year-old singer-songwriter from Spencer, Missouri, who is currently pursuing a music degree at Stephens College. This up-and-coming performer has already completed numerous solo performances.
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changing the script Screenwriter Linda Woolverton will be honored with the Frances Award When screenwriter Linda Woolverton was writing the script for the 1991 Disney classic Beauty and the Beast, she knew she wanted to give Belle a mind of her own. So, Woolverton decided to open the movie with Belle’s nose in a book while adventuring through town. But when Woolverton went to see the animators’ process, she saw that they had drawn Belle baking a cake in the kitchen instead. Woolverton, who is a lot like Belle, pushed for her vision until it made it to the big screen. The screenwriter’s determination to promote female protagonists is just one of the reasons she is being given the inaugural Frances Award on the opening night of the Citizen Jane Film Festival. Due to a recent personal event, Woolverton is unable to attend the ceremony. The award itself is named after Frances Marion, the first renowned female screenwriter who won the Academy Award for Writing in 1931. “When we look at representation of women in media, all the statistics are pretty sad,” says Barbie
BY TAYLOR YSTEBOE
Banks, director of the festival. “There’s not a lot of directors; there’s not a lot of screenwriters.” Although Citizen Jane typically honors directors, Banks says the festival wanted to broaden its scope to benefit Stephens College students as well, particularly the relatively new Masters of Fine Arts in TV and Screenwriting program whose first graduating class received their degrees this past May. Choosing Woolverton for the Frances Award wasn’t a difficult decision. Professors from the MFA program and the digital film program at Stephens, along with Banks herself, chose to go with Woolverton. “She is the highest-grossing female screenwriter in the world,” Banks says. “She broke a lot of ground for women screenwriters, so it made sense to give it to the most successful woman first.” In addition to Beauty and the Beast, Woolverton took
on the screenplays for the 2006 Alice in Wonderland remake and Maleficent. “She is known for changing the narrative for princesses,” Banks says. Woolverton told the Los Angeles Times in 2016 about growing up with princess culture: “I remember feeling very incensed that the men would retire to the library and talk about interesting things and the women and girls were supposed to be over here baking and sewing. We weren’t supposed to be thinkers or philosophers.” Woolverton has also lectured the MFA students during the first year of the program. Ken LaZebnik, the director of the program, invited her to speak to the students. “And this was partly why I thought, ‘what a wonderful chance for the MFA to honor this woman who has done so much to promote the growth of women’s voices on film,’” LaZebnik says.
“She broke a lot of ground for women screenwriters, so it made sense to give it to the most successful woman first.” BARBIE BANKS Festival director
TECHNOLOGY BOOSTS WOMEN IN FILM Web and mobile developers help users plug into the festival experience Activists are trying to change the landscape for women in film by taking the fight to technological development, specifically with apps. “There’s no reason we shouldn’t be creating this stuff to help women find the content they MAPLY: FESTIVAL NAVIGATION Three MU students pitched the app Maply in November 2015, and have since moved the startup to Austin, Texas. But they’re not finished in Columbia. The team of now four return to mid-Missouri to work with festivals, including Citizen Jane. Maply builds interactive maps for events, cities and brands. Users can see and add public events happening around them on the app. Citizen Jane attendees can download Maply for free; simply click on the festival’s logo, and see the schedule and location for different events. Banks says it’s great that the founders could manipulate the app’s festival interface for their benefit and support the cause. “It wasn’t hard to convince them that Citizen Jane needed their help,” Banks says. “They jumped right on board.” 12
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BY DANIELLE KATZ
want to find,” says Citizen Jane Film Festival Director Barbie Banks. These three technological creations make it easier to access information on women in film as well as provide festival help through interactive maps and showtimes.
TANJI: THE “FEMINIST FANDANGO” Women represented only 4 percent of directors on the top 100 grossing films of 2016, according to a study from the Center for the Study of Women in Television and Film at San Diego State University. Statistics such as this one are what motivated Seattle’s Melinda Fox to change that, especially because women account for 52 percent of moviegoers, according to the Motion Picture Association of America. For a long time, Fox kept a spreadsheet of women-centric films and shared it with friends. Word eventually spread, and interest in the list grew. Fox came up with Tanji, which will be the first mobile ticketing app that connects moviegoers to content directed, written, produced by and centered on women. She previewed Tanji at Tribeca Film Festival this year, and although the app is not currently available, Fox says she hopes to launch a full beta testing of the app by April 2018. Audiences help affect change, too. “As audiences, we can play an integral role in changing this landscape for women and girls making their own content and amplifying these stories,” Fox says.
THE DIRECTOR LIST: WOMEN AT WORK What started as a Pinterest board in 2012 has expanded to a searchable, filterable online database with more than 1,000 female directors and content featuring films as well as music videos. Destri Martino, a 20-year veteran of the film industry, sought out experienced female directors at the beginning of her career but was disappointed by the low representation. “I needed to see people that were kind of like me that I could model my own career after,” Martino says. “I just really wanted people to see that women were already making great things.” Martino attended Citizen Jane last year and felt more empowered by the experience. “There’s a real sisterhood feeling,” Martino says. “They just take really good care of you.”
PHOTOS COURTESY OF BARBIE BANKS, MELINDA FOX AND DESTRI MARTINO
Director Stefanie Sparke plays Sarah (left) and Jenni Ruiza plays Melinda in the comedic, low-budget film In Case of Emergency, which answers the question of what really matters in our world of “selfish selfies.”
Finding a way to the fest: A film’s journey
NORMA RAE
A filmmaker and the programmer share their perspectives on what makes a Citizen Jane film BY MAYA MCDOWELL
T
his year, the Citizen Jane Film Festival received nearly 1,000 submissions, and over 100 were features, says Donna Kozloskie, features programmer for the festival. From the large pool of contending feature films, only three were selected from submissions to be screened at the fest this year. One feature entry that made the cut is In Case of Emergency, a film written by, directed by and starring filmmaker Stefanie Sparks. The film follows Sarah Williams (Sparks), a New York City socialite, after she has an accident and is forced to reevaluate her views about herself and others. How did the film arrive at Citizen Jane? Two women in the film industry tell their stories about a film’s journey to a festival.
FROM THE DIRECTOR: 1. INSPIRATION FROM EXASPERATION Sparks realized she wasn’t getting hired for day jobs in Manhattan because she wasn’t dressing “appropriately” or wearing makeup. A woman offered advice: “There’s three things that make a woman in this world: pink, pearls and pumps,” Sparks says. “I found myself going, how is this possible? It’s 2014.” Thus, In Case of Emergency’s plot was born, which follows two polar-opposite women who hang out with each other because they don’t have a choice. 2. RESEARCH When Sparks began researching, she hung out at PHOTOS BY AND COURTESY OF EMILY JOHNSON AND STEFANIE SPARKS
open-mic nights and comedy clubs after work for a year. Sparks was directed to a female open-mic night at UCB Theatre in New York and decided she needed to use some of the improv performers and actors. 3. NAILING THE CAST “I think we have an amazing cast, and it took me a year to find the cast and put them together after,” Sparks says. “I wouldn’t really settle.” And she’s not joking — Sparks auditioned her co-star Jenni Ruiza for three months. As Sparks continued casting for the film, she says it became a snowball effect. “Every actor that I brought on would sometimes have another actor that they thought I should look at.” 4. CLICK SUBMIT Sparks submitted In Case of Emergency, her second feature film, to Citizen Jane without knowing Kozloskie had sent her a message expressing her interest in the film. A few months later, Sparks was invited to screen her film at the festival. “Citizen Jane has a great reputation for female directors,” she says. “I feel like it’s the female film festival in the U.S.”
FROM THE PROGRAMMER: 1. THROW A BIG NET Kozloskie begins the process of choosing films by researching other film festivals and filmmakers. “I kind of just throw a big net to see what’s out there and sift through the different things that are being made,” Kozloskie says. Her goal? To find “that
person” no one has heard of before, a task Kozloskie says is “a lot of trying to find the diamond in the rough.” 2. SCREENER’S CHOICE Citizen Jane has screeners, people who watch the submitted films and rate them based on production value, story and acting. Kozloskie watches the films with higher ratings from the screeners but doesn’t always go by the screener’s opinions because she says she wants to make up her own mind. This year, Kozloskie watched parts of every feature entry. 3. KEEP IT FRESH When choosing films, Kozloskie looks for something she’s never seen before. “As a film programmer, I have seen so many straight narrative movies over and over again, so when I see something that’s a little bit different, that gets me really excited,” she says. Kozloskie’s not a huge fan of drone shots in a film because they are used so often and particularly struggles to get past movies with bad acting. 4. CELEBRATE THE ECCENTRIC As a first-year film programmer for Citizen Jane, Kozloskie wanted to make sure she chose a broad range of genres and filmmakers. “I don’t really have a quota of what I want,” she says. “When I was making the lineup, I tried to balance it as best I could to show the weird spectrum that’s out there.” In Case of Emergency will play on Saturday at 6:45 p.m. at The Warehouse Theatre. 10.26.17
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An evolving film landscape Citizen Jane founder Kerri Yost reflects on the most significant moments of the festival and how women in film have grown since its foundation BY CHLOE WILT Ten years ago, Kerri Yost came up with the idea of Citizen Jane. Its creation was a collaborative process with other Stephens College students and faculty, and the name of the festival was even coined by a dance major at Stephens. Before the upcoming 10th anniversary, Yost reflects on some of the festival’s highlights and her most memorable moments as the fest has grown and changed through the years. Q: IS THERE A SPECIFIC YEAR THAT IS PARTICULARLY MEANINGFUL TO YOU? Kerri Yost: The third year, 2010, sticks in my mind. Because for the first couple of years, people outside of Columbia didn’t really know who we were, so we spent a lot of time explaining our festival. At the time, people weren’t really aware of women in film and that need for more representation. I had been asking a producer that I really admire, Christine Vachon, for the past few years to come, and that year she said yes. We also really wanted to get who we thought was a new voice in film, Lena Dunham. At the time, nobody had heard of her, but she had this film Tiny Furniture. It was our opening night film, and that was a really magical year. It felt like finally we were no longer begging and explaining ourselves, but people finally believed us and wanted to be with us. It gave us some confidence that what we were doing was fulfilling a real need in our film industry, and people noticed. People appreciated the programming, and we realized that our job is to show films that maybe wouldn’t have been seen otherwise and voices that haven’t been
heard and put them in the spotlight. It was also the year Winter’s Bone came out, so we had this nice Missouri connection with a filmmaker I really admire, Debra Granik. It was just a great year for film, and also I felt like we had an idea of our direction that year, our purpose. Q: WHAT HAS BEEN A MEMORABLE FILM YOU’VE SCREENED? WHY DID IT AFFECT YOU? Yost: One of the most memorable screenings I’ve had was a documentary called Monica & David in 2010. It’s a film about two people with Down syndrome who fell in love and wanted to get married. It’s really following their life, and you get to know them. We had it in a theater, and we did a lot of outreach to make sure that people who might care about this topic would be able to come. I just remember the whole third part, the middle of the theater was full of people in wheelchairs, they came up to me later and thanked me for getting a theater that was so accessible, and they said that this was the first time they had seen a movie in years because they usually have a hard time getting in and out of theaters. Afterward, we had a community panel with people who represented people with disabilities, organizations and parents. The conversations held afterward were about how parents and adults try to have relationships and how their disability affects that and how our laws affect those relationships. It was very illuminating, and it reminded me of what a community film festival can be. Q: WHICH DIRECTOR HAS MOST SURPRISED YOU? HAS THERE BEEN A PROMINENT DIRECTOR WHO ATTENDED? Yost: Yvonne Welbon in 2013. We had been asking her to come very early in our festival, but she couldn’t, and then she had this new film that she produced called The New Black, which we screened our closing night. She
FOXY BROWN
also spoke at our Citizen Jane Summit panel discussion. It was like when you look up to somebody and then you meet them in person, and they’re even better than you thought they would be. She started this program and website called Sisters in Cinema where she documents African-American female directors because they’re so grossly ignored; that’s a big part of who she is. We try to bring in people who not only are great but are also very supportive and nurturing to other filmmakers, and she was very much that. Q: HAS VISIBILITY FOR WOMEN IN FILM IMPROVED SINCE CITIZEN JANE STARTED? Yost: In the very beginning of the festival, we had to explain that we were underrepresented, and now I think that’s more mainstream and these other issues are really known. You also see more women making more narrative films, not just documentaries. In general, most women have found their success in television, and I think now that television is basically better than film because people are gravitating toward that with streaming and cable. I think film is now realizing that diverse voices, not just women, but people of color, are important, and audiences want to hear it. Ten years ago, everybody thought everything was fine in the industry.
ABOUT THIS FEATURE: IN PHOTOS To celebrate a decade of Citizen Jane breaking barriers for women in movies, Vox shot photos that pay homage to iconic feminist moments of the 20th century. Here are the original source materials.
ROSIE THE RIVETER (1942) Illustrated by J. Howard Miller for Westinghouse Electric Corp. Created as a propaganda poster during WWII, Rosie has gone on to become a symbol for the feminist movement. 14
FOXY BROWN (1974) Directed by Jack Hill. In this classic blaxploitation film, Foxy Brown (Pam Grier) goes undercover as a sex worker for revenge. Grier was a staple of the genre created to empower black audiences.
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NORMA RAE (1979) Directed by Martin Ritt. A minimum wage textile mill worker notices an influx of health problems among her family and coworkers, which prompts her to join the labor fight.
GLORIA STEINEM AND DOROTHY PITMAN-HUGHES (1979) Photographed by Dan Wynn for Esquire Magazine. Steinem and Hughes are co-founders of the original feminist magazine, Ms. magazine.
THELMA & LOUISE (1991) Directed by Ridley Scott. This film is considered a feminist classic because its heroines circumvent notions of femininity as they tear across the New Mexican desert on the run from the law.
PHOTOS BY AND COURTESY OF EMILY JOHNSON, AMAZON, GIPHY, WIKIMEDIA COMMONS AND SMITHSONIAN NATIONAL PORTRAIT GALLERY
MUSIC
Monster music madness Get in the Halloween spirit with four local music events BY CHLOE WILT With so many ways to spend Halloween in Columbia, it can be a challenge to choose what to do (and where to show off your costume) during the precious hallowed hours. Vox is here to help the music lovers decide. Enjoy a day of local music and grub in Rocheport, boogie with some costume-clad dancers at Rose Music Hall, or feel the beat drop with electronic music acts Big Gigantic and G Jones. No matter what you choose, it’s sure to be a scary good time.
If you want to howl under the moonlight ...
Start the Halloweekend off with Nightmare on 9th Street, one of The Blue Note’s outdoor concerts. Crowds will pack in the closed-off section of Ninth Street to dance along to Big Gigantic’s electronic beats and jazzy saxophone melodies. A fan of Big Gigantic since the duo’s performance in Columbia last year, MU student Courtney Manning says she can’t wait to relive the experience with her friends. She plans to dress to dance rather than in a costume: “I think I’m just going to wear some space leggings and call it a day.” Dress up as your favorite characters, or come ready to get your groove on. Either way, it’s sure to be a great start to the spookiest weekend of the year. Thursday, 6 p.m., gates; 6:30 p.m., show, $26 advance; $31 day of show, The Blue Note
If you want to party all day long ...
Attend Rocheport Oktoberfest IV: Monster Mash Edition. Put on your best costume for a chance to win $250 in the costume contest. Grab a drink from local Columbia breweries, including Logboat and Broadway Brewery, as you listen to Missouri musicians The Flood Brothers, Violet and the Undercurrents, Robot Coffee Break, The Ridgerunners, Tyler Stokes, David Dearnley and The Burney Sisters. Saturday, noon–9 p.m., Free, Wilbern Park, Rocheport
This week in music A new release from Ty Dolla Sign and two shows you won’t want to miss BY LIS JOYCE
Album Release: Ty Dolla Sign, Beach House 3
If you were looking for a collaboration between Ty Dolla and John Mayer, congratulations; you got one. Ty Dolla’s much anticipated Beach House 3 comes out Oct. 27 and features Gucci Mane and ASAP Rocky. The album name and theme of “Beach House” is meant to be more metaphorical than literal. It represents Ty Dolla’s success, and it looks like that success continues to come with each album. Available Friday on iTunes.
Selector Dub Narcotic (Calvin Johnson), The Onions, Sweet Milk
Calvin Johnson is a music legend. He started a number of bands in the Pacific Northwest,
Big Gigantic (top left), The Burney Sisters (bottom left), The Flood Brothers (above) will perform for all the ghouls and goblins of Columbia.
If you want to indulge for the night ...
A Very Decadent Halloween is for you. The event, hosted by the socio-political rock band Decadent Nation, will take place at Rose Music Hall. Other musical guests include Violet and the Undercurrents and Madora. Groove to the music in your best costume for a chance to win $100 in the costume contest. Sultry dance group The Monster Dolls will be boogieing along in costumes and spooky makeup with props such as knives, hoops and lots of fake blood. Tuesday, 8:30 p.m., $5, Rose Music Hall
If you want to experience face-melting EDM ...
Spend your All Hallows’ Eve with G Jones at The Blue Note. While kids and their parents are running around town trick-or-treating, EDM fans can celebrate in true witch- and ghoul-fashion by raving and dancing in the low light of The Blue Note. G Jones, known for performing at big concert venues such as Red Rocks Amphitheater, Burning Man and other music festivals, got his start in California and embraced the music and internet culture. Tuesday, 9 p.m., $20, The Blue Note
including Cool Rays, Beat Happening, The Go Team, Dub Narcotic Sound System and The Halo Benders. In the early ’80s, he started the record label K Records, and he continues under the label with Dub Narcotic, a funk-electronic DJ outfit with ’80s-style lyrics. Sweet Milk is fronted by Aki Johnson and is described as lo-fi bedroom pop, which basically translates to someone crooning in their garage. You want want to miss this show. Friday, Oct. 27, 8 p.m., Cafe Berlin; $7, 441-0400, cafeberlincomo.com
Conor Oberst
If you have a pulse, your teenage self has probably cried to a Bright Eyes song. As the former head of Bright Eyes, Conor Oberst is now touring solo and bringing his angst-filled music to The Blue Note. Oberst is the kind of artist you’ll want to cross off your bucket list. Bright Eyes is a cult classic, and since they won’t be coming around anytime soon, why not enjoy the man behind the iconic music. Ty Dolla Sign’s much-anticipated album features a Saturday, Oct. 28, 9 p.m., The Blue Note, $25 in star-studded track list, including Future and Lil Wayne. advance; $28 day of, 874-1944, thebluenote.com
PHOTOS COURTESY OF BIG GIGANTIC, MISSOURIAN ARCHIVES AND WIKIMEDIA COMMONS
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ARTS & BOOKS
Dance your Pantsula off Festival of South African Dance features two groups that express their roots through performance BY TAYLOR BANKS Dance is not just a form of entertainment; it is also used as a form of protest, expression and for education and empowerment. This is especially true in South African culture. Dancers from the groups Real Actions Pantsula and Stimela: “The Gumboot” Musical will come together at MU’s Jesse Auditorium to perform at the Festival of South African Dance. UNDERSTANDING PANTSULA Originating in Johannesburg in 1992, the 30 teenage members of Real Actions Pantsula travel the world to perform Pantsula dancing. The group’s mission is to get young South Africans off the streets and empower them with their own culture’s dances. Pantsula is described as a flat-footed African tap-and-glide style of dance that originated as a means of protest during apartheid in South Africa. The dance is often choreographed to modern pop, electronic, techno and deephouse music and is characterized by “quick, syncopated steps,” according to Columbia Artists Management, an industry leader in performing arts. The word “Pantsula” translates to “waddling like a duck” in Zulu, and alternatively, “to walk with protruded buttocks.” Both are characteristics of the dance, which has three styles: Western style, slow poison and futhuza. Sello Modiga, the founder and choreographer of Real Actions Pantsula, says the three styles differ in that slow poison has slow beats and slow movement whereas futhuza has fast-paced movements and floor stomping. He says that in South Africa, they use more hip movements while Western style uses more chest movements. “When a state of emergency was declared in South Africa in the mid-1980s, Pantsula allowed male dancers to bond over their shared experiences under apartheid,” Modiga wrote in an email. “It keeps on reminding (us of) who (we) are and where are we going as black communities.” GUMBOOT-STYLE MOVES Another kind of South African dance that will be performed during the festival is Gumboot dancing or Isicathulo. It consists of dancers stomping and slapping their feet while wearing Wellington boots, which are known as gumboots in South Africa. It was originally used as a form of communication among gold mine workers in the 1880s who were forbidden to communicate verbally. According to Columbia Artists Management, the polyrhythmic choreography is meant to be reminiscent of how mineworkers would jangle their ankle chains to communicate. FESTIVAL OF SOUTH AFRICAN DANCE Jesse Hall Auditorium Thursday, Nov. 2 7 p.m. Tickets: $23-$43 on Ticketmaster
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Dance group Real Actions Pantsula started in Johannesburg 25 years ago. There are now 30 members in the group who travel internationally to perform Pantsula, a dance that has been used as a form of protest.
Isicathulo, aka Gumboot dancing, is a specialty for Stimela: “The Gumboot” Musical. Through Stimela’s performances, the group expresses the origin of gumboots, which were used by gold miners in the 1880s.
Stimela uses narration, music and Gumboot dancing to tell the story of a group of African men who travel to Johannesburg, or the City of Gold, for a better life only to find themselves working under inhumane and oppressive conditions in the mines. It is essentially the story of how Gumboot dancing originated. Thapelo Moutloung is the playwright and director of Stimela. Gumboot dancing reminds him of where he comes from as a black man in Africa, he wrote in an email: “Through Gumboot dance, vocals and
narration, we tell a story of how these miners came to be. Gumboot is part of our heritage, thus will forever be part of our history. It remains relevant because it is one of the best dance forms to originate in Africa.” Stephen Graves, an MU postdoctoral fellow in the Black Studies and Political Science departments, says there is still racial inequality present in South Africa. “The injustices are still there, so the reason for the dances and the meaning and the implications behind those dances are still there,” Graves says.
PHOTOS COURTESY OF FACEBOOK/REAL ACTIONS PANTSULA AND COLUMBIA-ARTISTS.COM
ARTS & BOOKS
Fall for this season’s Sager Braudis exhibit Five artists have work displayed in this seasonal exhibit BY MEGHAN WEINEWUTH Get out of the chilly weather this fall, and step into Sager Braudis Gallery’s 2017 Autumn Exhibit for your fix of modern art. Showcasing work from artists Peregrine Honig, Chris Morrey, Hannah Reeves, Joel Sager and Andrea Wan, Sager Braudis intertwines various styles and mediums to bring this exhibit to life. For the majority of these artists, art has always been an influential part of their lives. Peregrine Honig is a modern artist whose work has been collected internationally in museums such as The Art Institute of Chicago and the Whitney Museum of American Art. She is well-known for creating the “We don’t care” trans-friendly bathroom sign that depicts a person wearing a skirt on one side and trousers on the other. “I don’t know myself without drawing,” Honig says. Her main display at the gallery is the Mascaras de Madres etchings, which feature animals wearing masks dressed as humans and vice versa. Paintings in the set such as Cat Milk and Snake Milk offer intense representations of nature versus nurture by portraying animals breastfeeding children. These works bring a level of eroticism to the overall exhibit. They represent an “intimate, bizarre moment and idea of taking nutrients from something that can’t properly feed you,” Honig says. “I believe in the creative process and believe what I
am doing is going to get me to the next project or next level of image making,” Honig says. Director and curator Hannah Reeves says this year’s exhibit is a little different from past years. “We typically devote one consolidated section of the gallery to each artist, and this exhibit integrates all of the work within the whole gallery,” Reeves says. “While each of the five artists brings a body of work that is totally unique, it was noticeable that almost any piece in the entire show could sit next to any other piece.” SAGER BRAUDIS GALLERY 1025 E. Walnut St. Oct. 3-Nov. 18, 11 a.m. to 6 p.m. 442-4831 sagerbraudisgallery.com
The assortment of methods and styles portrayed in the works from these five artists contrast one another in an aesthetically pleasing way. For example, Reeves says her pieces and Sager’s works are inspired by the Victorian era and that the color palette in Wan’s art complements some of Reeves’ artwork. It is clear that the pieces offer a narrative for viewers to enjoy and discover. “It’s always important, as a curator, to notice the visual and conceptual similarities and differences between artists when combining their work,” Reeves says. For aspiring artists, Honig provides insight into staying rooted in the creative process. “How I eat my breakfast, how I dress, the things
Chris Morrey’s animal figures and wooden sculptures are currently displayed in the 2017 Autumn Exhibit.
taking place in my life will affect how I am perceived and how I perceive the world in order to make new images and create,” Honig says.
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17 N. 10th St.
Mon-Sat: 10am - 8pm Sun: Noon - 5pm
Downtown Columbia
874-8600
On your radio dial at 89.5 fm or live streaming at kopn.org
Since 1968
Stop in at Aardvarx where you are free to be.. fun, loud, crazy, or hip..whatever defines YOU. We have everything you need to express yourself. T-ShirTS, CloThing, CandleS, inCenSe, PoSTerS, TaPeSTrieS, TobaCCo, Smoking aCCeSSorieS, Jewelry, body Jewelry, TaroT CardS CrySTalS & muCh more!
PHOTO COURTESY OF SAGER BRAUDIS GALLERY
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ASHLEY CRAFT lives (and writes) the legacy of the science and ag journalism major
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shley Craft considers herself a city girl. She was born and raised in Topeka, Kansas, with little exposure to agriculture beyond what she saw in corn fields and grocery-store aisles. But as the first in her family to go to college, she was inherently curious, and she knew she wanted to make the most of her opportunity to attend MU’s School of Journalism. It wasn’t until a friend took her to a family farm that she fully stepped into the world of agriculture. Craft graduated from the College of Agriculture, Food and Natural Resources’ Science and Agricultural Journalism program in December 2014, but she found out over the summer that recent MU budget cuts are causing the 96-year-old program to be phased out by the time the last currently enrolled student graduates, which should be May 2020. Within a month of hearing the news, Craft started writing. As part of an online class at Texas Tech University, she compiled 42 pages of initial research about the program’s history only to realize it wasn’t enough; she wanted to write a book about the major for her graduate project. She hopes the book will be completed in May before she graduates with a master’s degree in agricultural communications, education and leadership from MU. Sharon Wood-Turley, Craft’s advisor throughout her undergraduate studies, wrote in an email that the book will be “a cherished reminder of the wonderful students and faculty who have been involved with this program.”
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What did you experience on your friend’s farm that led you to study agricultural journalism? This is going to sound funny, but I’ve always pictured pigs to be these tiny, little Babe-sized pigs, OK? And we get over there to her grandpa’s farm, and there’s this giant pig. And my jaw dropped. My friend is like, “That’s how big they get. This is normal.” I just remember leaving there going: “Wow. What else do I not know? What else have I been given information on, and it might not have been true or perceived accurately?” I started to realize there’s a lot of things about this industry, even as simple as the size of a pig, that I want to know about. And I want to figure out how to take that back to the people. What is happening with the program now? It’s being phased out. Our last class are sophomores this year. Once they graduate, the program will be gone. There’s discussion of creating a minor. There’s discussion with the journalism school actually adding an agriculture journalism track. But it was a difficult process finding out. It broke my heart, honestly, to think about future students not having the opportunity to have that CAFNR experience that was so warm and welcoming to me. That’s why I’m very grateful for CAFNR taking the time to hear the students, to hear the alumni and help us in any way they can moving forward, given the circumstances.
What do you see as being the ultimate goal of writing a book about the program? The last piece that I could find about our program was a thesis project in 1966. There’s a large gap between now and 1966. So my main purpose is to preserve the history and let the voices of the alumni, the current undergrads, the faculty — let their voices tell the story. What do you think is the importance of agricultural communications? Before this program, I would rather admit to myself that food came from the grocery store, and that was it. It was hard to think anything past that. And now I understand that this is a way of life. I have an appreciation for it. I think that’s what this program really brought to me was understanding how much agriculture impacts, from the clothes we wear to the food we eat. Everybody’s impacted. After this is done, is writing books something you want to continue doing? I would like to see myself writing and editing for a magazine one day. It has been an incredible, unexpected journey. There may be another opportunity for my passion to shine in another book. — BY RON DAVIS PHOTO BY EMILY JOHNSON
THE TO-DO LIST
this week in Columbia
ARTS & CULTURE
Omnia Vincit Amor: The Art and Science of Love
In affiliation with the 2017 Life Sciences and Society Symposium, this exhibit gathers materials on the art and science of love and how love has been depicted in literature over time. Come see how “omnia vincit amor,” or love conquers all. Through Monday, all day, Ellis Library Colonnade, Free, 882-4701
Get Ready to Write a 30-Day Novel
To celebrate National Novel Writing Month, learn everything you need to know before embarking on the journey of writing a novel in 30 days. Today, 7–8 p.m., Columbia Public Library, Free, 443-3161
12 Angry Jurors
Adapted from the 1957 film 12 Angry Men, this play follows 12 jurors as they debate whether a murder suspect is guilty or innocent following the closing arguments of his trial. This award-winning drama ran for 328 performances on Broadway. Today through Nov. 12, 7:30 p.m., Thursdays, Fridays and Saturdays; 2 p.m., Sundays, Columbia Entertainment Company, $12, students, seniors and children; $14, adults, 474-3699
ShowMe Writers Masterclass
Don’t know what to do with your manuscript? The Columbia Chapter of the Missouri Writers’ Guild and Mizzou Publishing have partnered to host a weekend masterclass to help writers prosper through networking, learning and support. Events include a first-day read, open mic and lunch. Saturday and Sunday, all day, MU Student Center, $190, weekend bundle; $115, student weekend bundle, 882-9547
CIVIC
Candy Corn Festival
At this non-scary costume festival, kids can go room to room and play games, earn prizes and collect candy. Today, 5:30–7 p.m., Good Shepherd Lutheran School, Free, 445-5878
Halloween Pet Photos Benefiting Unchained Melodies
Trick-or-treating, bobbing for hot dogs, a costume contest and Halloween-themed pet photos — what more do you need? Proceeds benefit Unchained Melodies Dog Rescue, a nonprofit organization that helps rescue, foster and adopt penned and chained dogs. Sunday, noon–4 p.m., Lizzi & Rocco’s Natural Pet Market, $10, 875-2288
(Not So) Frightening Friday
Calling all ghosts and ghouls to this spooky event full of family fun. Sport your costumes, and enjoy trick-or-treating in downtown CoMo. Friday, 4–6 p.m., The District, Free, 442-6816
FOOD & DRINK Whiskers & Wine
You’re cordially invited to the Holiday Inn Executive Center for a night of gourmet dining and wining. Your ticket benefits the Central Missouri Humane Society and includes a meal, drinks and a complimentary wine glass. Today, 5:30 p.m., Holiday Inn Executive Center-Columbia Mal, $75, 443-7387
Root Cellar Fall Harvest Celebration
To thank their customers for eating locally, Root Cellar is hosting a Fall Harvest Celebration complete with live music, food and beer. Friday, 5–8 p.m., Root Cellar, Free, 443-5055
Zombie Pub Crawl
Dress up, and join in the zombie fun while raising money for Woodhaven Learning Center. A $10 wristband will grant you admission to participating downtown bars without paying the cover charge. Check zombieweekend.org for a list of participating bars. Friday, 6 p.m., The District, $10, 875-6181
Yoga + Wine
“Wine” down with an hour-long, all-levels yoga session at the Blufftop Bistro. After the session, enjoy a complimentary glass of wine. Those 21 and older can register at
yogabuzz.org. Wednesday, 6–8 p.m., Les Bourgeois Vineyards, $15, events@yogabuzz.org
Today, 8–10 p.m., Lazer Lanes, Free, muoslcampusactivitie@missouri.edu
SCREEN
MUSIC
Jigsaw (R)
Fall Concert: Columbia Civic Orchestra
Columbia Civic Orchestra celebrates its 25th season. It will be performing three classical pieces at its Fall Concert, which features a collaboration with Lee Expressive Arts School. The Columbia Civic Orchestra is a volunteer, nonprofit group. Saturday, 7:30–9:30 p.m., Missouri Theatre, Free, 882-3781
Mercer and Johnson
With a harmonious plucking of their instruments and a foot-stomping vibe, Mercer and Johnson bring a new air to indie and folk rock. Mercer and Johnson are joined by The Scatterguns, a southern rock band infused with a punk rock sound, and Tim Carey, a folk singer originally from Columbia. Friday, 9 p.m., Rose Music Hall, Free, 874-1944
Latin jazz icon Eddie Palmieri, who was born in Harlem to Puerto Rican parents and raised in the Bronx, is considered by many as the reigning patriarch of Afro-Latin music in the U.S. After 15 years, Palmieri makes his long-awaited return to the Jazz Series. Sunday, 7–10 p.m., Missouri Theatre, $20–37, 449-3009
SPORTS
Bowling with Black Programming Committee
Spend your Thursday night out with Black Programming Committee at Lazer Lanes. Bowling, laser tag, food, drinks and good times are free to all.
Suburbicon (R)
Suburbicon seems to be a peaceful community to raise a family, but the tranquility masks a darker reality. The Lodge family must navigate through the town’s hidden betrayal and deceit. F, R RUNTIME = 1:45
Thank You For Your Service (R)
As a group of U.S. soldiers return from Iraq, they struggle to integrate back into normal life. The memories of war continue to plague them even hundreds of miles away from the battlefield. F, R RUNTIME = 1:09
Still playing
Aaron Kamm & The One Drops
With a soulful, Dave Matthews-ish vibe, Aaron Kamm & The One Drops won’t disappoint. Their mellow, southern sounds mix with electric guitar solos to form a rich, textured set. Saturday, 9:30 p.m., Rose Music Hall, $6 in advance; $8 day of, 874-1944
Eddie Palmieri “Eddie @ 80”
Jigsaw has been dead for 10 years, but as police investigate a series of mysterious deaths, the evidence points to the man who died 10 years ago as the suspect. F, R RUNTIME = 1:32
American Made (R), F, R Battle of the Sexes (PG-13), RT Blade Runner 2049 (R), F, R Boo 2! A Madea Halloween (PG-13), F, R The Emoji Movie (PG-13), F The Foreigner (R), F, R Geostorm (PG-13), R Happy Death Day (PG-13), F, R It (R), F, R Kingsman: The Golden Circle (R), F, R The LEGO Ninjajo Movie (PG), R Marshall (PG-13), RT Mersal (NR), R The Mountain Between Us (PG-13), F, R My Little Pony (PG), F, R Night of the Living Dead (1968) (NR), RT Only the Brave (PG-13), F, R Same Kind of Different As Me (PG-13), R Stronger (R), RT The Snowman (R), F, R The Untamed (NR), RT Victoria & Abdul (PG-13), RT Theaters F = Forum R = Regal
The Haunted Castle House Bed & Breakfast in Brumley, Missouri is bursting with supernatural activity from shadows in the cemetery to apparitions and voices in the house. The house was built in 1850 by owners Dr. Walter Dixon and his wife, Martha. During the Civil War, the Castle House became a center for injured soldiers who were treated by Dixon under a truce. Some of the past patients are said to have stuck around. 10.26.17
RT = Ragtag = available in 3D
841 Hwy C | Brumley, MO
Just 10 miles outside of Osage Beach on Hwy 42
PHONE (844) 48-GHOST (44678) TOURS BY RESERVATION ONLY |
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Get the story on Columbia’s latest showings. MOVIE REVIEWS VoxMagazine.com