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Liberty in North Korea JHU (LiNK), a student group under the umbrella organization of the same name, held its rescheduled screening of the 2004 South Korean film, Taegukgi: The Brotherhood of War, on Wednesday, May 1. Although I could not attend in person, I was able to watch the film on my own time.
The Barnstormers performed a staged reading of George Bernard Shaw’s You Never Can Tell on Saturday, April 20. You Never Can Tell is the first play the Barnstormers ever performed; This brought a certain nostalgia to the show, as it is also the 100th anniversary of the formation of the theatre group in January 1919.
A large part of The Twilight Zone’s cult appeal stems from its inherently strange qualities, not only in its plot, but also in its status as an emblem of a different time and a different intellectual atmosphere in American history. The show itself, with its stilted acting, filtered sound and dramatic score, often does feel like it came from another dimension, an aspect that only increases its lurid appeal.
It’s sometimes hard to feel successful at Hopkins, or for that matter, to feel that you will ever be successful. Assignments come and go, and you complete them with varying degrees of competency and effort invested in each. You’re supposed to be learning, but often you feel like you’re treading water. Even if you do learn something, and can recognize and feel fulfilled by that fact, where does that leave you?
Sometimes you watch a movie that makes you feel like you’ve entered a different dimension. Not in the sense that you’ve been transported to a fantastical location, but rather everything in the movie operates differently from how you would expect events to normally operate. I often feel that way when watching romance movies. Whenever I watch them, I feel caught between feeling everything in the movie is ridiculous and that, if someone were to truly attempt to portray love, then it would look somewhat ridiculous. After all, one person’s love will never be the same as another’s.
A quintessential part of the American dream is our unyielding belief that with enough determination, we can make something out of nothing. It was the dogma behind con men, investors, entrepreneurs and pilgrims. Even though that fantasy is no longer true for most people, the possibility that someday our lives will change for the better has never left us.
It’s strange to go to a comedy show and come out having discovered a new fear: the fear that the person sitting next to you is actually a part of the performance. I grappled with this fear for the first time when a surprisingly friendly Russian-accented fellow tapped me on the shoulder, asked if he could sit next to me, politely asked me how I was doing and asked me whether I had ever been to a Throat Culture show before. I’m a paranoid person, so I asked him whether he would stand up and become part of the performance and whether I would have to participate. He laughed. “Don’t worry about it, “ he said, as the lights dimmed and I realized my life and my sense of pride could very well be in his hands.
I got the chance to interview some of the writers and directors involved in the Witness Theater’s 2019 Intersession Showcase on Saturday, February 16. Every semester, the Witness Theater performs four plays, each written and directed by students, that gravitate around a central theme, idea or location. This year, the central location of every play was an art gallery. Even within those limits, the plays — The Importance of Being Terry, Art Isn’t Dead, Montana and Framed — all had styles that differed starkly from one another, ranging from comedy to drama and each expressing the unique voices of the directors and writers who worked on them.
High Flying Bird is a film of contradictions. It’s a film about basketball, one of the most dynamic sports ever created, yet also one where the action primarily takes place in nondescript business rooms, hotel lobbies and living rooms. It is also one of many recent films shot entirely on an iPhone, but its stylistic trappings are more indebted to classic Hollywood than to any new stylistic possibilities the iPhone has opened up. It is both a film where Netflix (the film’s distributor) figures in as a major plot point and also one where men conduct backdoor business in saunas like it’s the slickest thing since buttered bread.