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Claire Denis’ film High Life, which was released on Friday, April 12, is definitely unique. And it is also certainly a showcase of the most bodily fluids I’ve seen in a science fiction film, so much to the point where I pledged to walk out at five different points. But the film has an impressive and elusive gravity to it that kept me in my seat, despite being grossed out right up to my limits.
“Poets are the oracles — they just know things, and though we may not always be able to decode what they said, the oracle, they absolutely know things,” said Associate Director of the Archaelogical Museum Sanchita Balachandran when she introduced poet Rickey Laurentiis to the stage on Tuesday, April 16 in Mudd 26. Laurentiis, tall with long braids down their back, took the microphone and started with a poem.
I’d never heard of the film Wild Strawberries before The Charles Theatre put it as the most recent choice for their weekly Revival Series — a Swedish film from 1957 about a grumbling old man isn’t something I’d bet money on enjoying. But as with most Revival Series selections, I left the theater with a feeling of gratitude, an opinionated argument for going to random screenings and texting everyone in my contact list to “immediately go watch the most underrated movie of all time.”
I first heard Blood Orange in high school when 2016’s Freetown Sound had just come out and the single “Best To You” was circulating around as a critical darling. It was like nothing I’d heard before: a tightly composed R&B ballad over a background of lush dance electronics — a melody that stuck in your head. It was, for lack of a better term, the sexiest song I’d ever heard. I immediately fell in love with the song and then with its composer, Blood Orange’s front-man Dev Hynes.
Kamasi Washington’s film As Told to G/D Thyself screened at the Parkway Theatre on Friday, Feb. 21. The saxophonist, band leader and torch-bearer of contemporary jazz made the film following the release of his conceptual two-part album Heaven and Earth. Washington explained during the interview portion of the night how he decided on the visual accompaniment to the music.
Dora Malech and Danielle Evans, two professors in the Writing Seminars department, read their new works to a packed audience in Gilman Hall on Tuesday, Nov. 27. Arriving at the starting time, every seat in the room was taken, so I squatted in the back, on the floor with other students who sat in the aisles and along the walls.
Singer-songwriter Mitski played at the 9:30 Club on the D.C. leg of her Be The Cowboy tour on Nov. 16. In the newly freezing cold weather, my friends and I joined the line that snaked for blocks around the club and missed out on the electro-folk opener The Overcoats, but the sold-out show still mounted traffic outside the venue well into the night as the young crowd packed inside. It had been sold out for months, and I managed my tickets from a re-seller for about double the original price. The rest of the dates on her fall tour sold out just as quickly; Mitski could’ve easily played a place twice this size. But it’s not surprising she didn’t. Inside, the venue was intimate.
Indian Summer, Gregory S. Moss’ play, opens on a beach setting to soft sounds of birds and the ocean in the background. The mid-July Rhode Island beach is slowly populated. The first person there is Daniel (played by junior Sebastian Durfee), a teen dropped at his grandparents’ house by his wayward mother for the summer. Bored and nervous about his mother’s delayed return, his summer takes a turn when he meets Izzy (played by senior Rachel Underweiser), a brash, Rhode-Island accented local. The pair’s feisty first encounters develop into an unlikely relationship that softens into something the audience can’t help but root for.
I have never been a fan of the haunted house. Something about paying strangers to scream at you in the dark as your body threatens cardiac arrest doesn’t appeal to me. However, I was intrigued by the Maryland Institute College of Art’s (MICA) unique take on the Halloween tradition and was impressed that the production was staged by students alone. After hearing friends testify to its relatively-tame-yet-still-spooky nature, I agreed to check it out.
Following two rocky first weeks of the season, Seth Meyers’ episode was the early high Saturday Night Live (SNL) needed. The beloved former head writer and cast member brought a familiar energy to the night, looking right at home in Studio 8H. Meyers noted in his opening monologue that he worked on the show for 12 years and couldn’t even leave the building when he departed, taking his next job just down the hall as host of Late Night with Seth Meyers.
Peabody alumna Kate Wagner spoke at Maryland Institute College of Art’s (MICA) Brown Center to kick off Doors Open Baltimore, a free citywide celebration of Baltimore’s architecture and neighborhoods. The event took place on Thursday, Oct. 4.
At the first President’s Reading Series talk of the year, Assistant Professor in the Writing Seminars Danielle Evans acquainted the audience with Colson Whitehead’s accolades: Pulitzer Prize winner, National Book Award winner, MacArthur and Guggenheim Fellow, author of eight books of fiction and non-fiction. Reaching the podium, Whitehead introduced himself differently.