John Constable’s The Wheat Field (1816) depicts an August harvest in the English county of Suffolk. Photo courtesy of The Clark.
Set in the 18th century, director Yorgos Lanthimos’ new comedy The Favourite is rife with surprises. Photo courtesy of ICA.
At 8 p.m. last Friday night, students piled into Paresky Auditorium for the Perennial Amateur Convention’s (PAC) fall comedy show, Raising Hell, which consisted of a few introductory stand-up acts followed by sketches written by the group’s members. Julia Cochran ’19, PAC president, greeted the audience, giving a nod to the show’s director Abby Lloyd ’20, and introduced head writers Evelyn Elgart ’19 and Benjamin Stanley ’19, the latter of whom she jokingly said was only there “to not alienate the men in the audience.” She acknowledged PAC’s female leadership in a genre of entertainment that has historically been male dominated.
A few Fridays ago, I decided to spend my whole evening at Images Cinema. I watched Damien Chazelle’s First Man at 4:45 pm and Beautiful Boy immediately after.
Cap & Bells’ latest show, The Pillowman, is a masterful adaptation of a dark classic. The play, written by Martin McDonagh and directed by John Murphy ’21, was performed on Nov.
This past Saturday I found myself in a familiar place: the Schow Science Library. Only this time, after reaching critical mass, the frenzied motion I was studying wasn’t in a glass beaker.
The heist movie genre is extremely popular and salient in pop culture, and for great reason: the tropes are well-known and obvious, and if a movie utilizes them well, it will be greatly celebrated. The 2001 remake of Ocean’s Eleven is perhaps the pinnacle of this feat and it remains extremely popular more than 20 years later.
“We are going to be making a liberated space,” Kailyn Gibson ’22 announced in Goodrich on Thursday, Nov. 1.
First Man, playing at Images Cinema through tomorrow, is the first of Damien Chazelle’s major films that isn’t centered around music. La La Land was a musical about performers in Los Angeles, while Whiplash focused on a jazz drummer’s ascent to greatness.
“It’s strange getting used to your own voice,” Ocean Vuong mused, stepping onto the podium and bringing the microphone in closer to his melancholy smile. “You are born with it, after all.”
Vuong’s voice, more akin to a kitten’s mewl than human speech, filled the Sawyer Reading Room on Friday evening as part of the Creative Writing Reading Series, co-hosted by the Vietnamese Student Organization and the English department.