We are living in a world that wants to label us quickly – immigrant, refugee, illegal. But Mohamad Hafez, an eccentric Syrian artist and architect, likes to confuse people.
It’s Halloween time, and horror movies are on our radars. Whether you’re into jump scares (The Conjuring, Sinister), psychological horrors (Sixth Sense, Rosemary’s Baby, Black Swan) or art house horrors (Hereditary, The Witch), there are a few movies that should be on every horror-fanatics’ watchlist.
If you had told me that Bradley Cooper, whose last major onscreen role was Iraq veteran Chris Kyle in Clint Eastwood’s aggressively patriotic biopic American Sniper, would direct film’s newest camp classic only four years later, I would have called you crazy. However, Cooper’s A Star is Born, which came to Images Cinema last Friday, is just that – campy, unrealistic and (because of the former) thoroughly enjoyable if you don’t take it seriously.
Frosh Revue is a sketch comedy show that is performed annually during Family Days. This year’s edition – titled Frosh Revue 2018: The Froshank Redemption – was directed by Ben Weber ’21, Morgan Nelson ’21, Samuel Wolf ’21 and Ben Kitchen ’21.
This past Saturday, I was invited to attend the 2018 Jacob’s Pillow College Partner Convening, held at the ’62 Center for Theatre and Dance and the Williams College Museum of Art (WCMA). The Convening was held as a response to the controversy that has arisen out of WCMA’s exhibition Dance We Must.
Much of the rich art scene in the Berkshires can be attributed to Thomas Krens ’69. Previously director of the Solomon R. Guggenheim Foundation, Krens has a resume bolstered with achievements in the arts.
Just a few weeks after showing The Wife, Images Cinema has showcased yet another tense character drama revolving around a prodigal young female writer whose talents are stolen by her husband. In a refreshing twist, Colette, based on the true story of French literary legend Sidonie-Gabrielle Colette, delivers visceral satisfaction by proving that – in this case at least – a true story can provide a measure of unexpected triumph.
Last Saturday, musicians Neil Leonard and Miguel Nuñez were joined by multimedia artist Nestor Siré in an unorthodox exploration of Cuban artistic production at home and at large. The event was organized as the annual Plonsker Family Lecture Series in Contemporary Art, established in 1994 by Madeleine Plonsker, Harvey Plonsker ’61 and their son, Ted Plonsker ’86.
A series of five short plays under the collective title Microdramas premiered last Thursday in the ’62 Center’s Directing Studio, in a sold-out venue on both Friday and Saturday evenings. The featured plays included The Lesson by Eugene Lonesco – a comedic parable of the dangers inherent in indoctrination; 90 Days by Elizabeth Meriwether, which centers on Elliott, whose girlfriend calls to check up on him; 508 by Amy Herzog, in which two ex-lovers meet in the apartment they once shared; Springtime by Fiona Semi, about the complications of memory; and The Moon Please by Diana Son, in which a young married couple argues over who is going to work and who will stay with their newborn baby on the morning of September 11, 2001.
Rebooting classic film franchises has been a Hollywood staple for years, and the Halloween series is about to receive this treatment, with a critically acclaimed sequel on the verge of release. The line out the door at Images two Fridays ago, however, wasn’t for the latest Halloween film, but rather for a limited-run screening of the original 1978 slasher by John Carpenter.