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On Oct. 21, students, faculty and community members gathered in Loew Auditorium to watch Swiss director Fredi Murer’s 1985 film, “Alpine Fire.” The screening was part of Cannes on the Connecticut, a film series curated by Montgomery Fellow Vinzenz Hediger to showcase international films.
“To be free, you have to know how to live,” sings Brazilian rapper Negra Li, in “Luta Cansativa.” This song opens one of the early sequences of Anna Muylaert’s new film “The Best Mother in the World.” In the scene, a Black woman named Gal (Shirley Cruz) meanders through São Paulo’s chaotic traffic, pushing her heavy, garbage-filled cart. Her job involves collecting trash from the streets and selling it for recycling. As the rap suggests, Gal is trying to pursue freedom — both for herself and her children.
The day begins as usual for various White House and military personnel. Captain Olivia Walker (Rebecca Ferguson) tends to her sick toddler before heading off to work in the Situation Room at 4:30 a.m. Major Daniel Gonzalez (Anthony Ramos) argues with his girlfriend over the phone before returning to his post as the commander of the Fort Greely Army base in Alaska. Characters exchange pleasantries, drink coffee and settle in for the workday.
After 10 minutes, most viewers will have figured out exactly where “Tron: Ares” is going; it’s narratively shallow and plays out exactly as you’d expect. Most of the dialogue is also predictable, forcing accomplished actors to give stilted performances as they spout ham-fisted exposition and unfunny jokes. Despite its under-two-hour runtime, the movie feels both too long and not eventful enough.
“Against all odds, I’ve found myself in the business of optics, not substance.” Spoken by a peripheral character, this is the unassuming thesis of Luca Guadagnino’s latest film. “After the Hunt” is a gripping psychological thriller that weaves a complex web of power dynamics related to race, class and gender. In this campus drama set in 2019, philosophy professor Alma Imhoff (Julia Roberts) contends with the news that a favored colleague Hank (Andrew Garfield) has allegedly sexually assaulted her Ph.D. student Maggie (Ayo Edebiri).
Feather boas. Bodies dripping with rhinestones. Burgundy stage curtains fading into shadow. This was the promotional imagery for Taylor Swift’s 12th studio album “The Life of a Showgirl.” Written and produced during Swift’s The Eras Tour by Swift, Max Martin and Shellback, this is a record about performance. It leans into spectacle, teasing some sort of confession behind its glittering facade that is never quite revealed. Over 12 tracks, Swift slips between contradictory personas, leaving the listener uncertain as to which, if any, are real.
The date September 11, 2001, is seared in America’s national memory as a day of collective grief and profound horror. Yet it is within this context of national tragedy that Canadian couple Irene Sankoff and David Hein’s hit musical “Come From Away” tells a true story of universal compassion. The Tony-nominated musical has made its way to White River Junction’s very own Northern Stage. Directed by Carol Dunne, the 100-minute local production opened previews on Sept. 24, marking the first show of Northern Stage’s fall season.
James Wan’s 2013 horror film “The Conjuring” dramatized the exploits of real-life paranormal investigators Ed and Lorraine Warren in a thrilling and uncommonly poignant horror film. Since that initial installment, the series has expanded into a full-blown cinematic universe, with films like “Annabelle,” “The Nun” and their respective sequels.
Although Dan Erickson’s “Severance” is rife with cynicism and corporate humor, it differs drastically from a workplace satire. “Severance” is ultimately a work of science fiction. The show grants insight into the depths of human psychology and emotion.
“L’Absinthe” by Edgar Degas. “Tired” by Ramón Casas. “The Wedding Dress” by Frederick Elwell. These are the portrayals of women experiencing extreme despair that inspired Michelle Zauner in the production of Japanese Breakfast’s new album, “For Melancholy Brunettes (& sad women),” which was released on March 21.
In the spirit of the saying “if it ain’t broke, don’t fix it,” the “White Lotus” season premiere — “Same Spirits, New Forms” — delivers exactly what its title promises. For those unfamiliar, the “spirit” of the White Lotus television series centers around a luxury resort enterprise functioning as a cultural refuge for the hyper-rich. Far from broke, the Emmy award-winning first and second seasons of “White Lotus” cemented themselves in the zeitgeist as a satirical exploration of America’s ever-expanding wealth gap. Each season thus far has transformed the serene utopia of a Four Seasons property into a crime scene where everything that can go wrong, does, and where somebody innocent is sure to end up dead.
If controversy begets conversation, then on Sunday, the Caesars Superdome in New Orleans, La. hosted a performance primed for discussion. The Super Bowl halftime show is meant to appeal to the masses, which is why, for many viewers, Kendrick Lamar’s performance fell short — its dense, politically-charged messaging went against the mainstream audience’s expectations. However, I think the 13-minute set undoubtedly stood as a testament to a storyteller’s showmanship.
Few films engage with architecture like “The Brutalist” does. In the film, director Brady Corbet does not relegate architecture to the background but instead explores it through the experience of a Holocaust refugee.
Following a very unexpected twist of events, my friends and I found ourselves at Chappell Roan’s last European concert for the Midwest Princess Tour on Sept. 23, during our time on the Berlin Foreign Study Program. Held at the Velodrom arena, the show replaced an earlier concert she had to cancel and drew a crowd of around 12,000 people — her largest audience outside of a festival to date. The atmosphere was a celebration of her creative vision. Many in the audience dressed like Roan herself, fully embracing the bold, vibrant fashion from her music videos. One person wore a pink cowboy outfit complete with glitter boots, while another sported an angel costume with a heart-patterned skirt and heart-shaped makeup accents. The attention to detail in their looks made the entire experience feel like a living, breathing extension of Roan’s art.
Colleen Hoover’s “It Ends With Us” became a bestseller after going viral on BookTok — a book-focused subcommunity on TikTok — during the COVID-19 pandemic. It spent 140 weeks on the New York Times Best Seller list and sold 8 million copies. Thus, it was hardly surprising that fans were ecstatic when director Justin Baldoni optioned the film adaptation in July 2019. Starring Baldoni as Ryle and Blake Lively as Lily Bloom, the movie premiered on Aug. 9 and exceeded $100 million at the global box office in its first week.
“Twisters,” a stand-alone sequel to the 1996 blockbuster “Twister,” raises the question, Can sequels recreate the magic of a classic?
The Parish Players did an excellent job with Sam Shepard’s “Buried Child,” a strange play about masculinity, family and a forgotten America. I saw the play in Thetford, Vt., on Aug. 3 and was struck by the quality of the acting and the poetry of Shepard’s writing.
Glover, Vt., is lovely at this time of year.
A mystery of identity, family and a river keep the reader rapt throughout Morgan Talty ’16’s debut novel, “Fire Exit.”
Director of cult favorites “The Favorite” and “Poor Things,” Yorgos Lanthimos’s “Kinds of Kindness” is a cruel contemplation on the painful sacrifices we make to get what we want. The film asks: Are we controlled by our desires? And how much control do we give to those who hold the key?