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Although the Literary Arts Bridge, tucked away in downtown Hanover, only officially opened in November, students are embracing the colorful offices as a hub for creative writing.
The Dartmouth College Wind Ensemble, the student resident ensemble at the Hopkins Center for the Arts, premiered original compositions by the winners of the Arturo Márquez Composition Competition on Feb. 13 with the Concord-Carlisle High School’s Frontiers Ensemble. The performance of the contemporary Mexican score “Flor Violeta: Concertino for Harp and Wind Ensemble” by Omar Arellano Osorio featured guest Greta Richardson ’26 on the harp.
In its opening scene, Maggie Gyllenhaal’s “The Bride!” announces itself as a major artistic swing and adaptation of the Frankenstein story. Stuck in some sort of purgatory, a disembodied Mary Shelley (Jessie Buckley) reveals she was never able to finish the story of her seminal novel “Frankenstein” before her death, and declares her intention to complete it by possessing the body of a woman in 1930s Chicago named Ida (also Buckley).
Eleven Dartmouth students and recent graduates spent the week of Jan. 22 volunteering at the Sundance Film Festival in Park City, Utah, the largest independent film festival in the United States.
A24’s newest release, “How to Make a Killing,” directed by John Patton Ford, starts at the end. Becket Redfellow (Glen Powell) is set to be executed in four hours, and glibly recounts his tale of woe on a priest (Adrian Lukis) through the bars of his cell. This opening scene establishes the film’s structure — Becket’s diegetic voiceover chronicles his criminal descent as he chases family fortune by murdering estranged relatives.
“Pulp fiction” takes on an entirely new meaning in Park Chan-wook’s “No Other Choice,” a dark comedy about the job market. The bleak film follows Man-su — played by Lee Byung-hun of “Squid Game” fame — a family man who has worked at the pulp manufacturer Solar Paper for 25 years. When an American firm acquires his company, his bosses state they have “no other choice” but to downsize and unceremoniously let him go. After an emasculating, hopeless year of unemployment, Man-su decides he has “no other choice” but to literally eliminate his competition: he must kill the manager of the rival company Moon Paper, and all other applicants.
“The old world is dying, and the new world struggles to be born; now is the time of monsters.” Italian philosopher Antonio Gramsci’s line opens “Ghost in the Machine,” a Sundance documentary directed by independent filmmaker Valerie Veatch that uses its 110-minute runtime to ask viewers to reconsider what exactly feels “new” about artificial intelligence. The film firmly positions AI as the continuation of a conveniently forgotten intellectual and ideological history rather than as an abrupt technological innovation.
The Callbacks, a no-cut student musical theater group founded in spring 2024, will be performing an original musical titled “Hounds of Love” for their termly production this weekend. Written, directed and choreographed by Nathaniel Lopez ’29, the jukebox musical will feature songs by the English singer-songwriter and musician Kate Bush. The title of the musical comes from Bush’s 1985 studio album, “Hounds of Love.”
On Friday, Dartmouth’s theater department opened its seven-performance run of its winter 2026 mainstage production “Legacy of Light” — its inaugural show at the newly reopened Hopkins Center for the Arts in the Daryl Roth Studio Theater.
On Jan. 30, Friday Night Rock — a student club that brings independent and alternative artists to Dartmouth — hosted a performance by the Philadelphia-based indie-rock band Florry. The band performed a selection of their songs that add a higher-energy spin to indie music, drawing from folk and country as well as rock elements. The night marked the second event featuring indie artists this term, following a performance by the indie-folk band Racing Mount Pleasant on Jan. 23.
Spoilers ahead for Emily Brontë’s novel and Emerald Fennell’s film adaptation of “Wuthering Heights.”
Dartmouth’s a cappella groups took the stage in Spaulding Auditorium on Feb. 6 for Aca-lympics, a Winter Carnival concert hosted in the Hopkins Center, marking the first time the College’s a capella groups have performed together since the Hop’s reopening.
As its generic title might suggest, Bart Layton’s “Crime 101” often plays like a remix of familiar tropes from crime genre classics. Thankfully, its strong direction and all-star cast make it a strong, well-made entry in the tradition, even if it doesn’t break any new ground and ends with a slightly undercooked finale.
“The Testament of Ann Lee” refuses to be defined by a single genre. At once a historical drama, a psychological portrait and a folk musical, the film is powerful because it transcends definition. As a rigorous, historically anchored portrait of Shaker religious life, it is epic without losing its intimacy and immersive without becoming indulgent.
In Clint Bentley’s “Train Dreams,” the tumult of the early 20th century collides with one man’s desire to lead a simple life in the American West. Based on Denis Johnson’s novella and nominated for Best Picture at the Academy Awards, Bentley reunited with screenwriter and director Greg Kwedar to co-write this film after their collaboration on “Sing Sing” in 2023. “Train Dreams” follows Robert Grainier (Joel Edgerton), an American railroad laborer from Bonners Ferry, Idaho, who grows up witnessing the dramatic impacts of mass industrialization and World War I. Nevertheless, he will die unconcerned with the fact that mankind has stepped foot on the moon, having never picked up a telephone because he has no one to call. Chronicling the ebbs and flows of this ordinary man’s life over 80 years, “Train Dreams” is a visually stunning meditation on man’s search for coping with grief and making a mark in an increasingly industrialized world.
Lilian T. Mehrel ’09 wrote, directed and produced her first full-length film “Honeyjoon,” a romantic comedy drama that premiered at the 2025 Tribeca Festival. Mehrel was the 2024 One Million Dollar Recipient of the AT&T Untold Stories Award, a Tribeca Festival initiative that awards one emerging filmmaker out of five finalists each year with $1 million to develop their pitch into a full-length feature film to premiere at the next year’s festival.
Friday Night Rock kicked off the winter term with a standout show on Friday, Jan. 23, bringing Racing Mount Pleasant to Sarner Underground for what I consider the best FNR performance I’ve seen here at Dartmouth.
In “If I Had Legs I’d Kick You,” the sky may not be falling, but the ceiling is. The dramedy-meets-psychological-thriller centers on Linda (Rose Byrne), a therapist whose unnamed young daughter is struggling with an unidentified eating disorder. Her life is a series of unrelenting battles. Her husband Charles (Christian Slater) is a cruise ship captain who calls home only to berate her; her therapist (Conan O’Brien) is hostile and remarkably unhelpful and her own clients’ struggles are increasingly difficult for her to treat.
“Melania” chronicles 20 days in the life of Melania Trump leading up to the second inauguration of her husband, then president-elect Donald Trump. While the first half of the documentary consists primarily of event and wardrobe planning for the presidential transition, the second serves as a play-by-play of the ceremony and subsequent celebrations. Yet despite the centrality of Melania’s perspective and frequent voiceover narration from her, the film offers almost zero insight into the first lady as a person. Though she may be the protagonist, no inner life is revealed.
“Hamnet” is a film designed to make you cry. In Chloé Zhao’s film, raw performances and breathtaking cinematography coalesce into a stunning meditation on grief and its endurance. An adaptation of Maggie O’Farrell’s 2020 novel, “Hamnet” follows William Shakespeare’s nuclear family before and after the death of his son Hamnet. Both the novel and the screenplay, which was co-written by O’Farrell and Zhao, assume that Shakespeare’s famous tragedy “Hamlet” was inspired by the death of his son. Although scholars debate the veracity of this premise, its historicity is ultimately irrelevant — the film never claims to be accurate, and its power derives from its efficacy as a deeply human tale.