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The Hopkins Center for the Arts hosted the Grammy Award-winning Orpheus Chamber Orchestra and the globally acclaimed pianist Marc-André Hamelin on Feb. 4 for a performance of a physically challenging, emotionally-charged lineup featuring recently commissioned and contemporary orchestrations of classic scores from Beethoven, Liszt and Schubert.
This article is featured in the 2026 Winter Carnival Issue.
This article is featured in the 2026 Winter Carnival Issue.
Long winter nights are the perfect time to curl up with a blanket, a cup of hot chocolate or tea and a good book or movie. The Dartmouth interviewed several students on their favorite reads and watches of the winter so far.
This article is featured in the 2026 Winter Carnival Issue.
Now that the Academy has released its ironclad grip on the Oscars contenders on Jan. 22, it is time to discuss Joachim Trier’s “Sentimental Value.” The staggering nine nominations — unprecedented for a Norwegian film — acknowledge the remarkable script and direction, stunning performances and tender yet gripping story. In short, “Sentimental Value” may be a perfect movie.
From Jan. 15 to 18, the Hopkins Center for the Arts hosted illusionist and mentalist Scott Silven and presented his performance piece “Wonders” to sold-out audiences at the Daryl Roth Studio Theater. “Wonders” blends a standard magic act with theatrical composition in a way that provokes a unique sense of awe, inspiring not only intrigue about the world and its surroundings, but insight into yourself and those around you.
“28 Years Later” is a strange, experimental take on the zombie genre and one of 2025’s best films. It served as the third installment in the horror franchise that began with 2002’s “28 Days Later” and introduced a new cast of characters for a planned trilogy. Last year’s entry ended with an outrageous sequence in which young protagonist Spike (Alfie Williams) was rescued by a gang of acrobatic zombie-killing ninjas dressed to resemble Jimmy Savile, a beloved UK media personality who was eventually outed as one of the country’s most notorious pedophiles.
Spoilers ahead.
On Dec. 14, the world tragically lost American filmmaker and actor Rob Reiner and his wife Michele Singer Reiner. As a director of masterful films over four decades, Reiner showcased an unparalleled versatility and cultural reach.
Introspective and anticlimactic, the Bruce Springsteen biopic “Springsteen: Deliver Me From Nowhere” is perhaps most accessible to viewers who are already fans of “the Boss.” This is not a traditional biopic — so viewers expecting a narration of the arc of Springsteen’s life will be disappointed. However, those interested in the craft of his songwriting and a glimpse into his emotions will be rewarded.
On Jan. 9, Class of 1954 Intern Sara Shelton ’26 gave a “Space for Dialogue” gallery talk for her debut exhibit at the Hood Museum. Her gallery, “You Just Gotta Laugh,” focuses on how viewers engage with humor. Drawing from the Hood’s permanent collection, Shelton’s installation invites viewers to spend a few minutes laughing. The Dartmouth sat down with Shelton to discuss her new gallery, her experience as a Hood intern and her love for art.
Spoilers ahead.
In an era of floundering Disney remakes and sequels such as the live-action “Snow White” and “Moana 2,” “Zootopia 2” is an imaginative return to the quick-witted, touching Disney of my childhood. The sequel to the beloved 2016 animated film seamlessly integrates sociopolitical themes into a heartwarming movie geared towards children. The film also dares to ask: What would the child of a fox and bunny look like?
“American Pop,” on view at the Hood Museum of Art from Dec. 13, 2025 through Nov. 7, 2026, reframes Pop Art as an evolving visual language shaped by consumer culture, colonial histories and environmental concerns. The exhibition places canonical works alongside contemporary artists to invite viewers to reconsider how American identity has been constructed and contested.
“Marty Supreme,” writer/director/editor Josh Safdie’s first solo feature, follows the table tennis phenomenon Marty Mauser (Timothée Chalamet) on his obsessive quest to be a great table tennis player. Like his previous films “Good Time” and “Uncut Gems” made with his brother Bennie Safdie, the film is about a single-minded con-artist who resorts to increasingly dangerous and immoral methods to achieve his goals — and the seemingly bottomless depths of depravity and desperation to which he will stoop in pursuit of it. Yet here, Safdie elevates this formula to its most epic, and most thematically nuanced, shape yet.
The Declaration of Independence, the Constitution, George Washington — these images represent America, but what do they say about our nation?
2024’s music scene was rife with chart-topping releases and cultural landmarks – from the Kendrick Lamar-Drake feud to Brat Summer. Against that backdrop, 2025 was never going to compete on spectacle alone. Instead, it emerged as a more reflective year, with many artists leaning into more emotionally intentional projects. Japanese Breakfast turned inward on “For Melancholy Brunettes (& sad women),” resisting the urge to recreate the euphoric immediacy of “Be Sweet,” while Justin Bieber surprised listeners with “SWAG,” a raw R&B pivot rooted in faith and introspection.
Those familiar with Mary Shelley’s 1818 classic gothic horror novel “Frankenstein; Or, The Modern Prometheus” know that the central creature is nameless — not, as many think, named after his mad scientist creator. Built from various body parts and electric currents, rejected by humanity for the body he did not ask for, he wanders alone with neither a name nor a companion. Featuring trademark whimsical cinematography and standout acting, Guillermo del Toro’s “Frankenstein” loyally and memorably interprets the classic. The latest in a long line of adaptations, del Toro’s film insightfully explores the background of the creator Victor Frankenstein (Oscar Isaac) while giving due place to the perspective of the creature (Jacob Elordi).
Richard Linklater is known for one-shot scenes, meditations on the passage of time and penetrating dialogue. In “Blue Moon,” his most recent film, he combines all three components as expected alongside mediations on self-destruction, love and the human condition. However, while the movie has some stunning moments, the opening third is a slog with none of the restraint of Linklater’s “Before” trilogy or experimentation of his film “Boyhood.” Fortunately, standout performances by Ethan Hawke and the supporting actors mostly make up for this weakness.