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Is “Captain Fantastic” the most intelligent film I’ve seen so far this year, or is it the most painfully pretentious? Honestly, it’s probably both. Sometimes I’m just at a loss for words. Exactly one week ago I strolled into Spaulding Auditorium to watch “Captain Fantastic.” Two hours later I walked out and thought to myself, “Well, that was...interesting.” And for the past seven days that’s about the only meaningful thing I’ve had to say about the film: It was “interesting.” Not because I didn’t “get it,” but because I genuinely could not decide how I felt about it. Well, it’s been a week, I’m still not fully decided, but here it goes.
Behind the covered, under-construction scenes of the Hood Museum of Art’s renovation, nearly 50 pieces from the museum’s permanent collection are currently on loan to over a dozen museums from coast to coast. “Hood on the Road,” one of many initiatives put into place to keep art at the Hood active during the closure period, has been engaging the public with Dartmouth’s 247-year-old collection.
From working with Google Tilt Brush to creating videos for Vogue to working with the U.S. State Department, Lilian Mehrel ’09 has made huge strides in the arts since she graduated from Dartmouth. Mehrel’s films have premiered at the Tribeca Film Festival, winning awards from ABC/Disney, the Puffin Foundation, the Marcie Bloom/Sony Pictures Classics Fellowship and countless other organizations. Mehrel is now an MFA candidate at New York University’s Tisch Graduate Film Program with a Paul and Daisy Soros Fellowship for New Americans. She is currently writing comedy television scripts, creating artwork, making digital shorts and working with virtual reality.
Deby Xiadani Guzman-Buchness ’15, a neuroscience major and theater minor at Dartmouth, is working her way up the performing arts ladder in New York City. While at the College she was involved with Casual Thursday, a short-form improve comedy group. Guzman-Buchness recently finished a production internship with four-time Tony award-winning Broadway producer Harriet Leve, producer of “Stomp,” “Beautiful: The Carole King musical,” “An American in Paris” and most recently “Hedwig and the Angry Inch.” She currently works in New York City as a fitness instructor at Oasis Fitness Club. She is set to shadow Peter Hackett, director of “Orwell in America,” in the coming months as an assistant director. “Orwell in America,”originated at Vermont’s Northern Stage, is coming to New York City as an off-Broadway show at East 59 Theaters.
While most Hanover residents probably know The Skinny Pancake for its crepes, the restaurant also plays host to a burgeoning live music scene, putting on as many as five concerts a week. Groups who have played at the venue range from acoustic folk, to Cuban jazz, to spiritual Turkish, to indie rock.
Every afternoon at 4 p.m. in Sanborn Library, the chime of bells momentarily awakens students from their studies, pulling them away from their schoolwork and into the world of tea and cookies.
Although Drayton Harvey ’17 was never a contestant on “Dancing With the Stars,” the popular reality show changed the trajectory of his life. When 13-year-old Harvey — then involved with fencing, archery and baseball — first saw the show, it was the spark that ignited what would eventually become a passion for ballroom dancing.
When Cindy Li ’18 entered Dartmouth as a freshman, she was not ready to give up her high school hobby of aerial silks — so she set out to find others who were interested in the obscure mix of acrobatics and dance. Her search led her to a 2006 article in The Dartmouth about a now-defunct circus club called the Northern Lights, and from there, she was able to track down their last remaining member: Haley Reicher ’17. Since then, their group of aerial silk enthusiasts has grown to include Claire Apuan ’18 and Charlotte Nutt ’19. The Dartmouth climbing gym is home to this niche activity, which Apuan explained involves hanging a silk curtain from the ceiling on a special rigging device, but may not be the group’s first choice for a location.
Nate Seymour ’12, who majored in studio arts with a focus in photography and minored in digital arts at Dartmouth, works as a colorist for television and film. A colorist’s job is to ensure that everything seen onscreen has the proper hue. Seymour has worked on projects spanning from commercials to short films. His work can be seen at nateseymour.com. Currently, he is working in the New York City office of The Mill, a production studio, as a “color-assist” assistant.
When it comes to some filmmakers, I find that while I am able to fully admire their craft and ingenuity, I can never seem to “get on their wavelengths.” Woody Allen is one such filmmaker. Allen can be hilarious, clever and insightful with his writing and directing, but I’ve never been able to genuinely love even his very best work, such as “Annie Hall.” That being said, I typically find his work to be highly enjoyable and even ingenious, which is why I am struggling so much with “Café Society.” It is well-directed, well-acted, well-filmed and overall well-made, but I generally expect something a little more innovative and original from Woody Allen. So should I praise it for its competency or lambast it for its lack of creativity?
Do you often have trouble figuring out how to fill your Friday night? What about with a show that covers everything from Dartmouth traditions to Dianne Keaton and Tom Brady to mercury-laden shrimp? Luckily for Dartmouth students, the Upright Citizens Brigade Touring Company, a renowned improvisational and sketch comedy theater troupe, delivered just that this weekend. Hosted by Collis After Dark, students filled Collis Commonground on Friday night with the promise of an eccentric and hilarious improv performance, with the College’s own Casual Thursday acting as the opening act.
“Store,” Carly Rae Jepsen, “Emotion Side B”
“How sweet I roam’d from field to field and tasted all the summer’s pride,” Independent Music Award winner Martha Redbone croons in her third studio album “The Garden of Love.” The album sets the words of 19th-century poet William Blake to Appalachian folk music. It’s an odd combination, but somehow it works. Her album sounds contemporary and modern yet nostalgic. Of course, Redbone is not foreign to combining different cultures, time periods and places — she grew up in the Appalachians and has African-American, Cherokee and European ancestry.
Katherine Stebbins ’04 discovered her passion for costume design at Dartmouth after designing for two shows, eventually graduating with a major in philosophy and a minor in theater. After graduation, Stebbins received her MFA in costume design from Carnegie Mellon University in 2009. She worked as a costume designer in Chicago until 2011, where she worked with the Chicago Shakespeare Theater and the American Theater Company, among others. She now works in Boston.
Contemporary French artist Laetitia Soulier plays with geometric shapes, repeating patterns and human models to encourage viewers to take a second look at her art. Interested visitors are able to do just that at the place where her work has been displayed since Sept. 16: the Hood Downtown exhibition space. Located at 53 Main Street, the exhibition space aims to fill the shoes of the Hood Museum of Art, which will remain closed for expansion and renovation for the next two and half years. During this time period, Hood Downtown will display the work of ten contemporary artists from different corners of the world.
The premise of special collections is an art form that breaks the conventions of time.
Not even receiving two degrees in the laws of physics could keep Enrique Martinez Celaya from resisting the pull of art. Nor could Martinez Celaya resist the pull of Hanover. This term he is returning to campus as a Roth Family Distinguished Visiting Scholar, a position reserved for thinkers who will expand the scope of student thought. He previously served as a Montgomery Fellow, another endowed residency position that brings leaders to Dartmouth, two years ago.
“Bridget Jones’s Baby” (2016) opens with a familiar scene: Bridget Jones, alone on the couch with an egregiously large glass of wine and Jamie O’Neal’s rendition of “All By Myself” blasting aptly in the background. In accordance with the previous two films, she’s sad, she’s lonely and it just so happens to be her birthday.
Expectations may seem a given for an artist familiar with the spotlight, but Cécile McLorin Salvant says otherwise.
Wednesday night in Moore Auditorium, the audience rose to its feet as Staceyann Chin stood proudly in the center of the stage, her feet spread wide apart, her fists thrust high into the air and her face filled with raw emotion. Chin, fresh off giving a rousing performance of her critically acclaimed one-woman show “Motherstruck!,” accepted her standing ovation with a roar of glee, eliciting yet more laughter from an audience that had been chuckling at her jokes all night long.