“When I was younger, I had a difficult time understanding what it means to be happa (half and half). What made me Japanese, and what made me Dominican? What does being American mean for a person such as myself? When my parents separated, my mother (Japanese) got custody of me, which is why I’ve spent most of my life exposed to Japanese culture. It wasn’t until later in life where I started to learn about Dominican culture through my Dad’s side in the Bronx, New York…
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“Abominable” opens with a monster-eye view shot, fairly long, of the monster’s escape from a high-security detention area. Large, strong, and not verbal but capable of emotive grunts and hums, the huge beast fights its way to freedom, into the city beyond its prison—which, we learn quickly, is Shanghai, China’s most populous urban area.
Director and writer Lorene Scafaria based her new film “Hustlers” more-or-less on a true story, “The Hustlers at Scores,” an article by Jessica Pressler published in New York Magazine.
The master Iranian filmmaker Abbas Kiarostami (1940-2016) stuck to his filmmaking ways, even through his final illness, spending as much time as his health permitted on an abstract, feature-length project.
Shunji Iwai’s new animated feature “The Case of Hana and Alice” begins with a young girl dancing ballet in her room.
The challenge: Take a script about gay penguins, working with not-necessarily-gay penguins and human zookeepers, to save home, hearth, and hearts in a world on the brink of collapse—and make it funny, warm, accessible, and even kid-friendly.
Four views of a disco ball, stacked vertically. The ball itself has all the mirrored facets necessary to throw rainbow points of light around a room, but the photos are black and white, and the ball itself looks flattened, as if stepped on by a giant.
Intertwining history, psychology, emotion, and the hit music of yesteryear together in an ambitious dinner theatre project might seem like a big bite to take.
Ash Mayfair, born and raised in Vietnam and schooled in film at New York University, chose a story from her own family tree for her striking debut feature, “The Third Wife.”
“I am not from here originally,” confessed theatrical director Mathew Wright. “I’m not sure how long it takes to officially be considered a Seattlelite, but I certainly feel like one. I moved here in July 2011, so it’s been almost eight years.”