You've got exactly a month to catch up on all the films nominated for the 87th Academy Awards, which will be presented February 22. But movie tickets are expensive! Luckily, as has become a Washington tradition, the National Archives is making it easy on your wallet/office Oscars pool by presented free screenings of some of the nominated titles.
For the 11th year in a row, you can catch all the contenders in four categories—documentary feature, documentary short, live-action short, and animated short—in the William G. McGowan Theater during the week leading up to the Oscars. Things kick off on February 18 with Rory Kennedy and Keven McAlester’s documentary Last Days in Vietnam at 7, with a different feature-length documentary every evening and the shorts screening as groups in the daytime. Making things even more convenient this year, you can reserve seats ahead of time by visiting the website or calling 202-357-6814; doors open 45 minutes before the scheduled start time, and walk-ins will be admitted 15 minutes before depending on space. Screenings run through February 22 at 6 PM, just in time for visitors to get home in time for the Oscars.
See the full schedule of screenings below.
Documentary Feature Nominees
Wednesday, February 18, 7 PM
Last Days in Vietnam
Rory Kennedy and Keven McAlester
(98 minutes; unrated)
Thursday, February 19, 7 PM
Laura Poitras, Mathilde Bonnefoy and Dirk Wilutzky
(114 minutes; rated R)
Friday, February 20, 7 PM
The Salt of the Earth
Wim Wenders, Juliano Ribeiro Salgado and David Rosier
(110 minutes; rated PG-13)
Saturday, February 21, 7 PM
Orlando von Einsiedel and Joanna Natasegara
(90 minutes; unrated)
Sunday, February 22, 4 PM
Finding Vivian Maier
John Maloof and Charlie Siskel
(83 minutes; unrated)
Live-Action Short Film Nominees
Saturday, February 21, noon
Oded Binnun and Mihal Brezis
(40 minutes; unrated)
Boogaloo and Graham
Michael Lennox and Ronan Blaney
(14 minutes; unrated)
Butter Lamp (La Lampe au Beurre de Yak)
Hu Wei and Julien Féret
(15 minutes; unrated)
Talkhon Hamzavi and Stefan Eichenberger
(25 minutes; unrated)
The Phone Call
Mat Kirkby and James Lucas
(20 minutes; unrated)
Total Running time: 114 minutes.
Animated Short Film Nominees
Saturday, February 21, 3:30 PM
The Bigger Picture
Daisy Jacobs and Christopher Hees
(8 minutes; unrated)
The Dam Keeper
Robert Kondo and Dice Tsutsumi
(18 minutes; unrated)
Patrick Osborne and Kristina Reed
(6 minutes; unrated)
Me and My Moulton
(14 minutes; unrated)
A Single Life
(3 minutes; unrated)
Total Running Time: 49 minutes.
Documentary Short Subject Nominees
Sunday, February 22, 11 AM
Crisis Hotline: Veterans Press 1
Ellen Goosenberg Kent and Dana Perry
(47 minutes; unrated)
(45 minutes; unrated)
Tomasz Sliwinski and Maciej Slesicki
(28 minutes; unrated)
The Reaper (La Parka)
Gabriel Serra Arguello
(29 minutes; unrated)
J. Christian Jensen
(20 minutes; unrated)
The motto of the Washington West Film Festival is “Story can change the world.”
From October 22 to 26, the fest, now in its fourth year, brings some 40 independent narrative and documentary films to Reston’s Bow Tie Cinemas, the Angelika Film Center and Cafe in Fairfax, and other Northern Virginia venues. Though fast-growing, Washington West is still a local, intimate affair, so you can interact with filmmakers at Q&As and special events.
All box-office proceeds go to a philanthropic organization or project, and the festival’s work with that group becomes the subject of a short film that opens every screening the next year; this year’s short is about Washington West’s involvement with Shelter House, a facility for homeless families in Fairfax County.
With supporters including Veep’s Julia Louis-Dreyfus—who grew up in Washington—the festival has also helped fund a new school and theater in Haiti as well as relief efforts for Hurricane Sandy victims. Attendees are encouraged to carry forward the festival’s message by volunteering at a featured nonprofit afterward.“The idea is that we’re attaching our audience to the creation of a story that gives hope, that cares or shows compassion for a community in need,” says founder Brad Russell.
Louis-Dreyfus coproduced a documentary in this year’s festival, Generosity of Eye. Directed by her husband and fellow Saturday Night Live alum Brad Hall—who is expected to attend with her—the film explores the decision by the actress’s father, William Louis-Dreyfus, to sell off his extensive art collection to benefit the Harlem Children’s Zone. Other highlights are Alive Inside, a Sundance Film Festival Audience Award winner about music therapy for Alzheimer’s patients; Revenge of the Green Dragons, a gangster film starring Ray Liotta and executive-produced by Martin Scorsese, among others; and a film-and-TV-scoring event featuring W.G. Snuffy Walden, who composed the music for Friday Night Lights and The West Wing.
Russell’s objective is for audiences to walk away motivated to be a “contributor, not just a consumer.” A community with as much affluence as Washington “can make sizable differences in the world, and in the area, if we come together for good.”
Find more information at filmfest.com.
This article appears in our October 2014 issue of Washingtonian.
David Fincher’s Gone Girl finally hit theaters last weekend, after what felt like months (and months) of internet hype, and immediately rocketed to the top of the box office. If you’ve already re-read Gillian Flynn’s book and gotten your fill of full-frontal Ben Affleck—but are still looking to scratch your itch for stories about, ahem, unusual relationships—this weekend offers plenty of options at theaters around Washington.
Opening Friday at E Street Cinema is Only Lovers Left Alive, Jim Jarmusch’s vampire love story starring Tom Hiddlestone and Tilda Swinton. Before you cry Twilight foul, know that this flick involves zero werewolves, and the main characters’ lust runs more to exploring the vast realm of art and culture than each other’s undead bodies. An eternity to stay ahead of the cultural curve? It’s every hipster’s dream.
Also opening Friday at E Street is The Disappearance of Eleanor Rigby: Her and Him, two separate films that explore a couple’s crumbling marriage from each party’s distinct perspective. Them, the third version of the story Ned Benson created, was the only one to get a wide release, but critics have reviewed both gender-divided versions more favorably. Decide for yourself which half of the couple is in the right.
October 10 through 16, the Goethe-Institut puts on the Film Neu festival, featuring new works from Germany, Switzerland, and Austria. The lineup this year includes Love Steaks, a partially improvised film about an unlikely friendship between a pair of hotel workers (the supporting cast members are all actual hotel employees rather than actors); and Age of Cannibals, a “German Wolf of Wall Street” about two ruthless business consultants at war with each other. See the full schedule of films online.
Showing through Thursday at West End Cinema is Fort Bliss, which stars Michelle Monaghan as a hyper-competent Army medic returning home and attempting to reconnect with her young son and ex-husband. Written and directed by Washington local Claudia Myers, it’s a film that translates the idea of work/life balance through the lens of modern war to heartbreaking effect.
On Friday, the Angelika Film Center in Fairfax offers a late-night screening of The Shining, Stanley Kubrick’s famous adaptation of Stephen King’s novel about a family trying to survive the winter—and a serious case of cabin fever—in a terrifying Colorado hotel.
Sick of thinking about bad relationships? AFI Silver Theatre provides some even scarier subjects. Its annual Spooky Movie International Horror Film Fest, running October 9 through 18, includes titles such as the pulpy Call Girl of Cthulhu, the Iranian vampire flick A Girl Walks Home Alone at Night, and the Australian haunted-house film The Babadook.
An average, hard-working man must document all of human life before earth is destroyed. A girl and boy use shoelaces to make the world a better place. A man loses his wife but finds a big brass band. Out of 135 short films from 25 countries in this year’s DC Shorts Film Festival, these were some of the judges’ favorite stories. The festival wrapped up with a Best Of screening this weekend, at which the selections were whittled down to ten of the year's most thoughtful, hilarious, and surprising two- to 29-minute films. Though two of the top ten do not have trailers available online, you can get a look at the other eight below; find the full list of winners here. (Film descriptions are via DC Shorts.)
“Cadet”: Outstanding Live-Action Short
Pushed by his coach/father, a young runner eventually lashes out at the least expected moment.
“Yearbook”: Outstanding Animated Short
With the end of the world right around the corner, a man is asked to write the final pages of recorded human history.
“The Silly Bastard Next to the Bed”: Outstanding Documentary Short
A retired Air Force officer realizes he was at the center of a huge political scandal during the Kennedy administration.
“Lialou”: Outstanding First-Time Director
A couple seeks to change the world with, of all things, shoelaces.
“The Chaperone”: Festival Director’s Choice
When a motorcycle gang crashes a school dance, there’s only one person who can restore order: the chaperone.
“What Cheer?”: Filmmaker’s Favorite
Struggling to overcome the death of his wife, a man is tormented by a cheerful marching band that follows him seemingly everywhere.
“They Are the Last”: Special Jury Mention for Excellence in Storytelling
A day in the life of a lighthouse keeper on a remote cape off the Uruguayan coastline.
“This is Me”: Special Jury Mention for Importance of Storytelling
Balinda shares her story of how medical marijuana has changed her life.
Call it the anti-Disney effect.
While a rash of films such as Maleficent have tried to remake villains into sympathetic antiheroes, “Soda_Jerk: After the Rainbow,” opening September 19 at the National Museum of Women in the Arts, has the opposite goal: to reveal the heart of darkness in the star of the family film The Wizard of Oz.
The 1939 classic helped Judy Garland—17 when she starred as Dorothy Gale—earn a permanent place in people’s hearts. Yet, as is well documented, her life wasn’t nearly as rosy as her character’s, a contrast the exhibit explores.
Soda_Jerk is the pseudonym of two Australian sisters who create “rogue historiographies” through digital video. Their take on Garland is the second in a series of three that stage encounters between stars’ younger and older selves. (The others focus on River Phoenix and on Joan Crawford and Bette Davis.)
“After the Rainbow” combines scenes from The Wizard of Oz, a TV special in which Garland appears with Dean Martin and Frank Sinatra, and her later films with clips from more recent movies like Donnie Darko and Planet Terror in an attempt to round out the traditional narrative of Garland as tragic heroine.
Chief curator Kathryn Wat hopes this approach will help audiences see Garland as not just another troubled star “but also someone with a great deal of strength.” Wat admits she discovered a lot from the exhibit about the actress’s portrayal in the media: “I’m an American, I know Judy Garland, I know The Wizard of Oz, but this was not at all what I expected.”
Conversely, the movie at the center of so many fond childhood memories may also take on a new hue. “The film is tinged with longing,” says Wat. “Dorothy is trying to get somewhere and can’t, and she’s missing her family. Even that movie, as much as we all love it, is shaped by a sense of loss.”
“After the Rainbow,” along with the museum’s “Total Art: Contemporary Video” (on view through October 12), is part of an effort to focus on women’s contributions to video. While female artists have had to struggle to catch up in traditional fields such as painting, Wat says video is one of the few areas in which both sexes have been equally involved since it became popular in the 1960s.
She sees Soda_Jerk’s installations as representative of that medium’s progress: “We live in a digital age, when images are spread almost instantaneously. The work [the women of Soda_Jerk] do and the process they follow spins around these questions of piracy and appropriation. Their point is ‘We’re not stealing it—we’re borrowing it and making something totally new.’ ”
Through November 2; $10; nmwa.org.
West End Cinema will run a weeklong retrospective of three films starring Robin Williams as a tribute to the actor and comedian, who died Monday at age 63. Starting Friday, the niche movie theater at 23rd and M streets, Northwest, will screen The Fisher King, The Birdcage, and Good Will Hunting.
Williams earned his third Academy Award nomination for his role in 1991’s The Fisher King, in which he played a homeless man who rescues a depressed, suicidal radio jockey played by Jeff Bridges. In The Birdcage, a 1996 adaptation of the French play La Cage aux Folles, Williams and Nathan Lane played a gay couple who attempt to deceive the deeply conservative parents of their son’s fiancée. Good Will Hunting is probably the dramatic role Williams is best remembered for, bringing him an Oscar for best supporting actor in 1998 for his portrayal of a Boston psychiatrist.
Williams’s death from an apparent suicide prompted his countless fans to spend Monday evening reminiscing about the hyperactive funnyman, whose manic, often random comedic style seemed to flow from an unscripted stream of consciousness. His mourners included President Obama, with the White House pushing out a statement in a relatively rare instance of Obama remarking on a celebrity death.
“Robin Williams was an airman, a doctor, a genie, a nanny, a president, a professor, a bangarang Peter Pan, and everything in between,” Obama said, including a clever reference to Williams’s turn in Hook.
Two years ago, an unlikely person made a perilous journey almost seven miles underwater to the bottom of the Mariana Trench. Titanic and Terminator director James Cameron piloted the 24-foot Deepsea Challenger to the deepest part of the ocean, and his record-breaking dive is the subject of a new documentary, Deepsea Challenge 3D.
The world doesn’t have many explorers anymore. The era of Jacques Cousteau and Sir Edmund Hillary and expeditions into the unknown has faded, mostly because there’s not much left that remains unexplored.
That is, except for the sea. As Cameron explains in his opening narration, we know little about the extreme depths of our own planet, so he partnered with National Geographic for an expedition to pick up the mantle. If the prospect of a Hollywood blockbuster director suddenly becoming a scientific explorer seems a bit off, the film goes to great lengths to show it’s for real.
Opening with reenactments of a young Cameron playing adventurer from inside a cardboard box, the documentary tracks his fascination of the ocean’s mysteries through his own filmography—first in 1989’s underwater sci-fi thriller The Abyss, followed, of course, by Titanic in 1997.
You may remember Cameron’s 12-year absence from feature filmmaking after that (finally broken by Avatar in 2009). What was he doing in the meantime? Undersea documentaries, actually—exploring a few famous shipwrecks, tracking down rare deep-sea animals with NASA scientists, and other aquatic adventures. In one scene, a question asked by Cameron’s wife—“Are you a filmmaker who does exploring on the side, or an explorer who does filmmaking on the side?”—becomes a central theme to his character.
Cameron’s childlike delight in sitting at the bottom of the ocean and watching all the “critters” float past gives a unique insight into a man usually accused of being among the most autocratic of filmmakers. “This is my church,” he says at one point, while cloistered in a cramped submersible under 16,000 pounds per square inch of pressure.
The rest of the documentary proceeds in a way not unlike a standard Cameron action blockbuster—the race against time to finish the project, the life-threatening risks, the against-all-odds final mission. That last part includes a cameo from Rolex watches—one of the expedition’s sponsors—in what could be one of the most absurd moments of product placement ever captured on film.*
But what, in the end, do we learn from this adventure? After all, it is a science expedition, but so much of the documentary’s focus is on Cameron that we don’t get the larger picture. There’s a perfunctory scene explaining how the trench might give researchers more insight into how tectonic plates affect volcanoes and tsunamis (and thus help us protect ourselves from them), but that’s about it. We see Cameron’s sense of wonder at all that he’s seeing, but the grander purpose is elusive.
But maybe that’s the point: that the depths Cameron sank to are still so mysterious and dark that this is far from the final journey. The director may have three Avatar sequels in production at the moment, but it’s plain to see where he really wants to be.
Deepsea Challenge 3D opens August 8 at West End Cinema, AMC Loews Shirlington, Regal Ballston Common, AMC Hoffman Center, and Rave Cinemas Fairfax Corner. Find Michael Gaynor on Twitter at @michael_gaynor.
*Okay, it’s too good not to explain: Cameron’s submersible includes a robotic arm used for picking up samples from the ocean floor. He’s sitting at the bottom of the trench when, out of nowhere, he decides to “check the time” by swinging the robot arm up to the camera and showing off—what else—a Rolex wristwatch strapped to the arm. Followed by a clearly forced comment about how it’s still ticking seven miles deep. Ha!
On Tuesday evening, Comcast and NBC Universal hosted a screening of the upcoming James Brown biopic Get On Up at the Newseum. The film, which opens wide August 1, stars Howard University alum Chadwick Boseman—currently best-known for portraying another African-American legend, baseball player Jackie Robinson, in last year’s 42.
The pre-show reception offered Southern-style food (fried-catfish sliders, cornbread muffins) and a deejay spinning Brown hits; as participants filed into their seats in the auditorium, they were followed by a brass band, who marched down the aisles playing instrumental versions of Brown’s hits.
Before the screening began, Touré, a music critic and host of MSNBC’s The Cycle, hosted a panel discussion with the film’s director, Tate Taylor—who also directed 2011’s The Help—Boseman, and Reverend Al Sharpton, who had a close personal relationship with Brown and, according to the panel, once acted as Brown’s manager.
During the discussion, Taylor revealed that the film was shot in 49 days in 96 locations in Mississippi. When Touré jokingly asked whether Taylor was vying for his “black card” by making Get On Up as well as The Help, Taylor joked right back that he already had one. (Get On Up reunites Taylor with his Help stars Viola Davis and Octavia Spencer, who play Brown’s mother and aunt, respectively; The Help got Davis an Academy Award nod and Spencer a win.) Most of the questions directed at Boseman regarded how he managed to nail Brown’s distinctive walk and mannerisms; the audience at one point demanded to see Boseman demonstrate the famous stride, though he demurred. Sharpton shared a couple of anecdotes about the man he came to know so well that Brown began referring to him as “son,” including the story of when Michael Jackson attended a concert of Brown’s. After the show, Jackson moonwalked for Brown, who responded, “See that’s the problem: I’m here to get black folks going forward; you’ve got ’em going backward.”
As for the movie? It’s very well-acted, the costumes are a visual feast, and the makeup and aging effects are some of the most subtle and convincing this viewer has seen in quite some time. But for a biopic, Get On Up is not very enlightening about its subject’s life.
The movie begins with a scene of Brown later in his life before flashing back to his troubled childhood and following him along his journey to stardom, though it occasionally jumps around in time without offering the viewer much to orient herself. Some exposition is skipped over, which is either a refreshing avoidance of spoon-feeding or a source of confusion depending on the audience’s prior knowledge of Brown’s story. The whole film is suffused with a surrealist glow that makes it even harder for those who don’t recall the specifics of Brown’s life to parse what’s based in fact and what’s a product of Hollywood-ized creative license.
To its credit, the film doesn’t shy away from the less-than-charming aspects of Brown’s personality: his egotism, his treatment of his band members. But some of the singer’s serious problems, including drug use, domestic abuse, and tax evasion, are touched on briefly and then never brought up again. The script is occasionally heavy-handed with its dialogue and symbolism (never more so than in a ludicrous car-chase scene later in the movie).
There are excellent moments, though. The concert scenes crackle with energy; all the performances used real recordings of Brown—and while Boseman may not have done the singing, he showed an impressive mastery of Brown’s signature dance moves. The delightfully deadpan Nelsan Ellis (True Blood’s Lafayette) is wonderful as Brown’s friend and longtime band member Bobby Byrd, and Dan Akroyd as record executive and pseudo-father figure Ben Bart brings plenty of warmth to his role. (Surprisingly, the generally hilarious Craig Robinson isn’t given much to do.)
Overall, it’s a softly lit portrait of a talented, complicated man. As Boseman said during the pre-show panel, “light and darkness existed in almost every moment of his life.” Get On Up is decidedly focused on the former.
Find Tanya Pai on Twitter at @tanyapai.
Olympic diver Greg Louganis is best remembered for the worst moment of his career: slamming his head into the diving board at the 1988 Seoul Olympics.
That shocking, near-fatal mishap became the prelude to a historic gold medal sweep, made all the more dramatic by Louganis’s then-undisclosed HIV status. But Cheryl Furjanic’s new documentary, Back on Board, goes beyond the headlines, offering a sensitive portrait of the greatest diver in the history of the sport.
The film opens on Louganis in 2011, now in his fifties and facing foreclosure. His seaside California home looks like a mausoleum to his glory days, piled with memorabilia for sale to the highest bidder. After winning five Olympic medals and 47 national titles—and despite making a second career of acting, writing, and public speaking—Louganis is on the verge of living out of his RV.
That’s partly because he was too trusting in his younger years, taken in by a series of bad business deals; partly because Americans are too quick to forget their Olympic idols; and partly, perhaps most significantly, because he was different. “I never got a Wheaties box,” Louganis says with a shrug. “Their response was that I didn’t fit their ‘wholesome’ demographic.” In other words, he was gay.
Louganis never felt comfortable in the diving world, enduring homophobic slurs and petty jealousies from his teammates. For most of his career he didn’t enjoy diving, and even wondered aloud “if it was really all worth it.” It wasn’t until Louganis’s HIV diagnosis in 1987 that he came to love the sport, as an “escape from reality.” He threw himself into training for the 1988 Olympics, all the while fearing he wouldn’t live to compete.
But Back on Board is less about Louganis’s past and more about his new sense of purpose. Cut to 2012, when he returns to the Olympics after a two-decade absence. Louganis is out now, mentoring a new generation of divers for the London Games, and for the first time in his life he feels welcome among fellow divers.
Louganis’s story reflects, on the most superficial level, the progress of gay rights in America. In the space of three decades he has gone from being ostracized by his teammates and grilled about his sex life on national television to getting married to his partner last year. The documentary invites, but doesn’t belabor, this long view of history, focusing instead on the diver’s individual experience. Coming on the heels of a recent spate of films about the early years of the AIDS epidemic— Dallas Buyers Club, HBO’s The Normal Heart, and the riveting documentary How to Survive a Plague— Back on Board feels like a minor, deeply personal part of that larger narrative. It has plenty of feel-good triumphs for the sports biopic fan, and each of Louganis’s graceful, seemingly effortless dives is still a nail biter all these years later. But the film never sacrifices the man for the legend.
Return to AFI Docs page.
Every Femen protest unfolds the same way. An unmarked van pulls into a public square, and a group of svelte, topless women emerge with flowers in their hair, breasts bare except for the painted slogans: “Freedom For Women,” “No Political Rape,” “Pope No More.” They shout and hold up signs. Sometimes they break things. But they are invariably dragged away by police, kicking and screaming.
The 2013 documentary Ukraine Is Not a Brothel goes behind the scenes of Femen, offering a candid and complex look into the private motivations of its members. Since the organization’s founding in 2008, Femen has evolved into a global media sensation, with activists waging “topless jihad” in England, Turkey, the United States, and beyond.
In her feature-film debut, director Kitty Green gets startlingly close to her subjects, catching glimpses of bruised knees, painted toenails, and clutched teddy bears that reveal more than Femen’s battle attire. Her interviews linger just long enough in silence to extract the truth lurking behind each rehearsed sound bite. With no narration or intertitles to orient the viewer, the documentary uncoils like a dramatic thriller—one that raises more questions than it answers.
The women of Femen call themselves “sextremists” and, more controversially, feminists. Inna and Alexandra, two of Femen’s most visible members, explain that they are fighting the post-Soviet sex trade, showing the world that Ukraine is a “country where naked girls protest, not sell their bodies.”
“Nobody takes a woman seriously, but everyone wants to look at women,” Inna says. That’s why they use their bodies, pale and statuesque, to send the message.
In spite of these noble intentions, the reality of Femen’s work is far more complicated. When the women are not picketing outside civic buildings and accosting heads of state, they are shilling for lingerie brands and posing for high-glamour photo shoots. One former member, Irina, reveals that Femen did not protest topless in its early years. She left the organization when nudity became part of its platform, when Femen sacrificed “girls who don’t have the figure” to promote its sexy, provocative “brand.”
Seen in this light, the protests begin to look more routine, like intricately choreographed publicity stunts. One particularly shocking demonstration centers on an overweight woman in a G-string—the “sex bomb”—while her thinner comrades, fully clothed for once, shout “Danger! Danger!” around her. Initially the woman says she is proud of her contribution to the cause but admits, in the end, that the others “position themselves” as feminists but see her only as the butt of a joke.
Meanwhile, in scene after scene, Femen members receive calls and instructions from a man named Victor, who looms over the operation like a disembodied Charlie—and over time, the women chafe under his leadership. Victor’s role in Femen isn’t explored until the film’s climax, a tense, no-holds-barred interview with the patriarch at the head of this antipatriarchal movement.
Still, the film eschews any facile conclusions about Femen. Women who appear ditzy or naive in one instant expound eloquently on gender politics the next. Rightly or wrongly, the group’s tactics draw attention to feminism around the world—and throw the protesters’ lives into very real peril. Whether Femen fights exploitation or exploits its own members, whether it is a feminist movement or an elaborate form of self-delusion, it has given all these women a sense of purpose in life.
Screening Saturday, June 21, 9 PM at Goethe-Institut.
Return to AFI Docs page.