Skip to Content, Navigation, or Footer.
The Observer
Saturday, June 13, 2026
Grad Ads
Observer Store Subscribe
The Observer

Scene

The Observer

All bets are off at McGlinn Casino Night

By The Observer · Thursday, Jan. 28, 2010

"Cause the house always wins. Play long enough, you never change the stakes. The house takes you." Danny Ocean's wise words may have been true for the aggressive Las Vegas strip, but fortunately his words do not ring true for "Casino Night," McGlinn's signature event. Proceeds collected at the event, which takes place Saturday at 10 p.m., will benefit a local charity.

The Observer

Shiver: A Lyrical Teen Romance with a Supernatural Twist

By The Observer · Thursday, Jan. 28, 2010

For the young-at-heart, mentally taxed and/or self-indulgent among us, young adult novels are a treasure trove of enjoyment. After a semester full of course packets, e-reserves and accounting textbooks, sometimes it's nice to read below our grade level for a few hours. For some, it might be a return to Gary Paulson adventure novels, or maybe some quality time with a modern classic like "Holes" by Louis Sachar. For those of us with a penchant for light fantasy steeped in angsty romance, the young adult section of the public library is littered with book covers depicting beautiful teenagers in old-timey clothes looking mysterious. Other publishers, trying to pique interest but not wanting to pay models or artists, just slap the title and author on a sparsely decorated cover, usually with something like an beautiful apple or an old picturesque tree taking up the background. "Shiver" is about a Minnesota girl named Grace who watches, with a devotion bordering on obsession, the wolves that live just beyond the safe boundaries of her backyard. "Safe" probably isn't the best word though, considering those wolves dragged her from her tire swing when she was 10 and nearly killed her. But there's one wolf that saved her, the one with yellow eyes, and she's always felt drawn to him. No spoiler, guys, this one is easy to tell from the book jacket's summary: The yellow-eyed wolf is really Sam, an 18-year-old boy who spends his summers as a human and his winters as a wolf. The other ones in his pack are the same, going about their compromised human lives when the temperatures stay balmy but inevitably turning into wolves when the leaves start falling. Here's the catch, though — eventually they completely stop transforming back in the spring, and they just become wolves forever. Stiefvater tracks the countdown not through time but temperatures — every chapter starts with the degrees Fahrenheit.  "Shiver" has been billed as "‘Twilight' but with just the werewolves!" It's an apt comparison and a good hook to draw in fans of Stephenie Meyer's books and the blockbuster film adaptations. But the "Twilight" comparisons start to grate when every other young adult book released these days is a supernatural romance involving a dull, ordinary human girl and a painfully beautiful, deeply tortured supernatural boy (often with yellow eyes, to boot). It's as if every one of these authors drew up a Mad Libs based on Meyer's books and just inserted random mythical beasts in place of ‘vampire.' Thankfully, Stiefvater's book resembles "Twilight" only in the briefest of book jacket summaries. This is because "Shiver" shows evidence of careful and controlled writing, much better than what's on display in Meyer's creations. To be fair, this is a pretty standard assessment for about every other book ever written. Ostensibly, first-person narration is easier to spit out but harder to control. Some young adult authors, perhaps in an attempt to create relatable characters, end up with a stream-of-consciousness novel with lots of reflection but no plot. But Stiefvater succeeds in this department, especially refreshing since she has not one, but two characters doing first-person narration. The chapters roughly alternate between Sam and Grace's perspectives, which lets on just enough but not too much about the characters and the plot. It all ties up neatly at the end, although Stiefvater has announced a sequel due in summer 2010 to be titled "Linger." "Shiver" has a lyrical simplicity more akin to books like "The Giver" or possibly early Robin McKinley. Through careful yet evocative prose, Stiefvater creates mystery, her plot tightly bound even as there is room to linger on character moments. There are no histrionics here, but Grace and Sam are still wonderful characters with flaws. Stiefvater is able to convey the dynamics of a true teen romance, albeit one with a supernatural conflict. The incessant suspense (Is it too cold now? What about now?) definitely makes "Shiver" a page-turner, although sometimes the logistics of Stiefvater's werewolves bend too conveniently to fit the needs of the plot. Nevertheless, this quick, entertaining read is well crafted. It's a smart and "pretty" book that hauls in the emotional investment.

The Observer

Jamie Cullum 'runs things' with fifth solo album

By The Observer · Wednesday, Jan. 27, 2010

Rarely would cultural icons Cole Porter, Rihanna and Clint Eastwood find themselves mentioned in the same thought. With the release of British jazz artist Jamie Cullum's latest album, however, the previously unrelated contemporaries are taken on an eclectic journey in the pursuit of musical excellence. "The Pursuit," released in Europe, Asia and Australia last November, is Cullum's fifth studio album, and his first solo effort since "Catching Tales" was released four years ago.

The Observer

The Princess and the Frog' hops its way into hearts

By The Observer · Wednesday, Jan. 27, 2010

After years of domination by 3-D animation, Disney attempted to return to classic 2-D animation with their film "The Princess and the Frog." Creatively, Disney was wholly successful as the film is charming and fun. In the fact, the 2-D animation is refreshing as a welcome return to the past. Furthermore, the film can be enjoyed by all ages.

The Observer

Scene Says

By The Observer · Wednesday, Jan. 27, 2010

Dear Scene, I've worked myself into quite a situation. I've fancied this lovely girl for a while, but she's placed me squarely in the middle of the friend zone with no easily accessible exits. Don't get me wrong, I enjoy being her friend, but I'm in it for a little more than that, ya dig? So I moved on to her roommate in an attempt to execute the roommate switch (even though nobody in the history of Western civilization has been able to execute the roommate switch) but she doesn't seem to feel the way that I do either. Now I'm in a tough situation with both of them. What do I do? Can I salvage this?

The Observer

Life Unexpected' tackles heavy issues with warmth and humor

By The Observer · Wednesday, Jan. 27, 2010

Do you spend your nights watching reruns of the deceased "Gilmore Girls" and "Everwood," thinking, "Why don't they make shows like this anymore?" If so, the answer is that they do. Or at least the CW does, with its newest show "Life Unexpected." Mixing clever dialogue with heartfelt drama proves a winning combination for the show, just as it was for those former WB shows.

The Observer

Blakroc' An Impressive Venture

By The Observer · Monday, Jan. 25, 2010

Damon Dash in one of the many men in the entertainment industry whose profile doesn't match his influence. (In that sense, he's like Diddy, but the exact opposite).  

The Observer

Hollywood and Haiti

By The Observer · Monday, Jan. 25, 2010

On Jan. 12, an earthquake with a scale of 7.0 hit southern Haiti close to capital city Port-au-Prince, where lives were lost and families were separated. The caliber of this tragedy has sent ripples of fear and sadness throughout the world, with people volunteering their time, donating money to major charities, and coming together quickly for a catastrophe that requires awareness and action.  

The Observer

RFK: "The Journey to Justice"

By The Observer · Monday, Jan. 25, 2010

From passive political patron to passionate justice torchbearer, Robert F. Kennedy's life of transformation and maturation showed how one man's dedication to greatness could affect the lives of millions and alter the course of a nation. L.A. Theatre Works' original production, "RFK: The Journey to Justice" took a unique approach to depicting the life of one of America's heroes and successfully showed the important role Kennedy played in the attainment of civil rights. Though not as famous as his presidential brother John, Robert Kennedy's involvement in the chase for racial equality was crucial to bringing the issue to the forefront of politics. The L.A. Theatre Works' presentation showed how Kennedy's behind-the-scenes involvement began solely for the purpose of winning John votes and ended as the primary focus of his own political career. The play's raw approach to the story of "Bobby" was unusual, but interesting. Instead of putting on a performance full of set changes and elaborate costumes, "RFK: The Journey to Justice" was presented as a radio docudrama, the style of theatre L.A. Theatre Works is known for. The sound effects were created by a man who sat on stage, both he and his equipment visible to the audience. The actors carried their scripts to the string of spot lit microphones and flipped the pages as they recited their parts. The overall result was that one could close his eyes and feel the story come to life without relying on visual images for reinforcement. At first, the approach seemed a little unprofessional because it did not require the actors to memorize their lines (though most did) and also took away the magic of behind-the-scenes effects. Once audience members moved past those details, however, they quickly and easily became enveloped in the scenes of ‘60s politics and interracial interactions. The writers of the play, Murray Horwitz and Jonathan Estrin, produced a script that highlighted Kennedy's initial naïveté, humility, perseverance and humor and brought to life each major character that played a part in the development of civil rights. Since the play used conversation as its central medium, the script was the most crucial aspect of the show. Horwitz and Estrin did not disappoint. The actors, who mimicked Bostonian and Latino accents and even perfected the unmistakable tones of Lyndon B. Johnson and Martin Luther King, Jr., made it easy to forget that they were solely imitators of real men and women. Henry Clarke (RFK) mastered the expressions and inflections of Bobby and even had the hair to match. Kevin Daniels (MLK) powerfully bellowed the words of King, exciting both his fellow actors and the audience. Some actors played multiple personas, but their talent and slight prop change kept audiences from being confused. The best part of the performance was the historical value. Because of its intimate style, the audience felt like they were getting the inside scoop on the true persona of Bobby Kennedy and seeing first-hand his challenging interactions with national figures on both sides of the civil rights' spectrum. It was easy to see how he began as a crusader for John's political career, pulling strings and appeasing leaders for votes, then blossomed into a crusader for an even more challenging cause. Once he visited the downtrodden and discriminated and saw life in their shoes, there was no turning back. RFK: The Journey to Justice" reminds audiences that it is never too late to sympathize with and show compassion for humanity. Taking a step back from distracting goal-oriented details that prevent us from seeing the big picture will ultimately allow us to realize the purpose of our existence. For Bobby, his was to change the world.  

The Observer

Movie Rewind: Peter Jackson's Dud "Dead Alive"

By The Observer · Monday, Jan. 25, 2010

One of the most fascinating concepts of the entertainment industry is the idea of an artist's early work. Art snobs infallibly love any popular artist's early work. There is often great merit to this love. Although they are stuck with a low budget and questionable surrounding talent, creative genius, incredible energy and an unjaded vision shine through in these B movies. Working through the back catalogues of visionary directors like Sam Rami or Christopher Nolan will undoubtedly reward the viewer. However, this is not always the case. Sometimes the early work of an artist is downright embarrassing. See Justin Timberlake's work with N'Sync or Dr. Dre as a member of World Class Wreckin' Cru. There is a third, much more rare possibility; the early work is just confusing. This is the case with the masterful Peter Jackson. Jackson started his career scrapping money together in New Zealand to create low-budget horror films. Among the best of these was the oddly titled zombie flick "Dead Alive." Treasured by horror buffs, this plot-light, blood-heavy film has carved its own niche in the already crowded cult movie scene. Like many cult classics, a small but disproportionately vocal group of fans champion the merits of this exercise in gore. The narrative is a timeless story. Lionel, the unassuming protagonist, is a young man thoroughly devoted to his mother, reminiscent of "Psycho's" Norman Bates. When a hybrid rat monkey bites his controlling and manipulative mother, Lionel is forced to continue caring for her with heavy tranquilizers, sedating her to keep her from eating both him and others. As will happen, a single zombie quickly grows into a horde including a local hoodlum, a kung-fu fighting priest and an infant. Lionel's zombie zoo is discovered by his uncle, who turns the situation to his advantage through blackmail. As more zombies are created, violence soon becomes the only feasible solution. Jackson shows a deep appreciation for the slasher films of the 80's, liberally applying gore in every scene possible. What is missing in character development and a coherent plot and a special effects budget is replaced by copious amounts of fake blood. While multiple films have claimed to be the goriest film ever made, "Dead Alive" makes a strong claim to that title, utilizing more fake blood than any movie to date. The film itself contains many remarkable moments that sit finally on the line between horror and comedy: Scenes of zombie digestive systems, slap stick violence, a prominently featured garden gnome and a climax heavily dependent on a helpfully placed lawnmower. Embodied in these moments is the B movie majesty so loved by horror fans. For the unfamiliar, horror movies share a commonality with country music. Both are rich in history and deeply loved, but lack critical recognition and are near inaccessible to a wide stream audience. In the realm of horror movies, "Dead Alive" is George Jones. Unapologetic and unappealing, but loved for exactly what it is. "Dead Alive" is exactly what one would expect of a movie that was sold in many places in a combo pack with vomit bags. While it gives no indication of the man who would direct the most epic trilogy in film 15 years later, it occupies its own special place in the horror cannon. Never widely popular, influential or important, it aspires to be nothing more than a cinematic feast in gore; a blood filled experiment of film making. For those fans with an affection for methodical mutilation, mindless violence, and unceremonious zombie death, a viewing of "Dead Alive" is akin to catching a glimpse of the Holy Grail.  

The Observer

RFK: "The Journey to Justice"

By The Observer · Monday, Jan. 25, 2010

From passive political patron to passionate justice torchbearer, Robert F. Kennedy's life of transformation and maturation showed how one man's dedication to greatness could affect the lives of millions and alter the course of a nation. L.A. Theatre Works' original production, "RFK: The Journey to Justice" took a unique approach to depicting the life of one of America's heroes and successfully showed the important role Kennedy played in the attainment of civil rights. Though not as famous as his presidential brother John, Robert Kennedy's involvement in the chase for racial equality was crucial to bringing the issue to the forefront of politics. The L.A. Theatre Works' presentation showed how Kennedy's behind-the-scenes involvement began solely for the purpose of winning John votes and ended as the primary focus of his own political career. The play's raw approach to the story of "Bobby" was unusual, but interesting. Instead of putting on a performance full of set changes and elaborate costumes, "RFK: The Journey to Justice" was presented as a radio docudrama, the style of theatre L.A. Theatre Works is known for. The sound effects were created by a man who sat on stage, both he and his equipment visible to the audience. The actors carried their scripts to the string of spot lit microphones and flipped the pages as they recited their parts. The overall result was that one could close his eyes and feel the story come to life without relying on visual images for reinforcement. At first, the approach seemed a little unprofessional because it did not require the actors to memorize their lines (though most did) and also took away the magic of behind-the-scenes effects. Once audience members moved past those details, however, they quickly and easily became enveloped in the scenes of ‘60s politics and interracial interactions. The writers of the play, Murray Horwitz and Jonathan Estrin, produced a script that highlighted Kennedy's initial naïveté, humility, perseverance and humor and brought to life each major character that played a part in the development of civil rights. Since the play used conversation as its central medium, the script was the most crucial aspect of the show. Horwitz and Estrin did not disappoint. The actors, who mimicked Bostonian and Latino accents and even perfected the unmistakable tones of Lyndon B. Johnson and Martin Luther King, Jr., made it easy to forget that they were solely imitators of real men and women. Henry Clarke (RFK) mastered the expressions and inflections of Bobby and even had the hair to match. Kevin Daniels (MLK) powerfully bellowed the words of King, exciting both his fellow actors and the audience. Some actors played multiple personas, but their talent and slight prop change kept audiences from being confused. The best part of the performance was the historical value. Because of its intimate style, the audience felt like they were getting the inside scoop on the true persona of Bobby Kennedy and seeing first-hand his challenging interactions with national figures on both sides of the civil rights' spectrum. It was easy to see how he began as a crusader for John's political career, pulling strings and appeasing leaders for votes, then blossomed into a crusader for an even more challenging cause. Once he visited the downtrodden and discriminated and saw life in their shoes, there was no turning back. RFK: The Journey to Justice" reminds audiences that it is never too late to sympathize with and show compassion for humanity. Taking a step back from distracting goal-oriented details that prevent us from seeing the big picture will ultimately allow us to realize the purpose of our existence. For Bobby, his was to change the world.  

The Observer

Saying Goodbye to "The Shore"

By The Observer · Monday, Jan. 25, 2010

Unfortunately last Thursday night, the fist pumping came to an end. MTV's surprise hit "Jersey Shore" only had nine episodes, but it will leave an everlasting legacy on our generation. While some Italian-Americans may be horrified by the image of Guidos and Guidettes presented, this trashy reality show is really one big joke. The cast of course fails to represent all Italian Americans, but they never fail to bring laughter every week. What are we to do without The Situation and his self-absorbed, outrageous comments every week? The cast of characters range from the cocky Mike "The Situation" to the peanut sized, orange Nicole "Snooki", to the tough Jenni "J-Woww" with the powerful left hook. Of course one would be remiss to forget DJ extraordinaire and perennial wingman Pauly D and the youngster of the group Vinny. And the group is rounded out by the constantly on and off again couple of Ronnie and Sammi "Sweetheart." The nicknames alone demonstrate the genius of this show. The season has brought us many moments of hilarity and debauchery. Among the many fistfights, a grown man hit Snooki, J-Woww punched The Situation and Ronnie even spent the night in jail for fighting. There are so many other fond memories to look back on, like Pauly D's stalker/Jewish love interest Danielle or Vinny and the rest of the gang's infamous fist pumping. And of course an episode would not be complete without Ronnie and Sammi breaking up at least once. Remember that time The Situation put handfuls of pickles under Snooki's bed? Or made a cheesy gross concoction to stink up Vinny's room? Speaking of Vinny, how about when he stole the boss' girl at the club? Or when he hooked up with The Situation's sister? "Jersey Shore" has even had a profound influence on campus, with many themed parties in recent weeks. So what ingredients do you need to complete the perfect Shore party? All partygoers must have a horrible fake tan or at least some heavy-duty bronzer. The men require hair gel, plenty of preening prior to the party, and a visit to the gym beforehand. Homemade Italian food is always welcome, and pickles are necessary if any Snooki-inspired characters plan on attending. Extra touches might include a duck phone that quacks incessantly, or a Jersey accent.     After all the time, we, the viewers, spent with our new crazy Italian family it was hard to part ways with them last week. However, the finale did not disappoint. We were left with the hilarious hot tub hook up of The Situation and Snooki, and the heartbreaking on-air break-up of Ronnie and Sammi on the reunion show. Is it wrong that we were sad to see their pairing end even after all of the ridiculous problems they have had? After fiascos like Sammi's big Flintstone toe, Mike's attempts to break them up or nights spent in jail you would think these two could make it. The show has spawned a phenomenon, with the cast making pricey appearances at nightclubs all over the U.S. They have also made their way all over the talk show route (during which Mike dubbed Conan O'Brien "The Solution"), and Snooki has even been immortalized on "Saturday Night Live." While we wait for (hopefully) a second season, we can enjoy the "Shore's" ridiculousness with endless MTV reruns.  

The Observer

Imagination Brought to Life in 'Parnassus'

By The Observer · Monday, Jan. 25, 2010

It's not easy for Terry Gilliam to make a movie — something invariably goes wrong. From studio squabbling over budgets, to actors dropping out, Gilliam holds a wonderful series of failures, including two attempts at "Watchmen," as well as the infamous "The Man Who Killed Don Quixote." Regardless, every couple of years a studio gives him $30 million to make a movie and expects about $60 million in return.  

The Observer

Saying Goodbye to "The Shore"

By The Observer · Monday, Jan. 25, 2010

Unfortunately last Thursday night, the fist pumping came to an end. MTV's surprise hit "Jersey Shore" only had nine episodes, but it will leave an everlasting legacy on our generation. While some Italian-Americans may be horrified by the image of Guidos and Guidettes presented, this trashy reality show is really one big joke. The cast of course fails to represent all Italian Americans, but they never fail to bring laughter every week. What are we to do without The Situation and his self-absorbed, outrageous comments every week? The cast of characters range from the cocky Mike "The Situation" to the peanut sized, orange Nicole "Snooki", to the tough Jenni "J-Woww" with the powerful left hook. Of course one would be remiss to forget DJ extraordinaire and perennial wingman Pauly D and the youngster of the group Vinny. And the group is rounded out by the constantly on and off again couple of Ronnie and Sammi "Sweetheart." The nicknames alone demonstrate the genius of this show. The season has brought us many moments of hilarity and debauchery. Among the many fistfights, a grown man hit Snooki, J-Woww punched The Situation and Ronnie even spent the night in jail for fighting. There are so many other fond memories to look back on, like Pauly D's stalker/Jewish love interest Danielle or Vinny and the rest of the gang's infamous fist pumping. And of course an episode would not be complete without Ronnie and Sammi breaking up at least once. Remember that time The Situation put handfuls of pickles under Snooki's bed? Or made a cheesy gross concoction to stink up Vinny's room? Speaking of Vinny, how about when he stole the boss' girl at the club? Or when he hooked up with The Situation's sister? "Jersey Shore" has even had a profound influence on campus, with many themed parties in recent weeks. So what ingredients do you need to complete the perfect Shore party? All partygoers must have a horrible fake tan or at least some heavy-duty bronzer. The men require hair gel, plenty of preening prior to the party, and a visit to the gym beforehand. Homemade Italian food is always welcome, and pickles are necessary if any Snooki-inspired characters plan on attending. Extra touches might include a duck phone that quacks incessantly, or a Jersey accent.     After all the time, we, the viewers, spent with our new crazy Italian family it was hard to part ways with them last week. However, the finale did not disappoint. We were left with the hilarious hot tub hook up of The Situation and Snooki, and the heartbreaking on-air break-up of Ronnie and Sammi on the reunion show. Is it wrong that we were sad to see their pairing end even after all of the ridiculous problems they have had? After fiascos like Sammi's big Flintstone toe, Mike's attempts to break them up or nights spent in jail you would think these two could make it. The show has spawned a phenomenon, with the cast making pricey appearances at nightclubs all over the U.S. They have also made their way all over the talk show route (during which Mike dubbed Conan O'Brien "The Solution"), and Snooki has even been immortalized on "Saturday Night Live." While we wait for (hopefully) a second season, we can enjoy the "Shore's" ridiculousness with endless MTV reruns.  

The Observer

Movie Rewind: Peter Jackson's Dud "Dead Alive"

By The Observer · Monday, Jan. 25, 2010

One of the most fascinating concepts of the entertainment industry is the idea of an artist's early work. Art snobs infallibly love any popular artist's early work. There is often great merit to this love. Although they are stuck with a low budget and questionable surrounding talent, creative genius, incredible energy and an unjaded vision shine through in these B movies. Working through the back catalogues of visionary directors like Sam Rami or Christopher Nolan will undoubtedly reward the viewer. However, this is not always the case. Sometimes the early work of an artist is downright embarrassing. See Justin Timberlake's work with N'Sync or Dr. Dre as a member of World Class Wreckin' Cru. There is a third, much more rare possibility; the early work is just confusing. This is the case with the masterful Peter Jackson. Jackson started his career scrapping money together in New Zealand to create low-budget horror films. Among the best of these was the oddly titled zombie flick "Dead Alive." Treasured by horror buffs, this plot-light, blood-heavy film has carved its own niche in the already crowded cult movie scene. Like many cult classics, a small but disproportionately vocal group of fans champion the merits of this exercise in gore. The narrative is a timeless story. Lionel, the unassuming protagonist, is a young man thoroughly devoted to his mother, reminiscent of "Psycho's" Norman Bates. When a hybrid rat monkey bites his controlling and manipulative mother, Lionel is forced to continue caring for her with heavy tranquilizers, sedating her to keep her from eating both him and others. As will happen, a single zombie quickly grows into a horde including a local hoodlum, a kung-fu fighting priest and an infant. Lionel's zombie zoo is discovered by his uncle, who turns the situation to his advantage through blackmail. As more zombies are created, violence soon becomes the only feasible solution. Jackson shows a deep appreciation for the slasher films of the 80's, liberally applying gore in every scene possible. What is missing in character development and a coherent plot and a special effects budget is replaced by copious amounts of fake blood. While multiple films have claimed to be the goriest film ever made, "Dead Alive" makes a strong claim to that title, utilizing more fake blood than any movie to date. The film itself contains many remarkable moments that sit finally on the line between horror and comedy: Scenes of zombie digestive systems, slap stick violence, a prominently featured garden gnome and a climax heavily dependent on a helpfully placed lawnmower. Embodied in these moments is the B movie majesty so loved by horror fans. For the unfamiliar, horror movies share a commonality with country music. Both are rich in history and deeply loved, but lack critical recognition and are near inaccessible to a wide stream audience. In the realm of horror movies, "Dead Alive" is George Jones. Unapologetic and unappealing, but loved for exactly what it is. "Dead Alive" is exactly what one would expect of a movie that was sold in many places in a combo pack with vomit bags. While it gives no indication of the man who would direct the most epic trilogy in film 15 years later, it occupies its own special place in the horror cannon. Never widely popular, influential or important, it aspires to be nothing more than a cinematic feast in gore; a blood filled experiment of film making. For those fans with an affection for methodical mutilation, mindless violence, and unceremonious zombie death, a viewing of "Dead Alive" is akin to catching a glimpse of the Holy Grail.  

The Observer

21st Annual Notre Dame Film Festival

By The Observer · Friday, Jan. 22, 2010

Starting with last night's premiere and running through Saturday, the Browning Cinema at the DeBartolo Performing Arts Center will play host to one of the great gems of an event on Notre Dame's campus, the 21st Annual Notre Dame Film Festival. Featuring a series of student-produced short films made as class projects during the past year, the festival has served for 20 years as a celebration of the work of aspiring filmmakers as well as a chance for those student filmmakers to gain a wider audience for films that would have otherwise stayed in the classroom. Spanning everything from dark comedies, to tension-ridden suspense thrillers, to a documentary about a filmmaker and covering locations ranging from our very own South Bend to Northern California to Florida, the festival combines an entertaining and intriguing mix of genres and locations that add to the fresh, original feel of the experience. The festival screens each night at 6:30 and 9:30 p.m. and features 15 films, with a few variations in the two screenings due to time constraints. In addition, there are six films not being shown during the festival that can be viewed online at ftt.nd.edu This year's festival combines an abundance of documentaries made with a keen eye for the genre, and — in certain cases like that of the film "Artzainak: Shepards and Sheep" — made with grace and packed with shots that sit like still images against a clear sky. In addition, there are three films embracing the tough-to-master but classic-feeling medium of black-and-white filmmaking. Then throw into the mix a few incredibly original scripts in "(Non)fiction" and "Subtext," both memorable in their own right. But it's the documentaries that unlike last year steal the show here both in presence and in brilliance, thus anchoring this year's selection of films. There's an indelible charm at the heart of the festival. There's a truly absorbing effect to stepping into a theater and seeing a set of films for which there exist no critical reviews, no word of mouth to go on, no spruced up trailers, and, ultimately, no expectations one way or the other. With each film comes a new surprise, a surprise that very often is quite refreshing, because there's nothing like finding that hidden, unknown gem when you least expect it. And that is what the festival is at its inner core: a canvas on which a series of unknowns filmed with starry-eyed passion are projected, that more often than not turn out to be delightfully surprising, immersive and entertaining and leave an impression even after the festival's end. Although film lovers should consider this a must-see, it doesn't take a passion for film to appreciate what the Notre Dame Film Festival has to offer. There's nothing like watching a film that your friend had a hand in making or one about a subject related to our school that you know all too well. And furthermore, in the big-budget world that we so often equate the film industry with, it's a breath of fresh air to be able to walk into a movie theater and watch a series of films made by aspiring filmmakers who share a passion for the medium and who create art for the sake of art. That, if nothing else, is why the Film Festival is such a rewarding experience, and why if only once in your four years here, everyone should attend the festival. Tickets are $3 for Notre Dame students, $5 for faculty and $6 for the general public, with the option of buying advance tickets online at performingarts.nd.edu or by calling the Performing Arts Center box office at 574-631-2800. From personal experience, it's best to order your tickets in advance because the festival has been known to sell out.

The Observer

21st Annual Notre Dame Film Festival

By The Observer · Friday, Jan. 22, 2010

Starting with last night's premiere and running through Saturday, the Browning Cinema at the DeBartolo Performing Arts Center will play host to one of the great gems of an event on Notre Dame's campus, the 21st Annual Notre Dame Film Festival. Featuring a series of student-produced short films made as class projects during the past year, the festival has served for 20 years as a celebration of the work of aspiring filmmakers as well as a chance for those student filmmakers to gain a wider audience for films that would have otherwise stayed in the classroom. Spanning everything from dark comedies, to tension-ridden suspense thrillers, to a documentary about a filmmaker and covering locations ranging from our very own South Bend to Northern California to Florida, the festival combines an entertaining and intriguing mix of genres and locations that add to the fresh, original feel of the experience. The festival screens each night at 6:30 and 9:30 p.m. and features 15 films, with a few variations in the two screenings due to time constraints. In addition, there are six films not being shown during the festival that can be viewed online at ftt.nd.edu This year's festival combines an abundance of documentaries made with a keen eye for the genre, and — in certain cases like that of the film "Artzainak: Shepards and Sheep" — made with grace and packed with shots that sit like still images against a clear sky. In addition, there are three films embracing the tough-to-master but classic-feeling medium of black-and-white filmmaking. Then throw into the mix a few incredibly original scripts in "(Non)fiction" and "Subtext," both memorable in their own right. But it's the documentaries that unlike last year steal the show here both in presence and in brilliance, thus anchoring this year's selection of films. There's an indelible charm at the heart of the festival. There's a truly absorbing effect to stepping into a theater and seeing a set of films for which there exist no critical reviews, no word of mouth to go on, no spruced up trailers, and, ultimately, no expectations one way or the other. With each film comes a new surprise, a surprise that very often is quite refreshing, because there's nothing like finding that hidden, unknown gem when you least expect it. And that is what the festival is at its inner core: a canvas on which a series of unknowns filmed with starry-eyed passion are projected, that more often than not turn out to be delightfully surprising, immersive and entertaining and leave an impression even after the festival's end. Although film lovers should consider this a must-see, it doesn't take a passion for film to appreciate what the Notre Dame Film Festival has to offer. There's nothing like watching a film that your friend had a hand in making or one about a subject related to our school that you know all too well. And furthermore, in the big-budget world that we so often equate the film industry with, it's a breath of fresh air to be able to walk into a movie theater and watch a series of films made by aspiring filmmakers who share a passion for the medium and who create art for the sake of art. That, if nothing else, is why the Film Festival is such a rewarding experience, and why if only once in your four years here, everyone should attend the festival. Tickets are $3 for Notre Dame students, $5 for faculty and $6 for the general public, with the option of buying advance tickets online at performingarts.nd.edu or by calling the Performing Arts Center box office at 574-631-2800. From personal experience, it's best to order your tickets in advance because the festival has been known to sell out.

Trending