Despite the international acclaim her sculptures receive for their sociopolitical implications, Doris Salcedo identifies solely as a maker of art. “I am an artist,” she said at the press preview of her new exhibition at the Harvard Art Museums. “I am not a political activist; I am not in social justice. I am an artist: That’s all I am and all I want to do.”
An ordinary guy is, like many, fed up with politics. What’s more, he thinks the country would be better off with someone like him in charge. Inexplicably, the next morning he wakes up as the President of the United States—and has to navigate a series of crises, including a natural disaster and a diplomatic crisis that spirals into a nuclear catastrophe.
With Malcolm and Banquo cast as women, the audience now must contemplate seemingly simple plot points. “Why does Banquo get passed up for the promotion?” director Kier W. Zimmerman ’19 says. “Is it a gender thing?”
“Snowden” is not explicit propaganda for its eponymous protagonist’s heroism or traitorship. Despite some information that arguably can be classified more as fluff than as substance, “Snowden” succeeds in telling a compelling story that risks being repetitive.