Film idea: A man stops speaking, because he doesn’t know what he really wants to say and who he wants to say it to. After twenty years he breaks the silence (Why now?).
I tried to meditate by imagining myself as a compact cassette.
Philip A.N. Chowdry ’19 has produced a number of artworks that deal with current political issues, especially the presidency of Donald Trump. His recent work “The Melania,” which was on display at The Harvard Student Art Show this year, reflects the media’s portrayal of Melania Trump, and “Our Vendetta,” an ongoing series, takes the form of protest posters and have been distributed around Harvard Square. The Crimson sat down with him to discuss his inspirations and working process.
Jean-Michel Billard, better known by his Frodo Baggins-inspired penname Jean-Michel Frodon, started his career as a journalist and film critic in France in the early ’80s. Between 2003 and 2009, he was the chief editor of “Cahiers du Cinema,” the oldest film magazine in publication and one of the most influential ones in the world.
Interview with a student enrolled in Harvard's new Master in Design Engineering degree program jointly hosted by Graduate School of Design (GSD) and John A. Paulson School of Engineering and Applied Sciences (SEAS).
Just as rock and roll would be lackluster without the topless teens at music festivals, “Trainspotting” owes its charm largely to the cult surrounding it. For the believers, the film is some sort of 90s proletarian manifesto thrown into the face of a stupid century: Either you dig it and dance along to “Lust for Life,” or you are spoiled bourgeois scum and to hell with your phony attitude and your dental insurance. It is counterculture at its most triumphant, and the protagonists, who are too fast to live and too young to die, are fin-de-siècle Hamlets.
The film starts with murmurs, and ends with the statement “Maybe nothing was said.” In between, we see a young director named Edgar auditioning actors of all age groups, from all social classes, for an ambitious—eventually failed—film project about love.
Earlier this month, the department of visual and environmental studies organized its semesterly student film screenings to showcase a series of short fictional, documentary, and animated films that are produced in Harvard’s film making/video making classes. The Crimson talked to several participants about their works and their experiences.
After all, it is 2016. It is no longer about modernism. It’s not even about post-modernism. It’s post-art anti-aesthetic late-capitalist nihilism—in one word, apocalypse. So as art enthusiasts, we inevitably find ourselves facing the question: Why are we still concerned with art?
Together with the rest of Garbage, Shirley Manson presented a powerful, hit-packed, if somewhat over-the-top, performance at House of Blues on July 28.
Arts staff writers Steven S.K. Hao '18 and Tianxing V. Lan '18 recap screenings from the fourth day of the 2016 Cannes Film Festival.
Arts staff writers Steven S.K. Hao '18 and Tianxing V. Lan '18 recap screenings from the fifth day of the 2016 Cannes Film Festival.
“Mademoiselle (The Handmaiden)” impresses with its eye-catching cinematography, daring sex scenes, and plentiful plot twists. However, it fails in its most fundamental aspect: It possesses no genuine emotion or believable story. Beneath its beautiful veneer, the film is hollow.
Instead of telling a story, "American Honey" tells of life itself.
If every Harvard student were required to watch Alejandro Jodorowsky's “Endless Poetry,” one imagines that the number of students pursuing art might triple.