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Archive: December, 2009
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| Scribner, 1088 pp., $35, Nov. 10 |
Once again it's time for Book Quarterly Giveaway Week, in which we ask you fun trivia questions about the fiction and nonfiction reviewed in our pages. Be the first to answer the question correctly, and you'll win a copy of the book of the day.
First up is Stephen King's Under the Dome, which I'm pretty sure is heavier than my laptop, clocking in at a ridiculous 1,074 pages. Justin Bauer, our resident lit columnist who admitted to not having read a King novel since high school, had this to say about it:
Dome's setup comes from the Maximal King playbook of The Stand, rather than the chamber-piece Minimal King of Misery. There's a big external threat: an inexplicable impermeable dome, set over a small Maine town like cake in a diner. There are a bunch of loose allegories (global warming, Iraq, Dick Cheney), but all lie neatly under the onrush of incident and accident that sends his town into a brutish state-of-nature spiral. In fact, King signposts nearly everything ' characters are consistently introduced with a trait or an epithet, and any event or implication is made crushingly explicit, removing the need for memory or reflection. This makes Dome quick and entertaining, but it'll stick with your biceps longer than your head.
To win a copy, answer me this:
In an online review, Guillermo del Toro and Chuck Hogan liken Under the Dome not to its heavy brother The Stand, but to what lesser-known Stephen King novella?
E-mail your answers to carolyn.huckabay@citypaper.net for a chance to win, and check back tomorrow afternoon for more trivia. Friday's book of the day: Scroogenomics.
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| Knopf, 208 pp., $22, Dec. 1 |
William Godwin used one to promote anarchism by showing the treachery of social institutions. Raymond Chandler and Dashiell Hammett used theirs to chronicle the political and social convulsions shaking American society in the 1920s. Dorothy Sayers used hers to escape her meager circumstances for the elegant opulence of Sir Peter Wimsey. E.C. Bentley used one to satirize an entire genre.
The weapon? The detective novel. The motives? As various as the culprits. The victims? Anyone who's ever lain sleepless into the remote hours of the night, gripping and feverishly flipping the pages of a battered paperback, consumed with the desire to know who, in fact, dunit.
Anatomizing and contextualizing these addictive stories is the project of popular British author P.D. James in her new book, Talking About Detective Fiction. Each chapter explores some topic within the genre, such as the interwar 'Golden Age' of detective fiction or the origins of the solitary, brilliant detective character. James is a flexible writer, adept at holding her readers' interest, and intersperses careful research with more philosophical conjectures about detective fiction.
After discussing ' and rejecting ' the criticism that detective novels are popular because they uphold class distinctions, for instance, James investigates why the novels do hold such appeal. She cites W.H. Auden's observation that the genre is most popular in predominantly Protestant societies, whose citizens do not routinely seek divine absolution for their sins. Perhaps, she concludes, such readers enjoy detective fiction because it confirms their hunch that 'we live in a beneficent and moral universe in which problems can be solved by rational means.'
Of course, traditional British detective novels rely on this premise from the outset. The crimes in those novels, James explains, are not merely breaches of law; they upset the very order of things in the communities where they occur. For this reason, 'the single body on the drawing-room floor can be more horrific than a dozen bullet-ridden bodies down Raymond Chandler's mean [American] streets' ' the latter deaths are part of the scenery, while the former is 'shockingly out of place.'
Elements of real-world turmoil and trauma may rarely take center stage, but they do feature in the works of most authors of detective fiction. Dorothy Sayers, for example, alluded in her novel Unnatural Death to the vast numbers of British women fired from their work after World War II ended and the men came home. Real suffering is also present, albeit more obliquely, in the works of detective fiction writers who came from disturbed backgrounds: 'Such pain in childhood is never forgotten and seldom forgiven.' James herself, she hints, is one such writer.
But just how meaningfully can a humble detective novel record the human experience? This is the question that has vexed James's literary kin more, perhaps, than any other. Sayers flatly disavowed the genre's ability to achieve literary greatness in this regard, writing that 'it rarely touches the heights and depths of human passion.' Sayers' French contemporary, R'gis Messac, disagreed: 'A good detective story possesses certain qualities of harmony, internal organization and balance, which respond to certain needs of the spirit, needs which some modern literature, priding itself on being superior, very often neglects.'
James does not opine on the ultimate literary worth of detective fiction. Wisely, she confines her speculation to the demand for the genre, rather than the quality of the supply, and predicts that the market for detective fiction can only increase. Readers have long fled less structured, more frightening criminal realities for these seductive fictions, James points out. And the realities don't seem to be getting any more comfortable.
Robert Degen is wigglin' it all about in the big wedding/bar mitzvah/birthday party/roller skating rink in the sky.
Degen, a Scranton native who died on his 104th birthday, claimed to be one of the authors of the Hokey Pokey. The song's true authorship is up for debate ' it's often attributed to Larry LaPrise, who Degen sued and later co-owned the Hokey Pokey with, even though the two never met in person. Degen retired from music after WWII to sell furniture but in the '20 he was a member of the Scranton Sirens that also including big banders Tommy and Jimmy Dorsey. According to Bruce Weber's NYTimes obit, Degen's version is rhythmically similar but has different lyrics:
Put your right hand in,
Put your right hand out
Put your right hand in and you wiggle all about.
Everything is okey dokey when you do the Hokey Pokey.
That is what the dance is all about.
Weber uses Degen's death as an opportunity to explore the Hokey Pokey and comes up with interesting tidbits such as:
Some Roman Catholic churchmen, meanwhile, have said that the words 'hokey pokey' derive from 'hocus pocus' ' the Oxford English Dictionary concurs ' and that the song was written by 18th-century Puritans to mock the language of the Latin Mass. Last year the Catholic Church in Scotland, concerned that some soccer fans were using the song as a taunt, raised the possibility that singing it should be prosecuted as a hate crime.
Whoa, chill Catholic Church of Scotland. Maybe they'd lighten up if they saw my favorite rumination on the Hokey Pokey, rock 'n' roll-style:
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| schuylkillcenter.org |
| Don't Go Go Away, by Matthew Derezinski |
In this month's First Friday Focus, I wanted to draw your attention to the Schuylkill Center for Environmental Education's lovely winter exhibit, "Nest and Branch," which is all about birds ' their beauty, their migratory patterns, even their endangerment.
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| schuylkillcenter.org |
| Golden-Winged Warbler and Evening Grosbeck, by Linda Byrne |
Of the nine participating artists, I was struck in particular by the bleak minimalism of Linda Byrne's Golden-Winged Warbler and Evening Grosbeck. Here's more on her work (pictured, right), from today's column:
Linda Byrne's minimalist Golden-Winged Warbler and Evening Grosbeck eliminates the bird from the equation entirely, presenting instead the stark, empty nest of an endangered species.
"I am troubled by the terrible loss we suffer by our complicity in the extraction of our natural resources," says Byrne in her artist statement. "Each [bird] is isolated in its vanishing environment to emphasize a sense of loss."
I chatted with curator Zo' Cohen about the selection process, which you can read all about after the jump. In the meantime, don't miss Saturday's opening reception. (Sat., Dec. 5, 5-7 p.m., free, ends April 3, 8480 Hagy's Mill Road, 215-482-7300, schuylkillcenter.org.)
City Paper: How did the idea for "Nest and Branch" generate? It seems a perfect fit for the Schuylkill Center, to honor the creatures that inhabit the space.
Zo' Cohen: I wanted to present a juried exhibition for the winter gallery exhibition, and to present a somewhat simpler theme than some of our other more involved installation projects. All of our exhibitions have an environmental focus, our program mission is to present environmental art that bridges the larger missions of The Schuylkill Center: environmental education, and natural land preservation.
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| schuylkillcenter.org |
| The Nesting Habits of Extinct & Vanishing Birds, by Elysa Voshell |
CP: How did you pick the nine participating artists?
ZC: We received almost 40 artist submissions so it wasn't easy to choose! But ultimately I selected the work that was strongest visually, and conceptually. I wanted to create an exhibition with a diversity of approaches to the theme.
CP: I've noticed that many of the artists chose to explore themes of extinction and endangerment rather than simpler ' or happier, lighter ' themes. Was this surprising to you?
ZC: This slant is probably a result of my selection process! I wanted to make sure that the work in the exhibition presented some of the realities of the dangers facing bird populations today, as well as the beauty and mystery of these animals.
CP: I'm particularly drawn to the work of Linda Byrne and Valerie Carrigan. I have to be honest ' when I was scrolling through the images, Byrne's piece didn't stand out, but looking at it closely is incredibly striking in its bleak starkness. Can you talk a little bit about her work and why you were drawn to it?
ZC: Linda Byrne's drawings present the nests of endangered bird species. They are shown empty, and the drawings themselves are spare and minimal. I appreciate her work on many levels ' the poetic metaphor of the image, the repitition of the line she uses to build the nest forms, and the quiet emptiness of the white paper that she leaves to compose the page.
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| schuylkillcenter.org |
| Barred Owl, by Valerie Carrigan |
CP: As for Carrigan, Messenger is striking in a totally different way. Like she says, "they cannot be dismissed as small or insignificant events." Do you think her goal ' to present birds as messengers, getting us to pay attention to the world around us ' comes across?
ZC: Valerie Carrigan's drawings do confront the viewer in a powerful way. I love how the faces of the birds are brought right up to the viewer in her prints ' we get to see the birds in great detail. and the intensity of their gaze gives us nowhere to hide. I do think these drawings can be interpreted in a few ways, but that her intention does come through ' to challenge us to consider the depth of our impact on these birds.
CP: Can you tell me more about Michelle Wilson's work? The zine concept is intriguing.
ZC: Michelle Wilson is a book artist who presents work that is socially engaged. The piece she is presenting in this exhibition is a printed zine that combines text and image to explore connections between people and continents, and inspired by the endangered Red Knot sandpiper. In this installation, Wilson will provide a stack of zines that visitors will be free to take, and encourage visitors to visit her blog to record their response to the zine, and where their copy of the zine "migrates" as they send it or carry it with them.
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| Photo | Carolyn Huckabay |
'Would you like to meet a special somebody?'
Three songs into Imogen Heap's hour-plus set at the TLA last night, her equipment's power went dead. 'Everything's fine, I'm just going to do some interpretive dancing now,' she said cheerily, mumbling to herself and pacing around the stage and playing with whatever noisemakers were in arm's reach. (Among them: bird squeezey toy.) To distract us from the technical misstep, Imogen asked us if we'd like to meet Harold. 'Woooo!' we replied.
Harold, turns out, is no sound technician or stage manager, but rather Imogen's stuffed lion, which she brought on stage and clutched lovingly for a moment, until the fuss was settled and she and her backing bandmates launched into a powerful synth-brassy 'Headlock.' By then, of course, the lioness had us hooked.
Equal parts dotty and dominant, Imogen has mastered the art of the lovable space cadet. That, or she really is in outer space. Either way, it's charming to hear her tell little tales between songs, or fill the dead space with snippets of conversation in that delightful British alto. Before 'Aha!' she launched into a story about a friend ' 'well, I'll allow we were more than friends' ' who came over for lunch, claiming to be a vegan and requesting a special meal. When he reached for a definitely-not-vegan biscuit, Imogen reported, she realized that perhaps they wouldn't be 'friends' for much longer. All of this is to say that 'Aha!' is, in part, inspired by the biscuit-eating vegan (which would explain the lyric 'Caught you red-handed in the biscuit tin'). 'But the song isn't entirely about him,' she admitted, 'because it ends up talking about a serial killer.'
Most of the set was dedicated to Imogen's new album, Ellipse (Megaphonic), which finally dropped this summer; of its 13 tracks, she played 12, skipping 'Earth' and peppering in a few numbers from 2005's Speak for Yourself (RCA). There were really lovely moments (sitting uncharacteristically still throughout 'The Walk,' she let her airy, controlled falsetto dominate over electronic embellishments) and intense ones (she danced robotically to 'Bad Body Double,' commanding such stage presence it was hard to imagine that just moments before she'd been distractedly humming arpeggios to herself) and imperfect ones (after finishing the odd, complicated 'Little Bird,' she conceded, 'I haven't quite got that one yet'). Slow bits were infused with enough visual and aural distractions to compensate; from the saw to the hang to the guest cellist she'd just auditioned via vokle.com, there was always something going on to keep our attention.
Imogen couldn't have left last night without giving us 'Hide and Seek,' which she saved for the encore. Keytar strapped across her shoulders, she' blazed through, asking for us to sing along at the end. A totally a cappella "Just for Now," with an audience-induced three-part harmony, followed, and Imogen wrapped things up with one of her favorite songs from Ellipse, "The Moment I Said It." As her last lilting note faded out, she whispered "goodnight, everyone," did a little twirl, and took off.
Set List:
1: 'First Train Home' (Ellipse)
2: 'Wait It out' (Ellipse)
3: 'Between Sheets' (Ellipse)
4: 'Headlock' (Speak for Yourself)
5: 'Bad Body Double' (Ellipse)
6: 'Speeding Cars' (Goodnight and Go)
7: 'Little Bird' (Ellipse)
8: 'Half Life' (Ellipse)
9: 'Aha!' (Ellipse)
10: 'Canvas' (Ellipse)
11: 'The Walk' (Speak for Yourself)
12: 'Swoon' (Ellipse)
13: '2-1' (Ellipse)
14: 'Tidal' (Ellipse)
15: 'Hide and Seek' (Speak for Yourself)
16: 'Just for Now' (Speak for Yourself)
17: 'The Moment I Said It' (Ellipse)
The moment I said it is actually the final track from Speak for Yourself. Was an amazing show!
Great review. She's going to be touring the UK soon dates are up here http://bit.ly/8HHDyA
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| Photo | Lauren Seibert |
| Youth in Revolt stars Portia Doubleday (left) and Michael Cera (middle) |
Sporting his trademark deer-in-headlights expression and a navy blue sweater paired with olive green pants, Michael Cera proved himself just as awkwardly funny in person as he is in his films. Last night I plunged into an overflowing sea of Penn students at the Bridge Cinema du Lux to check out a screening of Cera's latest film, Youth in Revolt, followed by a Q&A with Cera and co-star Portia Doubleday.
The movie, which opens in Philadelphia Friday, January 8, 2010, tells the story of the sensitive and intelligent ' but sadly love/sex-deprived ' teen Nick Twisp (Cera) and his bad boy alter-ego, Fran'ois Dillinger, who carry out a number of over-the-top schemes to get closer to dream girl Sheeni Saunders (played by Doubleday). As the badass Fran'ois, Cera sports a mustache (the legitimacy of which was later questioned by a student) and a constantly lit cigarette, which he smokes even while sprinting through the forest.
Cheers replaced laughter after the end credits when Cera and Doubleday walked into the theater for the Q&A, which was filmed by Comedy Central. Cera's I'm-just-going-to-plunge-into-it-and-screw-the-awkward-silences-that-may-result method of humor emerged immediately in his introduction: After thanking everyone for coming out, he asked, 'How many of you didn't like it?' (Silence.) 'Cowards!'
Though both Cera and Doubleday (more suavely dressed in a black pea coat) exhibited plenty of laughingly discomfited moments throughout the questioning, the random queries put forth by students certainly encouraged it. One asked for a hug from Cera ' and received it. Another asked if Cera could grow a mustache (he can, but it doesn't look like the one in the movie). A coy student posed the question, 'By chance, has anyone ever told you that you look like me?' Later, a young man asked if the two stars would like to join him at a bar to play Quizzo.
Truth be told, Cera is just plain weird himself. The 21-year-old Cera's advice for breaking into Hollywood rang adorably adolescent: Watch a lot of movies and keep shooting homemade videos yourself, as a start. At one point, Cera interrupted his own answer to apologize for his chest 'making sounds,' which he attempted to let us hear through the microphone. 'I don't know how to burp,' he told us. Doubleday fed into Cera's tangents, noting, 'That ruined a lot of takes, actually. That noise.' Later, Cera expounded upon the dangers of aggressive chimps as the minutes ticked away.
Doubleday talked far less than Cera, but she revealed a bit about her background. Growing up enmeshed in commercial work, she sort of stumbled into Hollywood and is still finishing college in the midst of all her filming. 'I always have to sign up late,' she said, 'so I always end up with ' knitting and basket-weaving classes.' Doubleday admitted that when she first came across the script for Youth in Revolt, based on the novel by C.D. Payne, she was a bit intimidated by it but students praised her work
The session concluded with a student posing the question, 'Pretend your life is a TV show. What would be your theme song in the opening credits?' Cera, maintaining a poker face better than Lady Gaga's, replied, 'Mine would be like, 'We at the hotel, motel, Holiday Inn!''
RELATED: Trailer!: Youth in Revolt
In this column's past, Critical Mass immersed itself in one neighborhood each week and found its most stylish inhabitants. We're switching things up. Now, this will be a space for us to find fashionable folk all across the city. But we're still keeping the hood theme ' kinda, sorta ' by asking our subjects where they're from and trying to glean which trends are specific to which neighborhoods.
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| Photo | Nicole Saylor |
| The coolest girl in all of Philly? |
Kristie W. (21), a Temple student who lives in North Philly, loves her vintage and knows just how to rock it during the school day. She picked up this amazing fur coat from The Attic in Manayunk.
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| Photo | Nicole Saylor |
Robert L. (20), an exceptionally stylish student from South Philly, gets inspiration from The Sartorialist. 'I read a lot of blogs I guess,' he says.
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| Photo | Nicole Saylor |
Shivon P. (29), a South Philly yoga teacher, caught our eye for being fashionable yet comfy on a rainy day.
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| Photo | Nicole Saylor |
Franz S. (25), a dapper dude from Fishtown, is no stranger to fashion. He works in the industry and says that men's fashion is all about 'fit and proportion.'
Robert is wearing chick pants.
"The Answer dishes to The Question!"
So no shocker but Allen Iverson is a Sixer once more. Here, Michael Scott discusses A.I., from deleted scenes from the first season of The Office.
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| boston.com |
It's December so that means Awards Season is officially upon us. This morning, the Spirit Award nominations were announced and Philly freakin' owns them. Precious: Based on the Novel 'Push' by Sapphire, directed by Philly-born Lee Daniels, leads the proceedings with five noms for Best Feature, Best Director (Daniels), Best First Screenplay (Geoffrey Fletcher), Best Actress (Gabourey Sidibe) and Best Supporting Actress (Mo'Nique). A.D. Amorosi interviewed Daniels way back when Precious ' then called Push ' took Sundance by storm.
But that ain't all folks. Margate boy/Penn grad Scott Neustadter (along with Michael H. Weber) gets a nod in the Best Screenplay category for his work on (500) Days Of Summer. Whoa, A.D. Amorosi also interviewed Neustadter when Summer premiered at the 2009 Cinefest. Norristown's Maria Bello gets Best Actress recognition in the creepy-looking Downloading Nancy. And, of course, Philly itself plays a huge role in Robert Siegel's Big Fan, where Patton Oswalt's arch nemesis is named Philadelphia Phil, even though he's played by a Brooklyn-accented Michael Rappaport (I talked to Oswalt about his first dramatic turn when the movie came out in August).
The biggest news for locals though comes from Tom Quinn, whose film The New Year Parade ' about a couple's dissolving marriage, set against the Mummers' Parade, is up for the John Cassavette's award, which is given to the best feature made for less than $500,000. You know about Quinn and The New Year Parade even though it was made on a cheap-o budget, 'cause Mark Maurer told you about him in October.
Check out all the nominations after the jump, including links to our reviews and notes on when some film will be released here.
The Spirit Awards air Friday, March 5, 2010, 11 p.m. EST on IFC.
Via Indiewire:
BEST FEATURE
'(500) Days Of Summer,' Producers: Mason Novick, Jessica Tuchinsky, Mark Waters, Steven J. Wolfe
'Amreeka,' Producers: Paul Barkin, Christina Piovesan
'Precious: Based on the Novel 'Push' by Sapphire,' Producers: Lee Daniels, Gary Magness, Sarah Siegel-Magness
'Sin Nombre,' Producer: Amy Kaufman
'The Last Station,' Producers: Bonnie Arnold, Chris Curling, Jens Meuer (Opens Friday, December 4 in NY/ LA. No wide release date scheduled for Philadelphia yet)BEST DIRECTOR
Ethan Coen, Joel Coen, 'A Serious Man'
Lee Daniels, 'Precious'
Cary Joji Fukunaga, 'Sin Nombre'
James Gray, 'Two Lovers'
Michael Hoffman, 'The Last Station'BEST FIRST FEATURE
'A Single Man,' Director: Tom Ford, Producers: Tom Ford, Andrew Miano, Robert Salerno, Chris Weitz (Opens Friday, December 25)
'Crazy Heart,' Director: Scott Cooper, Producers: T Bone Burnett, Judy Cairo, Rob Carliner, Scott Cooper, Robert Duvall (Opens Friday, December 16 in NY/LA. No wide release date scheduled for Philadelphia yet)
'Easier With Practice,' Director: Kyle Patrick Alvarez, Producer: Cookie Carosella
'Paranormal Activity,' Director: Oren Peli, Producer: Jason Blum, Oren Peli
'The Messenger,' Director: Oren Moverman, Producers: Mark Gordon, Lawrence Inglee, Zach Miller (Read Gary M. Kramer's interview with Oren M. Moverman and Ben Foster)JOHN CASSAVETES AWARD
(Given to the best feature made for under $500,000)
'Big Fan' Writer/Director: Robert Siegel; Producers: Elan Bogarin, Jean Kouremetis
'Humpday' Writer/Director/Producer: Lynn Sheldon
'The New Year Parade' Writer/Director: Tom Quinn; Producers: Steve Beal, Tom Quinn
'Treeless Mountain' Writer/Director: So Yong Kim; Producers: Bradley Rust Gray, Ben Howe, So Yong Kim, Lars Knudsen, Jay Van Hoy
'Zero Bridge' Writer/Director: Tariq Tapa; Producers: Josee Lajoie, Hilal Ahmed Langoo, Tariq TapBEST SCREENPLAY
Alessandro Camon, Oren Moverman, 'The Messenger'
Michael Hoffman, 'The Last Station
Lee Toland Krieger, 'The Vicious Kind'
Greg Mottola, 'Adventureland'
Scott Neustadter, Michael H. Weber, '(500) Days Of Summer'BEST FIRST SCREENPLAY
Sophie Barthes, 'Cold Souls'
Scott Cooper, 'Crazy Heart'
Cherien Dabis, 'Amreeka'
Geoffrey Fletcher, 'Precious: Based on the Novel 'Push' by Sapphire'
Tom Ford, David Scearce, 'A Single Man'BEST FEMALE LEAD
Maria Bello, 'Downloading Nancy'
Helen Mirren, 'The Last Station'
Gwentyth Paltrow, 'Two Lovers'
Gabourey Sidibe, 'Precious: Based on the Novel 'Push' by Sapphire'
Nisreen Faour, 'Amreeka'BEST MALE LEAD
Jeff Bridges, 'Crazy Heart'
Colin Firth, 'A Single Man'
Joseph Gordon-Levitt, '(500) Days Of Summer'
Soul'ymane Sy Savan', 'Goodbye Solo'
Adam Scott, 'The Vicious Kind'BEST SUPPORTING FEMALE
Dina Korzun, 'Cold Souls'
Mo'Nique, 'Precious: Based on the Novel 'Push' by Sapphire'
Samantha Morton, 'The Messenger'
Natalie Press, 'Fifty Dead Men Walking'
Mia Wasikowska, 'That Evening Sun'BEST SUPPORTING MALE
Jemaine Clement, 'Gentleman Broncos'
Woody Harrelson, 'The Messenger'
Christian McKay, 'Me and Orson Welles' (Opens Friday, December 11)
Raymond McKinnon, 'That Evening Sun'
Christopher Plummer, 'The Last Station'BEST CINEMATOGRAPHY
Roger Deakins, 'A Serious Man'
Adriano Goldman, 'Sin Nombre'
Anne Misawa, 'Treeless Mountain'
Andrij Parekh, 'Cold Souls'
Peter Zeitlinger, 'Bad Lieutenant: Port of Call New Orleans'BEST DOCUMENTARY
'Anvil! The Story of Anvil' Director: Sacha Gervasi
'Food, Inc.' Director: Robert Kenner (Read Felicia D'Ambrosio's interview with director Richard Kenner)
'More Than a Game' Director: Kristopher Belman
'October Country' Directors: Donal Mosher, Michael Palmieri
'Which Way Home' Director: Rebecca CammisaBEST FOREIGN FILM
'A Prophet' (France), Director: Jacques Audiard
'An Education' (UK/France), Director: Lone Scherfig
'Everlasting Moments' (Sweden), Director: Jan Troell
'Mother' (South Korea), Director: Bong Joon-Ho
'The Maid' (Chile), Director: Sebastian SilvaROBERT ALTMAN AWARD
(Given to one film's director, casting director, and its ensemble cast)
Robert Altman Award
'A Serious Man'
Directors: Ethan Coen, Joel Coen
Casting Directors: Ellen Chenoweth, Rachel Tenner
Cast: Richard Kind, Sari Lennick, Jessica McManus, Michael Stuhlbarg, Aaron WolffPIAGET PRODUCERS AWARD
Karin Chien, 'The Exploding Girl,' 'Santa Mesa'
Larry Fessenden, 'I Sell the Dead,' 'The House of the Devil'
Dia Sokol, 'Beeswax,' 'Nights & Weekends'SOMEONE TO WATCH AWARD
Kyle Patrick Alvarez, 'Easier With Practice'
Asiel Norton, 'Redland'
Tariq Tapa, 'Zero Bridge'TRUER THAN FICTION AWARD
NNatalia Almada, 'El General'
Jessica Oreck, 'Beetle Queen Conquers Tokyo'
Bill Ross, Turner Ross, '45365'
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Don't know what to do tonight? Don't worry, we've got you covered.
It may not be the most glamorous'nightlife option, but damn if it isn't the most rational ' from 5:30 to 7:30 p.m., the Broad Street Ministry (315 S. Broad St., 215-735-4847) will be hosting the Philadelphia World AIDS Day Event. Besides being able to get tested for free, attendees can enjoy a free pasta dinner; performances by the Philadelphia Gay Men's Chorus and dance troupe Smoke, Lillies and Jade; and a visual arts display. And thank heavens, Rev. Bill Golderer assures us that, despite being held in a church, the event is totally secular.
And while we're on the topic, have you seen our cover story on this handsome do-gooder?
Not satisfied? Check out today's listings for more and more and more events.
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