The Hoya: November 30, 2018

FR I DAY, NO VEMB ER 30, 2018

A Common Thread Campus Styles

ILLUSTRATION BY: ANNA KOOKEN/THE HOYA

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FRIDAY, NOVEMBER 30, 2018

THE HOYA

Self-Expression Inspires Georgetown Fashion Trends JEMIMA DENHAM AND MICHELLE BROWN Specials to The Hoya

Red Square passersby are immediately struck by the wave of Georgetown students’ messages supporting or denouncing various causes scrawled across bricks and posted above their heads. Yet another, more subtle form of self-expression can be found by looking at the students themselves.

A student’s wardrobe can reflect their background or character or the influence of the Georgetown neighborhood itself. Some styles, such as salmon shorts in the summer and Canada Goose coats

in the winter, appear to be so ubiquitous that they crop up on popular meme pages like “Georgetown Memes for NonConforming Jesuit Teens” as examples of students’ uninspired fashion choices.

However, while these recurring trends do exist, they are complemented by the eclectic styles and aesthetics of the Hilltop’s myriad communities. A closer look at the student body reveals more to student style on campus than initially meets the eye.

PREPPY PRESENTATION

The origin of the stereotypically preppy Georgetown look appears to rest in the demographics of its students, but

this stereotype does not speak for all students.

Since Georgetown undergraduate schools draw a large percentage of their students from the Northeast and Mid-Atlantic regions, the preppy stereotype is not so surprising, according to the president of the fashion blog Thirty-Seventh, Mallory Murray (MSB ’19).

Looking at the regional breakdown of the Class of 2022, four of the top five states for admitted students were New York, New Jersey, Maryland and Virginia. When so many students come from the same area, it is unsurprising that Georgetown student fashion seems to reflect wider regional trends.

“Vineyard Vines and the salmon shorts, when you think of Georgetown style, I think that’s the first things that comes to mind just because of our position on the East Coast and the kind of people who come here, typically,” Murray said in an interview with The Hoya.

In addition to a large Northeastern and Mid-Atlantic population, Georgetown is also renowned for its strong international community, which brings its own influence to the general look around campus. Looking at the admissions statistics for the incoming freshman class, 16 percent of students are international and originate from 81 countries.

International students tend to have a more brand conscious approach to clothing according to Karissa Prayogo (SFS ‘20), President of the International Students Association.

“International students are probably a lot more brand conscious in a way that American students are not, like they wear a lot more recognizable items or

even luxury items,” Prayogo said.

The style of luxury items chosen by international students often leans towards athleisure and streetwear rather than the preppy style of their American peers, however. Instead of J. Crew or Vineyard Vines, though, international students often favor brands like Supreme Bape, Prayogo says.

Whether they stick to salmon shorts, stand out with streetwear or wear their own distinct style, Georgetown students’ fashion choices reflect their desire to express themselves.

DRESS TO EXPRESS

Although Hoyas’ different backgrounds play an important role in their sartorial choices, students are perhaps more heavily influenced by the styles of their peers. Looking at the student body’s style from an observer’s point of view, it seems that style is more than just a reflection of students’ backgrounds and a symbol of their aspirations and personalities, according to Georgetown sociology professor Sarah Stiles.

“Everyone engages in ‘impression management’ to a certain extent,” Stiles wrote in an email to The Hoya. “To me, college is dress rehearsal for life and what we wear says a lot about our values and priorities.”

Simply choosing what to wear each day requires both a level of self-awareness and an idea of what a person hopes to project. In characterizing Georgetown students in particular, Stiles sees the projection of a desired image at the crux of Georgetown style.

“The Georgetown student is always presentable. She or he would never

LEFT: KEENAN SAMWAY/THE HOYA; RIGHT: SOPHIA NUNN FOR THE HOYA

Georgetown’s large population of students from the Northeast and mid-Atlantic regions perpetuates its stereotypically preppy style on campus, while the university’s sizeable international student population adopts a brand-conscious fashion sense, bringing luxury streetwear and athleisure to the Hilltop.

FRIDAY, NOVEMBER 30, 2018 attend class in pajamas as some students elsewhere do,” Stiles wrote. “The Hoya sees class as important as a job and dresses accordingly. This is out of respect for the professor and the institution, and to send a message to fellow Hoyas, sometimes literally via brand names.”

Murray agrees that Georgetown students use their attire to create a refined image, perhaps even more so than students at other colleges.

“People do express themselves more through fashion than maybe our typical age group,” Murray said.

Beyond self-expression, student’s fashion choices are sometimes explicitly political. The Diamanté Fashion Show at the end of November promoted bold expressionism, as models marched with raised “black power” fists while draped in scarlet and gold Haus of Faleci’ago evening gowns. The show’s very title, “Reclaim Your Crown,” emphasizes its goal of empowering models, designers, and audience to feel confident in their clothing.

NEIGHBORHOOD INFLUENCE

Georgetown’s campus also hosts an interplay between student style and the development of the surrounding neighborhood. The retail stores that line M Street help define the culture of the neighborhood. As the neighborhood develops and incorporates larger and more mainstream fashion brands into its streets, they become shopping hotspots. Rather than taking an Uber across the city, students can find name brands like J. Crew and Vineyard Vines only a few blocks away.

Murray believes the presence of bigname stores nearby influence the style of the students. The brand prevalence perpetuates the stereotype of the dressed-up Georgetown student body on the whole.

Still, the stores lining the streets of the neighborhood that can influence

THE HOYA Georgetown’s perceived look may not be its big-name chains but rather its consignment and vintage boutiques.

Ella-Rue on P Street is a recognizable name, a space for women’s “new-designer-high-end consignment” that resells gently worn items from luxury brands like Marc Jacobs and Fendi. Ella-Rue and other consignment stores like Once Is Not Enough contribute to the neighborhood’s status as a breeding ground for luxury fashion.

Ella-Rue owner Krista Johnson has seen that her clients want to make an impression that is both lasting and timeless.

“We have been in business for over eight years and I would say the style in Georgetown has always been classic,” Johnson wrote in a message to The Hoya.

“Our clientele wants to look effortless but memorable.”

Of course, even secondhand designer can come at a high cost, leading students to find creative ways of making style accessible. Some have taken a stance by resourcing affordable and fashionable clothing on campus. Dressmate, for example, an initiative of Georgetown alumnae, allows students to rent other students’ clothing for more formal or business-attire occasions.

An important aspect of students’ style also comes from their creativity and adaptability, according to Murray. Stores that market a multitude of looks like H&M and Zara allow students to craft their own fashionable aesthetics without relying on name brands.

“People take clothing that doesn’t necessarily have a logo, but they make it their own, and they’re fashionable,” Murray said. “They can be fashionable and stylish at the same time without having to go onto M Street with those big brands.”

Apart from the external influences of fashion trends and peers’ impressions,

students make deliberate and personal choices regarding their clothing. Some prefer to dress to impress, while others opt for comfort in their garb.

“It’s the confidence to dress up or down,” Stiles said.

The phenomenon that Stiles is referring to is not black and white, either.

Between the extremes of T.J. Maxx clearance sales and Ralph Lauren, George-

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town students are scattered across the fashion spectrum.

Regional variations and social circles aside, Georgetown students come together to represent a community that uses fashion as an extension of their personalities, beliefs and backgrounds. Hoyas take pride in what they wear each day, making campus a vibrant center for sartorial expression and experimentation.

LEFT: SOPHIA NUNN FOR THE HOYA; RIGHT: KEENAN SAMWAY/THE HOYA

Georgetown students’ bold stylistic self-expression can be seen at the student-run Diamanté Fashion Show. Diamanté’s theme, “reclaim your crown,” empowered models, designers and the audience to take pride in their backgrounds through their fashion choices. The multitude of big-name, vintage and consignment stores throughout Georgetown also help shape campus culture.

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FRIDAY, NOVEMBER 30, 2018

THE HOYA

‘A Private War’ Carefully Explores a Journalist’s Legacy JEMIMA DENHAM Hoya Staff Writer

Starring Rosamund Pike and Jamie Dornan, “A Private War” tells the story of celebrated and fearless journalist Marie Colvin. Tracing her journey from reporting in Sri Lanka in 2001 right up to her death in 2012 in Syria, the film portrays Colvin’s determination to give a voice to the voiceless in places of conflict and sheer terror as war correspondent to The Sunday Times, a British newspaper.

Despite losing her eye after a grenade explosion in 2001 and, as a result, adopting her trademark eyepatch, Colvin confronts what would be others’ nightmares. In doing so, Colvin, played by Rosamund Pike, shows how the trauma of conflict can affect the individual. Alongside photographer Paul Conroy, played by Jamie Dornan, Colvin ultimately illustrates the cost of war in her final journey to Homs, Syria, conveying at the same time the humanity found in all these places in the individuals’ lives she touched.

The Hoya interviewed lead actress Rosamund Pike, director Matthew Heineman and Marie Colvin’s sister Cat Colvin, who helped consult for the movie. The three spoke about the difficulties of accurately capturing the legacy of Marie Colvin, and detailed Cat Colvin’s lawsuit against the Syrian government.

Was this role like anything you’d ever done before in the sense of portraying a nonfictional character?

PIKE: No, nothing like this have I done before.

I’ve played real people, Ruth Williams in a film called “A United Kingdom,” which tells the story of interracial marriage in the ’40s.

But, you know, I could create an impression of Ruth, but I didn’t feel a pressure to do a full impression of her. There wasn’t much footage of her anyway.

But in this instance, perhaps because Matt is a documentary maker, and Marie was so vivid, it just seemed the right thing to do to try and embody this as much as you can, whilst the whole thing is in a way an apology for not being her and not being able to make a documentary about her. It was not just the work and the words that she wrote, you know, she was a person stopped everyone in their tracks when she walked into the room. She was just so unique — her voice, her humor, laugh, the way she walked. She cut a very unusual figure.

Cat, did she always have this sort of daring streak from a young age?

COLVIN: You know, I wouldn’t call it daring; I’d call it uncompromising. She’d set her sights on whatever it was, and then there was nothing that could stop her. She didn’t recognize barriers and would find a way to make that happen. And you know, she never held back. It was always 150 percent for everything. I was really fortunate to have her in my life. It was just she didn’t follow the rules, but I don’t even know if I can say that. She didn’t recognize that there were rules to be followed.

PIKE: Which I don’t know if you pick up on.

Journalists particularly have it, but if there’s a

scene in Iraq where we’re in this big aircraft hangar, and when there’s a briefing, Marie is sort of hanging back at this table, and it’s where she meets Paul Conroy, and yes, that scene is to introduce Paul, but it’s also to see how this woman is not following the pack and as all the journalists go one way, she goes the other.

COLVIN: But you know it expressed in other ways, too. She was absolutely brilliant, not just in writing, I mean in science. She would take over the whole house with a fruit fly experiment. They were just everywhere! Or even recycling, she told everyone to bring their garbage to our yard to sort it, but she didn’t mention it to our parents, so our yard just filled with glass, cardboard and newspaper. But like I said, that was not abnormal I suppose.

And did she keep you updated on where she was in the world?

COLVIN: Not always. She would call me when she could from places which was pretty interesting. I remember she was in Misrata and Libya for longer than she expected, and we talked a lot then but about day-to-day things like where she was getting food. I mean, you’re in a war zone and people are starving, there are no showers, but she made you laugh about these things.

If she was really excited or even really upset about something, so Tahrir Square, I remember her calling and holding up the phone. She thought there would be real change, or even if someone reminded her of one of my kids — she was chasing these sex traffickers through the desert, and there had been a little boy who had been kidnapped, and it reminded me so much of my son. She called me a lot during that trip, but Marie didn’t contact you when people normally would, such as the holidays. But on my birthday, she always called me at midnight; that was her thing wherever she was. So she would call very unexpectedly.

Rosamund, is there a scene that was your favorite to shoot or was particularly empowering?

PIKE: I think some of the rewarding scenes to shoot are not my favorite. You know it’s a different thing — in this film there were so many difficult scenes to shoot that my favorite might have been one of the easy ones, but there weren’t many. You’re seeking things on a different level, I think, and with this, there was a day when we were filming the mass grave. That was something that I think only Marie would do. She rented a digger, and it’s not easy to get anything done in Iraq, let alone have a JCB turn up on time — well, admittedly two hours late, but on the right day — and go to a site where she believed there were bodies. I mean it’s a huge undertaking; you might not find anything, and you’re literally following information at hunch, a belief and a determination.

So we had one shot to dig up the earth, and our production design team had buried skeletons and the things that Marie writes about in her articles. That’s the other thing is that every detail in the film comes from what Marie wrote about, and when she doc-

umented this, she wrote about the delicate brown foot bones and a blue trainer, and then that was all put in there for the jaws of the machine to find. Most of the people surrounding the grave site were Iraqis living in Jordan where we filmed, and the women were asked to bring pictures of their families. So the pictures I’m being shown are images that have stories similar to that, where people went missing and their families are hoping for closure.

It was a day where we were chasing the natural light, and then as bodies and remains started to be unearthed, the reaction in our background cast, who I think knew what they were doing but didn’t realize they would be emotionally transported in the way that they were. It got to the point where one woman literally couldn’t contain herself because it brought back too much and then as the men started to move remains out, this prayer for the dead started up and, because of the way we were working, could be captured, and it was like an ongoing story where we occasionally reset cameras. In a way, the force of the people took over, then Jamie and I would just be responding and living in it as though it was real.

COLVIN: And that day, Marie stayed well after she had the story, and she talked to every single person who wanted to talk to her.

They felt their story would be told, she could have left after an hour if she had the story.

PIKE: She wanted to know the stories of individual people. But there were many, many moments like that, and it’s not necessarily being empowered. It’s a feeling of deep empathy, I suppose, or human connection really. I think Marie was able to do this very uniquely even though wars can seem very far away, and she was able to connect people with these far away stories that seem terribly remote.

I think what struck me the most was the sense of the individual in war throughout this film. I think you did this as a filmmaker, too, in the scenes with the Syrian refugees, as well.

PIKE: They were all in Homs, and again, I think people are not anticipating perhaps the power of drama, what happens when you create it in a safe environment yet is a situation close to what you’ve experienced, emotion floods back and takes control of you. That’s what you’re asking your body to do when you’re an actor, but for these people, they’re not asking; they’re just reliving and all the time. Matt was playing with the boundary between truth and fiction.

Of course, we’re telling a true story, and obviously I’m not Marie, but I think when you set the ground right, emotion that’s true will flow.

That’s idea, you never really plan anything; you just occupy the place you’re supposed to be and see what happens. You convince your body and your mind that is real and see where you’re taken. So with the Syrians, it was incredibly powerful and maybe Matt talks about them, you know for instance the men who played the FSA guys who took us into the tunnel.

HEINEMAN: So the final day that we shot in the film, we held a moment of silence for Ma-

rie and for all the Syrian people who have died since, and it was really emotional for a lot of different reasons. Then, afterwards, one of our stunt guys and an extra, who was from Homs and had a hole in his chest from being shot, they started crying and came up to Paul Conroy and gave him a hug as they recognized him from the media center. You know there was a real sense of the fact they were doing this for Marie but also what she stood for and what she was trying to do as well in a human way.

COLVIN: I met some Syrians here who did a trip from [Los Angeles] to our hometown in Oyster Bay after Marie died. We stayed in touch but quite a few of them were from Homs and said it was the most beautiful city and, after the war’s over, we should come, and they’ll fix the town square and put a statue of Marie and Paul. And that is what’s easy to forget: it’s someone’s hometown. I think they’re losing hope because it’s just been relentless; six years and you saw what Homs looks like now — just rubble.

PIKE: And the siege mentality of the Assad regime is to keep everyone completely cut off, and one doesn’t know what’s going on in the rest of the country. I mean I think they had no idea whether it was unique, or life was going on as normal elsewhere. I hope as Marie would have wanted; the film is about her life but also putting the focus back on Syria, and I think that’s the conundrum of the journalist — you don’t want to put yourself at the center of the story and sometimes, unfortunately, you become the story which is not at all what you want. And also Cat is bringing charges against the Assad regime.

COLVIN: So we sued the Syrian government.

The most important part of the lawsuit, for me, was getting the evidence into the public record and translated, so it can be used, hopefully, in a criminal case in the future.

PIKE: You know, the silencing of the press was one of their deliberate war tactics, and Marie, after that broadcast to CNN, her location was pinpointed, and she was targeted.

COLVIN: They were followed before they even got to Homs. The Syrian government was following them from Beirut and tracking each movement with eyewitnesses on the ground.

Countries can’t be sued by individuals, but Syria is a state-sponsored terrorism, so they’re not entitled to sovereign immunity, which allows individuals to bring a lawsuit.

So here in the U.S., it was a long process. We hoped to get them into the civil arbitration in the Hague because then people like Paul Conroy and some of the others who were injured could have joined the lawsuit, but we weren’t able to do that. You have to submit to jurisdiction in Syria and [the injured journalists] obviously wouldn’t.

So I sued them in [Washington,] D.C. court, and the fact I am an American and so was Marie allowed us to do that. There is a lot of work going on, and a lot of people who are trying to collect and preserve evidence because it will likely be a long time before any criminal charges can be brought. We’ll keep fighting, and it’s a civil lawsuit, so monetary damages which will be difficult to collect but I’m hoping it will be an enormous number so at least it will catch people’s attention.

FRIDAY, NOVEMBER 30, 2018

THE HOYA

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FILM REVIEW

ACADIA FILMED ENTERTAINMENT

Rosamund Pike stuns as the legendary war correspondent Marie Colvin, who dedicated her life to reporting on those in danger in “A Private War.” The biopic depicts Colvin’s life with extreme care and attention to capture the true depth of Colvin’s character as she entered war zones to give a voice to the most vulnerable.

‘A Private War’ Honors Life of Inspirational Journalist

Directed by: Matthew Heineman Starring: Rosamund Pike and Jamie Dornan JEMIMA DENHAM Special to The Hoya

Following the story of war correspondent Marie Colvin, “A Private War” masterfully pushes viewers to not only consider the cost of war but also its harrowing effect on individuals.

As Marie Colvin and British photographer and filmmaker Paul Conroy, Rosamund Pike and Jamie Dornan deliver heart-wrenching performances, rising to the challenge of depicting Colvin’s journey into disaster zones often devoid of little humanity.

Known for her roles as the quiet Jane Bennett in Joe Wright’s adaptation of “Pride and Prejudice” and Amy in the psychological thriller “Gone Girl,” Pike is a brilliant actress. Her full abilities shine through in “A Private War,” where she takes on the role of Marie Colvin with sheer force and bravado. With her perfect Long Island drawl or the constant flick of a cigarette, attention to detail drives her portrayal.

From one of the opening scenes in Sri Lanka, director Matthew Heineman clearly communicates that Colvin was ruthlessly committed to her job as war

correspondent for the BBC until her death in 2012 through a painfully realistic portrayal. Pike commented in an interview, “[Marie] had a presence and would stop people in their tracks.” Pike makes this quality shine in her portrayal of Marie throughout the film.

Yet despite Colvin being in her element after her other projects at glamorous parties and string of love affairs, Pike also shows a side to Colvin that is tormented by what you might call “real life.”

Steering away from battle scenes reminiscent of action films, cinematographer Robert Richardson’s style depicts the brutality of war zones while emphasizing the importance of individuals’ lives in these places.

Using CGI-imposed images on drone footage of real buildings in Jordan, Richardson was able to create an incredibly realistic landscape of Homs in particular. The slightly overexposed and long shots of deserts provide moments of quietude among the likes of grenade explosions and shootings experience by Colvin with each journey.

Colvin’s story is told through a timeline, which shows how each place and

the people she encountered shaped her stories. Attention to detail is at the center of Heineman’s direction who used Colvin’s detailed articles for guidance and the likes of identical mattresses and blankets from existing images were used.

The most important detail, however, is the focus on named people in each place of conflict. They serve as a constant reminder of Colvin’s goal to tell the story of particular families, young men and women, and children.

One of the film’s biggest strengths is also the casting of supporting actors throughout the film. From soldiers of the Free Syrian Army in underground tunnels to Iraqi nationals at the unearthing of a mass grave, the film excels in retelling rather than dramatizing Colvin’s story. As Pike noted in an interview, as “bodies and remains started to be unearthed, the reaction in our background cast, who I think knew what they were doing but didn’t realise they would be emotionally transported in the way that they were.”

Drawing back to Colvin’s life in London, Greg Wise and Stanley Tucci fill the roles of Tony Shaw and Professor David Irens, respectively who are inspired by

 Pike’s ex-husband and lover. Tension is rife in both relationships, but Pike succeeds in using these moments to show a certain surprising tenderness and fragility to Colvin’s character.

The significance of Homs, Syria as Colvin’s last location before she is killed by Syrian forces is revealed in the final moments of the film. Painful to watch but reinforcing her determination to give a voice to the voiceless, the ending scene of “A Private War” is almost a celebration of Colvin’s bravery. Above all, Heineman triumphs in exploring the intricacy and chaos of conflicts such as the Syrian Civil War or the Tamil Tigers’ guerrilla war in Sri Lanka.

Even as an outsider, Colvin was able to show these conflicts to the world in a way that made readers aware of the different perspective she offered, one that shone a light on the humanity she found in these places.

With impressive performances and moving cinematography, “A Private War” does justice to its legendary inspiration while pushing its audience to contemplate the realities of war through its focus on the individuals intimately affected.

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FRIDAY, NOVEMBER 30, 2018

THE HOYA

DIRECTOR’S CUT

Cooper Captivates With Raw Emotion in ‘A Star Is Born’ Olivia Simon I’ve never been great with trends, so I was a little late to the craze surrounding “A Star Is Born.” While waiting meant that I got to take in Bradley Cooper’s (COL ’97) directorial debut outside the bulk of all the madness, the film had a massive reputation to live up to. Yet, since Cooper has had experience on the sets of a variety of enthralling projects, I had no doubt in my mind that he would be able to execute something special.

The film brings together the narratives of two characters, a famous rock star and a defeated aspiring musician. Jackson Maine, played by Cooper, is a successful rockstar dealing with the weight of his fame. One night after performing, he stops by a drag bar and sees a performance by waitress and singer-songwriter Ally, played

by Lady Gaga. Mesmerized by her voice, Jackson invites her to his next concert and brings her

onstage to sing with him.

From here, the two fall in love and begin travelling and performing together. Ally, overwhelmed by the public response to her music, decides to launch her own career with another record producer. Jackson and Ally become more entrenched in their own individual worlds, as Ally continues to pursue her solo career and Jackson spirals into a severely depressed and lonely state of mind.

The main triumph of the film is how Cooper constructs the progression of Jackson and Ally’s relationship. The first few scenes expose the audience to Jackson’s under-thespotlight lifestyle, which he tries to drown out with alcohol. Yet the audience is introduced separately to Ally, who stresses about her future and struggles with self-confidence issues after years of being rejected by the industry.

As Jackson is driven home from a concert, he drinks excessively and has the driver stop at a bar so he can keep going. Ally’s performance distracts him from the very reason he ended up at the bar — as though the film is telling us she might be his way out of addiction.

It’s not long before Jackson and Ally start performing together, bridging their individual lives into what becomes, for a while, a harmonious picture. Yet, what is so

gut-wrenching about their chemistry and their happiness is that the audience is fully aware that trouble will find them. Because we are given such a solid understanding of both characters and their individual flaws early on in the script, co-written by Cooper, the audience is set up to fear what will happen once those flaws are directly experienced by the other character — someone who is not merely a passive onlooker in his or her life. The film provokes intense audience investment because we are compelled to assess what is wrong with these characters and predict how those traits will appear later on, as the characters’ limitations are brought to light in the eyes of the person they love.

The relationship between Jackson and Ally is so captivating and feels so natural because the stages of its evolution connect seamlessly.

While the performances from both Cooper and Gaga are impressive, poignant and full of raw emotion, the pacing also allows for ample development of each phase of their connection.

As Jackson and Ally begin to diverge in their musical careers, moments of tension between them arise that feel not only authentic, but also necessary. In one scene, Jackson comes home after seeing one of Ally’s rehearsals and finds her

taking a bath. They get into a heated, personal argument that reveals the severity of Jackson’s alcoholism and Ally’s search for approval as a rising artist. Feeling betrayed by her decision to launch her own career and, in his view, throw away her talents to the superficial world of pop music, he lashes out and calls her ugly, preying on one of her deepest insecurities from years of being told that she could not make it in the industry because of her appearance.

Taken at face value, this scene may feel too jarring, but the buildup of Jackson’s substance abuse, Ally’s independence and the intensity of the industry makes this moment an unavoidable crest: As their love grows, so does their ability to hurt one another.

Audiences can easily conclude that “A Star is Born” will go down in history — and not just because this remake marks the fourth iteration. This particular version of the classic story produces an earnest look into a passionate relationship marred by the tension between what is and what could be. In an explosion of sound, spirit and storytelling, “A Star is Born” meets its reputation head-on.

Olivia Simon is a senior in the School of Foreign Service. This is the final installment of DIRECTOR’S CUT.

MISS-TAKES

Seeing the Marge Simpson in All Our Mothers Julia Usiak “You’re about to learn the two most dangerous words in the English language are ‘Marge Simpson,’” Marge Simpson herself declared.

Marge is more than her orange pearls, her green bodycon dress, her unmoving beehive of cotton-candy hair, her profuse apologies and her countless anxieties. She’s the antithesis of a stereotype with the depth of the Mariana Trench. Over the course of “The Simpsons,” she plays Blanche DuBois in the play “A Streetcar Named Desire” and gets so into character that she attacks a naked Ned Flanders with a shattered beer bottle. She gets laughed at

by Chief Wiggins for a full 30 seconds when she says she wants to be a cop but goes on to break every record at the Springfield Police Department. She discovers hidden talents for painting, bowling, shoplifting and lobbying, all before coming home and dealing with the antics of her aggressively dysfunctional family.

She’s an untapped force of greatness hidden behind a raspy voice that has surely never

smoked. I think the world of Marge Simpson. I see my mom in her. I could see yours, too.

In her 30 seasons of “The Simpsons,” Marge has lived as almost every type of woman, including one bearing an uncanny resemblance to one Sandy Usiak.

Marjorie “Marge” Jacqueline (née Bouvier) meets Homer Simpson when they are at Duquesne University in Pittsburgh. He’s in a frat for one month, tops, before he realizes he hates people telling him what to do and really just likes the excuse to drink. His first — and only — frat assignment is to dress in disguise and crash Duquesne’s spring play auditions, for which Marge played the piano.

Homer’s fellow pledge, Carl Carlson, who would eventually be the best man at Homer and Marge’s wedding, asks Homer: “What do you think of that Marge?” Marge stops playing piano, leaving the room starkly, suddenly and profoundly silently, just in time to overhear Homer’s answer.

“She has a stupid haircut,” Homer says.

Marge bangs on the piano — splat, a moment of textbook cartoon comedy.

After Marge changes her hair from an unfortunate mullet — a completely coincidental change, she’d remark, thank you very much — Marge and Homer soon start dating. Their romance is the type where former college roommates, 30 years later, still offer testimonial evidence of their made-for-each-otherness.

Exhibit A: “She came back from the date saying,

‘I’m going to marry that boy.’”

Homer proposes to Marge in 1986 on her birthday, Feb. 3. He is 21 years old, finishing his senior year of college and promising Marge that she will never be alone; he will continue at Duquesne Law School while she finishes her undergrad there. Sometimes she’d nap after a long test and he’d wake her up with a bouquet of flower — lilies, the flower that would be at their wedding.

Homer and Marge eventually add three kids and a dog to their nuclear family. Maggie, the youngest, weans herself off her eternal pacifier: It turns out she’s actually something of a loudmouth. She writes biweekly columns at a liberal arts college, but nobody really reads them, so it’s like she’s still silent.

Marge — the moral force of the family, the one person you know who actually bows her head at Mass and mouths prayers silently — holds the family together when Homer gets sick after all the radiation from the power plant finally catches up to him.

Marge convinces Homer not to shave those two dome-shaped hairs at the top of his head despite the radiation. Maggie never hears Marge cry except for one time, when she is on the phone with her smoking sisters, Patty and Selma — but that scene was deemed too sad to air by Simpsons creator Matt Groening.

And, after Homer dies, Marge still dons her orange pearl necklace, still hums too loudly in her orange 1973 Chevy Station Wagon. She still

smirks when she pulls up next to a particularly rough 62-year-old biker, his ass-crack showing and his white beard blowing in the wind; she still nudges Lisa away from her phone and shouts, “There’s your boyfriend!” before pulling off.

Marge still finds time to fill out Maggie’s FAFSA, even though Maggie doesn’t call her enough, and even has the courage to quit her job and begin again. In a hilarious arc of episodes, she goes back to school to be a real estate agent, alongside pupils who are 20 years younger than her. You should watch it — it’s really quite like “The Goofy Movie.”

While Marge may not have lived my mom’s life, she represents the strength that every woman has behind the facade of a cotton-candy cloud of blue tresses. Don’t bother looking for this particular arc, though; it can’t actually be found in “The Simpsons.” Instead, ask your carpool mom, or the dutiful Judith who brings you Totino’s Pizza Rolls. I’m sure she’ll know the story. All of them are familiar with the bite in my Marge’s voice while she sacrifices for the good of her kids.

I’ve spent 21 years watching the quiet resilience, sacrifice, patience, multitudes and self-exploration of my Marge Simpson. I can think of no better example of a mother.

Julia Usiak is a senior in the College. This is the final installment of MISS-TAKES.

FRIDAY, NOVEMBER 30, 2018

THE HOYA

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FEATURE

KEENAN SAMWAY/THE HOYA

Diamanté celebrated defiance and diversity by featuring an impressive collection of fashion, dance and vocal performances. Students displayed the show’s theme, “reclaim your crown,” through stunning performances ranging from self-choreographed dance to a vocal soul performance. The event also featured collections from local and well-known fashion designers.

Diamanté Celebrates Defiance and Diversity

ELIZA PHILLIPS AND ALFRIEDA NWABUNNIA Hoya Staff Writers

Hums of anticipation turned to silence as a captivating vocal recording of 20th-century film star Charlie Chaplin boomed across the McDonough Arena the evening of Saturday, Nov. 10, as the Diamanté Fashion Show began.

“To those who can hear me, I say — do not despair. The misery that is now upon us is but the passing of greed — the bitterness of men who fear the way of human progress,” Chaplin said in the recording, a clip from the 1940 movie “The Great Dictator,” narrating the short film that opened the show. “The hate of men will pass, and dictators die, and the power they took from the people will return to the people. And so long as men die, liberty will never perish.”

Student-run and organized primarily

by Kevin Martinez (COL ’20), Diamanté featured collections from several fashion designers and performances from local dancers and singers, focusing on themes of justice and diversity.

Victorious and tragic moments of the past year flashed across the screen: The

shocked face of black actress Regina King winning the 2018 Emmy for Outstanding Lead Actress in a Limited Series or Movie juxtaposed the mass of white nationalists bearing burning crosses at the 2017 “Unite the Right” rally in Charlottesville, Va. The audience was immediately instilled with a deep sense of inspiration as the message of perseverance through adversity permeated the room. The tone was set, the message clear: The Diamanté Fashion Show was an act of resistance, a celebration of the diversity that is often undervalued and obscured in this country.

A stunning performance by Nourjannah Hendi (COL ’20) of soul singer Sam Cooke’s “A Change Is Coming” reinforced this message. The song choice was evidently intentional, its inspiring lyrics artfully reflecting the sense of hope and pride the entire show exuded.

As at last year’s event, Francis Kpue’s (COL ’21) self-choreographed dance performance was the highlight of the show.

The performance was an assertion of excellence in its most creative form, perfectly in line with the show’s theme, “Reclaim Your Crown.” The fierce attitude

and sheer talent of Kpue and his co-dancers, including Mike Lazarre (COL ’22) and Syed Chapman (COL ’22), were mesmerizing, leaving the crowd energized and filled with anticipation.

Jess Frankovich (COL ’20) opened the fashion portion of the show with a bold statement: Her standout red dress read “my body is mine.” As with other features of the show, the artists, designers and coordinators were clearly unafraid to make their crafts overtly political.

Kinetic Style, whose pink collection redefined the color, was a particularly strong portion of the show. The styles were dangerous and daring in a way that bubble-gum pink has seldom, if ever, been portrayed as. Even more impressively, the line made latex look good.

Sultry dark pieces from designer 626 Online and the multicolored patchwork coat of designer 1st Book harkened back to the ’90s. These collections seemed to truly cultivate the energy of the night.

They were fearless and fashionable, redefinitions of glamor that shattered convention rather than merely standing outside it.

The safe collection by online designer retailer Rent the Runway seemed out of

place. Its pieces were largely uninspired among collections that were daringly unconventional. This weak performance served as a reminder that innovation takes new blood and an industry willing to bet on people of all cultures and communities, rather than relying on the same staple looks and brands of the past.

Fashion designer and celebrity stylist Haus of Faleci’ago closed the show and left the audience in awe of its beautifully structured evening gowns. The designer’s collection epitomized elegance with its shimmering gold and deep scarlet pieces. In the final walk, before the models took their bows, they held their hands up in the Black Power fist, symbolizing the empowerment, defiance and pride that Diamanté perfectly embodied.

Martinez orchestrated a dazzling spectacle, a high-quality fashion show that almost seemed too professional to be student-run. Diamanté was graced with character and image, an embodiment of glamor made accessible and fresh. The show featured a dozen moving pieces that came together nearly seamlessly — a gorgeous display of talent, purpose and passion.

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FRIDAY, NOVEMBER 30, 2018

THE HOYA

What to Do in DC

MUSIC

NEW RELEASES

SARAH CAMMAROTA Hoya Staff Writer

1

FARIS BSEISO Hoya Staff Writer

On Friday, Nov. 30, the Smithsonian National Museum of Natural History will be opening an exhibit featuring 60 of the world’s best nature photos. The photos are the 60 finalists selected from the Windland Smith Rice International Awards. They feature images ranging from manta rays to basking bull moose to the grand-prize-winning photo of a baby and mother gorilla. The museum is open from 10 a.m. to 5:30 p.m. daily, and admission is free.

SUFJAN STEVENS

JLO AND BAD BUNNY

JENNIFER LOPEZ & BAD BUNNY ‘TE GUSTE’

SUFJAN STEVENS ‘LONELY MAN OF WINTER’

As the years have progressed, Bad Bunny continues to rack up more impressive collaborations. In his latest single, he teams up with Jennifer Lopez to deliver a club-ready track. With hard-hitting bass and hi-hat drums, complemented by their excellent vocals, “Te Guste” is sure to be the newest addition to everyone’s party playlist.

With winter almost upon us, listeners can enjoy the cold weather no better way than with a hot drink while listening to Sufjan Stevens’ new song. His soothing voice and gentle guitar-playing make the perfect combination that further asserts Stevens’ graceful consistency.

2

The Heurich House Museum, famous for its Castle Garden, will be hosting its annual Christkindlmarkt Christmas market Friday, Nov. 30, from 4 p.m. to 9 p.m. and Saturday and Sunday from 11 p.m. to 5 p.m. The market features local artisan vendors and a historic house tour. Items in the market include ceramics, jewelry, house goods and more. The market is free to attend, and the museum is located in Dupont.

3 From Saturday, Dec. 1, to Sunday, Dec. 2, the Smithsonian’s National Museum of the American Indian will be hosting its annual Native Art Market. The market features goods from renowned Native American artists including handwoven baskets, beaded jewelry, paintings, sculptures, ceramics and more. The event is free to attend, and the museum is open from 10 a.m. to 5:30 p.m. daily.

ARI LENNOX

EARL SWEATSHIRT

EARL SWEATSHIRT ‘NOWHERE2GO’

ARI LENNOX ‘NO ONE’

After three years since his last album release, the former Odd Future prodigy is ready for his comeback onto the music scene with his new track, “Nowhere2go.”

The release marks a positive turning point for the rapper from his struggle with depression. Hopefully the album following the single will help him push forward on the road to recovery.

“No One” marks one of numerous singles that have been released since this summer by R&B singer Ari Lennox. The Dreamville signee has been teasing fans for the past few months with these tracks as she preps for her new album.

With no official album release date announced yet, listeners can at least enjoy this new laid-back record along with the two others that have been released, “40 Shades of Choke” and “Grampa.”

4

‘NATURE’S BEST PHOTOGRAPHY’

SMITHSONIAN INSTITUTION

CHRISTKINDLMARKT

HEURICH HOUSE MUSEUM

NATIVE ART MARKET

SMITHSONIAN MIA

2018 NATIONALS WINTERFEST

Washington, D.C.’s MLB team, the Nationals, will be holding its annual Winterfest Saturday, Dec. 1, and Sunday, Dec. 2, at Nationals Park. The famed event — both indoors and outdoors — will bring together fans and players for autographs, hands-on athletic fun and mascots galore. The event will take place from 11:30 a.m. until 4 p.m. both days; tickets cost $39 for adults and $29 for kids 12 and under.

WASHINGTON NATIONALS

FRIDAY, NOVEMBER 30, 2018

THE HOYA

B9

CONCERT REVIEW

Pond Mesmerizes With Theatrical Dreamscape NICK OKERLUND Hoya Staff Writer

“How will this epicenter of the world political climate cope when our touring circus, so ridiculous that surely there can be none alike, rolls into town?” Pond frontman Nick Allbrook wrote in a blog post as he flew into Washington, D.C., on the eve of the band’s second U.S. tour in 2010.

“Impossible to predict. Bring on America.”

Eight years later, the collaborative, creative consortium in the form of a psychedelic rock band known as Pond brought the same ridiculous touring circus to D.C.’s Black Cat. Its otherworldly zeal and hodgepodge of noise left attendants’ psyches as rattled as their eardrums.

The spectacle took place Nov. 7 in the Black Cat, a dimly lit music venue and bar sporting a black-and-white checkerboard floor. The scene was reminiscent of an elegant 1920s parlor, starkly contrasting the retro neon band merchandise on display among the laid-back din of young music fans.

A half hour after the doors opened, no more than 20 people had amassed near the stage. With invitingly low, shoddy construction, the lighting and sound system were far from intricate; two warm red lights shone behind the stage, illuminating gargantuan 5-foot-tall pillars of speakers stacked on either side.

Despite its often antique appearance,

the Black Cat has only been around since the early ’90s, when it earned a reputation as a safe haven for independent artists to share their music and spread their message. Wednesday night’s show was no exception to this legacy. Artist and audience inhabited the same intimate space, and the artists performed with the crowd as much as to them.

Rattail-rocking singer-songwriter Juan Wauters, the opening act, held the audience steadfastly transfixed and wholeheartedly engaged, whether he was directing a call-and-response-style ditty or challenging patrons to races across the venue. While Wauters was careening across the Black Cat, Allbrook sat with his legs crossed on stage and provided a soundtrack on flute.

As the main act took to the stage, the still-buzzing audience lauded lead guitarist and vocalist Allbrook’s return with the remainder of Pond: drummer James Ireland; synth virtuoso Jamie Terry, adorned in a reflective silver tracksuit; and the multi-instrumentalist founding members Jay Watson on bass guitar and “Shiny Joe” Ryan on rhythm guitar.

Watson and Ryan, along with Allbrook, brought Pond to life in Perth, Australia, in 2008 as a collaborative, no-holdsbarred side project to their popular psychedelic band Tame Impala.

Without a formal introduction, the quintet got situated, then proceeded to blow the lid off the venue.

Pond kicked off its so-called “tour-

ing circus” with “30000 Megatons.” The opening track of its most recent album, “The Weather,” is a foreboding composition that stylistically reflects a nuclear apocalypse with its lyrical composition: “I look out at the mirror, look out at the world / 30,000 megatons is just what we deserve.” Beginning with Allbrook’s introspective musings and a longing synth loop from Terry, the song eventually devolves into a pulsing, dissociative explosion mimicking a soundscape at Ground Zero.

The deafening, cacophonic crescendo was followed by a foreboding silence.

Then, the telltale grisly bass line of “Sweep Me Off My Feet” rang through the Black Cat, courtesy of Terry. Allbrook seized on the crowd’s enthusiasm for Pond’s hit single, grabbed the mic and casually hopped off the 3-foot-tall stage, sashaying through the crowd with a seductive swagger.

Seemingly dissatisfied with travelling through the crowd, Allbrook decided to travel over them, crowd-surfing two songs later, during “Waiting Around for Grace.” Adorned with a loose buttondown shirt and a faceful of glitter, he first stepped into the crowd and personally serenaded choice audience members with theatrics reminiscent of David Bowie.

But, as soon as the band transitioned from melodic psychedelia to the drumheavy pop melody, Allbrook launched himself off the barricade with a guttural

whoop, managing to stay on key for the chorus’ soaring vocals as he was passed around atop the audience and eventually returned to the dinky stage.

Through the rest of the set, the cosmic connoisseurs mixed blasts from the past with more recent endeavors. The Aussies tried out their 2018 single “Burnt Out Star” directly after 2009’s “Don’t Look at the Sun or You’ll Go Blind,” an unpredictable cocktail of funk and Jimi Hendrix-esque distortion on their first studio album “Psychedelic Mango.” The experimental album, unreleased on major music streaming platforms, is a testament to the band’s humble beginnings as a creative, rather than commercial, outlet.

The members of Pond left their instruments onstage and hesitantly exited after a sweeping dreamscape, better known as the title track of the 2017 album “The Weather.” Heeding the almost immediate encore chant, the group triumphantly emerged again for a final performance.

Pond finished with “Man It Feels Like Space Again,” a journey through the musical sublime that escalated in pitch, instrumentation and volume with each refrain. After this climax, the band disappeared for the final time, as if boarding a spaceship in search of new sounds. The audience exited the Black Cat partially deafened by the pillars of sound but enlightened to the core by the once-in-alifetime travelling circus called Pond.

POND

The Australian psychedelic rock band Pond delivered a cacaphonous performance at the Black Cat on Nov. 7. Frontman Nick Allbrook took the stage with flamboyant theatrics reminiscent of David Bowie, and the rest of the band kept pace. The group maintained infectious energy for the entirety of the concert.

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FRIDAY, NOVEMBER 30, 2018

THE HOYA

MOVIE REVIEW

‘Chef Flynn’ Authentically Depicts the Success of Prodigy

Directed by: Cameron Yates



Starring: Flynn McGarry JAMES KIM

Hoya Staff Writer

Director Cameron Yates’ new documentary, “Chef Flynn,” released Nov. 9, tells the story of prodigy chef Flynn McGarry. Despite a somewhat disappointing ending, “Chef Flynn” captivates its viewers with its authentic depiction of Flynn’s gripping road to success and the endless support that he receives from his mother, sister and friends.

The film starts with the 10-year-old Flynn taking joy in beginning to cook meals for his family to alleviate his growing frustration with their diet of daily takeout food and limited cooking repertoire at home. As he becomes more enthusiastic about his culinary passions, Flynn invites his friends and their families over to his house to share his culinary creations, and he eventually starts his own American dining club at 12 called Eureka in his home. Flynn soon starts gaining more social profile after a New York Times article is written about Eureka when he is 15, and the

documentary focuses on his efforts to try to start up his own permanent restaurant in New York.

Yates authentically portrays Flynn’s career in a way that viewers may find surprising. Some may think that Flynn did not have many obstacles to his success because of his innate talent and fervor for cooking as well as the consistent financial assistance from his family. However, the documentary shows the tremendous amount of work and pressure that Flynn had to go through.

Yates shows the criticism that he had to deal with at only 15, and the emotional and physical support that his mother and sister provided him so he could achieve his aspiration of being a renowned chef.

For instance, viewers see a time where Flynn faces significant backlash from the public after The New York Times published an article about Eureka calling Flynn a “Chef at 15” because of the excessiveness of the situation. By presenting the audience with a major crisis right after Flynn’s successful launch-

ing of Eureka, the movie effectively disproves the misconceived notion of a smooth road to success and instead movingly shows the reality of the struggles that Flynn had to deal with to continue to strive for his culinary dream.

The film also highlights the endless support that Flynn’s mother, sister and friends provided him throughout the entirety of his culinary career. Meg McGarry, Flynn’s mother, especially showed great involvement during the movie in helping her son start Eureka, emotionally manage his rise to celebrity by being aired on diverse TV shows and eventually launch a permanent restaurant in New York. Through the movie’s cinematography and narration techniques, Yates also emphasizes her ardent engagement with her narration and videos of her with her son. Along with showing Paris McGarry, Flynn’s sister, and his friends helping him significantly during his time managing Eureka in LA, the documentary excellently conveys that the degree of support he received from the people around him

was crucial in making him the chef he is today.

However, the film does fall a bit short with its ending. Yates does not give any references or hints as to how Flynn is currently doing with his dream career as a chef in New York. The film could have extended itself to the progress that Flynn has made in his culinary career in New York, such as news on any new openings of his restaurants and what the general public and professional culinary reviewers think of his restaurants. Instead, the film suddenly ends, leaving its audiences to guess that Flynn is continuing his successful career in New York.

Overall, “Chef Flynn” is a solid documentary about the prodigal Flynn McGarry that will leave its viewers intrigued by the real success story of Flynn as well as the beautiful illustration of the vital support that he received from his mother, sister and friends.

Nevertheless, its rather abrupt and lacking ending prevents the film from being laudable in its entirety.

LEFT: A LAURA COX PRODUCTION, RIGHT: DINING WITH FLYNN

“Chef Flynn” documents the story of Flynn McGarry, a teenage prodigy chef. The film engages audiences by portraying the successes and failures of Flynn’s career and highlighting the support Flynn recieved throughout his culinary journey. While the ending of the movie leaves much to be desired, overall “Chef Flynn” is a solid documentary.

FRIDAY, NOVEMBER 30, 2018

THE HOYA

B11

MOVIE REVIEW

‘El Angel’ Captivates With Compelling Performances Directed by: Luis Ortega Starring: Lorenzo Ferro, Chino Darín ALEXANDRA BRUNJES Hoya Staff Writer

“We all have a destiny. I was born a thief.”

With this line, director Luis Ortega’s new film “El Angel,” a biographical drama about Argentina’s most notorious criminal, Carlos Robledo Puch, begins. Viewers hear this thoughtful voice-over while watching Carlos, played by rising star Lorenzo Ferro, do what he does best: steal.

The Spanish-language film takes place in 1970s Argentina and follows Carlos at 19, the period of his life most saturated with crime. “El Angel,” which debuted at the Cannes Film Festival and is the Argentine entry for Best Foreign Language Film at the 91st Academy Awards, was released initially Nov. 9. The film has made waves among critics for its vibrant camerawork, sharp editing and compelling plotline.

“El Angel” opens with a shot of Carlos, the baby-faced, androgynous protagonist whose descent into villainy viewers witness throughout the film. Carlos hops a fence and breaks into a mansion. Rather than focusing on the material possessions, however, he pours himself a drink and puts on a record and dances.

Ortega masterfully uses this imagery to introduce viewers to the style of “El Angel” and

its focal character: The scenes are vibrant and aesthetic, rich with accurate homages to the ’70s culture and style, and they perfectly frame the lackadaisical criminal tendencies of Carlos, a curious adolescent who seems to be following impulses he cannot quite explain.

Early in the film, Carlos meets his partner in crime, Ramón, played by Chino Darín. Intrigued by Ramón’s looks, Carlos picks a fight with him at school, and the two soon form a theft-centered friendship underpinned with unspoken homoeroticism. The sexual tension between the boys poses an interesting parallel to the crime they commit: As the stakes raise, so does the intensity of their relationship. Rather than a release in sexual tension, though, viewers witness an escalation in violence.

When Carlos and Ramón become partners, viewers clearly understand that Carlos’ thievery will no longer involve records, dancing and left-behind valuables. Ramón’s parents are career criminals with a penchant for theft, and Ramón’s father seems eager to introduce his son to the trade. The first time Carlos visits their home, Ramón’s father teaches him to shoot a gun; afterward, Carlos rarely walks around without one.

After the boys become friends, a string of crimes unfolds, progressively escalating in both

 violence and erotic undertones. Though he continuously returns home to his parents, Carlos strolls around with guns in his waistband and violence at the tip of his fingers: Viewers are able to see his true capacity for criminality despite his seemingly innocent nature.

Ferro’s portrayal of Carlos is one of the main selling points of the film. Ferro, a newcomer to the big screen, bears a striking resemblance to the infamous serial killer and captivates the audience with his understated performance and childlike features. His pouty lips and curly hair make it difficult to root against him.

Ferro also does an excellent job demonstrating Carlos’ ambivalence as his crimes escalate: Carlos seems most at home when he is breaking the law, lacking hesitation or guilt. Darín as Ramón wonderfully complements Ferro’s performance. His moody, subdued aggression emphasizes Carlos’ calm in the face of illegality.

Cinematically, “El Angel” is beautiful. The camerawork is compelling and the shots aesthetic and visually arresting; the costumes and sets are accurate to the time period. The vintage soundtrack plays perfectly off this imagery. The tones underscore the matter-of-fact atmosphere of the film and emphasize Carlos’ seeming inability to accept the potential conse-

quences of his actions.

“El Angel,” however, could improve its applicability: The Spanish-language film tells the story of an Argentinian convict whom residents of other countries likely do not know, without background context. Thus viewers who are unfamiliar with the story may be confused or lack the investment felt by Argentinians.

The film also fails to clearly delve into Carlos’ psychology. He does not seem resentful when he kills, but viewers may struggle to elucidate whether Carlos does not understand what he is doing or does not care. This ambiguity may be intentional or an oversight; in any case, audiences leave the film with an overwhelming desire to know why Carlos is who he is.

The film also overlooks the real-life Puch’s most heinous crimes, including abduction and rape. “El Angel,” rather, is a glamorization of his story; the facts are darker than the fiction.

Rather than watching a young boy develop into a mindless killer, viewers see him engage his whims and pursue the sensation of freedom.

“El Angel” invites viewers to observe Carlos rather than understand him with compelling performances, stunning cinematography and a perfect soundtrack — an invitation all should accept.

EL DESEO

“El Angel” director Luis Ortega glamorizes Carlos Robledo Puch’s criminal career by overlooking his cruelest crimes and instead highlighting his indiscernable character. Despite this omission, the film does not disappoint; complementary performances by Lorenzo Ferro, left, and Chino Darín, first right, capture viewers and highlight Puch’s intriguing ambivalence toward the crimes he commits.

ILLUSTRATION BY: ANNA KOOKEN/THE HOYA