Use the fields below to perform an advanced search of The Chronicle's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
34 items found for your search. If no results were found please broaden your search.
The senses are immediately overwhelmed as the camera pans across Delhi’s bustling city streets. Cutting to concealed body cameras and shaky handheld cameras, the audience is immediately propelled into a factory raid as Bachpan Bachao Andolan officials and law enforcement shout commands, forcibly burst through doors and ultimately lock in on an unassuming pile of trash bags. Behind those bags, dozens of terrified children are discovered and rescued from a long-standing child slavery operation.
Experimental, chaotic, and genuine all express the vision of “White Rabbit” in its exploration of identity, mental health and self-expression. “White Rabbit” encapsulates unabashed creativity on the part of an Asian-American performance artist, Sophia. The film premiered last Friday at the Sundance Film Festival. The Chronicle sat down with director Daryl Wein to discuss the film and what he hopes his work will convey in the current political climate. The following interview has been edited and condensed for clarity.
In October 2015, financier and Duke alumnus David M. Rubenstein, Trinity ‘70, endowed the University with $25 million to create a center for the arts on campus. Three years and $50 million later, the Rubenstein Arts Center stands in impressive opulence. The steel- and glass-constructed building aims to be the ultimate home for the arts at Duke.
Tommy Wiseau’s 2003 film “The Room” went from box office flop to profitable cult classic within just a year of its premiere. Dubbed the “best worst movie ever made,” “The Room” continues to captivate audiences at midnight screenings. Fast forward 14 years to James Franco’s Golden Globe-nominated film “The Disaster Artist,” which permits viewers to examine how Hollywood’s most infamous film came to be. The film is largely based on “The Disaster Artist: My Life Inside The Room,” written by one of “The Room”’s lead actors Greg Sestero.
“A game for those who seek to find / a way to leave their world behind.”
‘Tis the season again — if you wander into any shopping mall or city center, you may notice hordes of holiday shoppers clutching their Starbucks hot chocolates and marveling at gingerbread-scented candles. Although North Carolina is not often the typical “Winter Wonderland,” seemingly nothing will stop the masses from reveling in the excesses of the holiday season. If for some reason you are remaining in the Triangle for the holidays, here is a roundup of celebrations around the Triangle sure to satiate anyone’s desire for holiday cheer.
Duke’s annual dance showcase, the November Dances, proved to be a visually stunning display of athleticism and art last Friday and Saturday, Nov. 17 and 18. The concert presented by the Duke Dance Program featured ballet, modern, jazz and African dance performances, with many of the performances being choreographed by the students themselves.
The “Stoned and Starving” New York post-punk band Parquet Courts have a knack for astute observations and biting witticisms (“Ya know, Socrates died in a f---in’ gutter”) coupled with nods to the past via instrumental eccentricities. Singer and guitarist Andrew Savage took a break from Parquet Courts with the debut of his solo album “Thawing Dawn,” released under the name A. Savage, and subsequent tour with London musician and frontman of Ultimate Painting, Jack Cooper. The two played at Durham’s The Pinhook on Thursday night.
As Durham settles into November, an ensuing buzz of excitement suffuses through the self-proclaimed “geek” community — as with winter, North Carolina Comicon: Bull City is coming. It will be held at the Durham Convention center from Nov. 10 to 12. Rife with “Supernatural” cosplayers and Deadpool impersonators, the convention prides itself in being “the ultimate celebration of comics and pop-culture in the Triangle.”
When the lights dim and a drag queen takes the stage, she is, for that moment, utterly free — to be herself, free of societal pressure to conform to the gender binary’s norms. Drag shows are over-the-top, characterized by dynamic drag personas in big hair and loud makeup, lip-synching to poppy club hits and death-dropping — a physical feat in itself. These queens and kings are made up of not only cisgender individuals, but also gender fluid, gender non-binary and transgender people who challenge the boundaries of social order and creativity.
In its simplest form, the lovable Fox comedy “Bob’s Burgers” focuses on working-class hero Bob Belcher (H. Jon Benjamin) and his family’s everyday struggles, from financial to relational. The show takes a lighthearted approach in navigating such challenges, allowing audiences to connect with the Belchers’ everyday lives. Awash with toilet humor and juvenile antics, “Bob’s Burgers” never fails to draw laughter from Tina’s (Dan Mintz) schemes to seduce love interest Jimmy Jr. and remains relevant with Gene’s (Eugene Mirman) well-timed pop culture references.
After much anticipation, singer-songwriter Jack Johnson released his new album, “All the Light Above It Too,” last Friday, Sept. 8, his first album since 2013. Johnson did not record “All the Light” with the band he has historically recorded with; rather, he and longtime producer Robbie Lackritz were the main sources of instrumental sound. Johnson addressed the inspiration for his album, noting both political and environmental realizations in his own personal journey spanning the past year. He was especially unsettled by Trump’s decision to withdraw from the Paris Climate agreement and cut funds from the EPA’s budget.
In 2012, the film “Beasts of the Southern Wild” earned recognition at the prestigious Sundance and Cannes film festivals in addition to garnering four Oscar nominations, bestowing “universal acclaim” upon director Behn Zeitlin from viewers and critics alike—the oft-overlooked score that smoothly transitions the audience from feelings of tears to triumph was co-produced by Zeitlin himself.