Horror Movies, OutWrite 2022 and Other Best Bets August 4-10

Friday to Sunday: OutWrite 2022 online

Gladys Bentley will kick off DC’s 12th Annual LGBTQ Literary Festival on August 5. Although the Harlem Renaissance star and genre outlaw died in 1960, OutWrite 2022 will open with the reading of a play centered on Bentley’s life developed at the University of Maryland . Although less well known than some of its Renaissance cohorts, Bentley remains a complicated and illustrious queer icon, known for its sexually explicit music, relationships with white women, and male gender presentation. The play is all about drama, but like any good queer story, it’s not lacking in humor. Harlem badge will last 90 minutes, but the festivities resume on Saturday and Sunday with a full program of events including a discussion on making chapbooks, a film screening of the documentary Chinese beautiful girls don’tabout the life and work of an Asian American lesbian writer from the Pacific Islands, Kitty Tsuwho will read his work and sit down for a conversation with the director of the doc, Jennifer Abod, after the screening. This year’s festival will pay tribute to the late local poet Hemphill of Essex, a black queer visionary from the 80s and 90s. And panels will also discuss LGBTQ true crime, as well as queer detective fiction, children turned on in response to book bans, and much more. More than 70 poets, novelists, playwrights and LGBTQ activists will participate in this year’s event. As in recent years, OutWrite 2022 will remain virtual and free for everyone.. OutWrite 2022 runs virtually from August 5-7. thedccenter.org/outwrite-2022-festival-schedule. Free. —Sarah Marloff

Saturday: vertigo at the National Gallery of Art

Always by Alfred Hitchcock vertigo (1954) Courtesy Paramount Pictures/Photofest

horror director Alfred Hitchcock Perhaps problem, but it is indisputable that he is one of the best directors in cinema. No other filmmaker can keep audiences reeling on the edges of their seats like he does, and certainly not with such panache. No film illustrates this better than vertigo. Jimmy Stewart rooms scottie, a detective who retired after a harrowing rooftop chase that instilled in him the titular condition. When an acquaintance asks him to follow his weird-behaving wife, Magdalene (Kim Novak), Scottie becomes enamored with her. After her tragic death, he meets a woman (also played by Novak) who reminds him of Madeline and begins to obsessively recreate her in Madeline’s image. The film is tightly plotted and the mystery at the center unfolds satisfyingly, but vertigo draws on every other aspect of the production as much as the story to make it a masterpiece. Everything you see on screen was precisely put there for a reason, inspiring respect for some of cinema’s less glamorous jobs. The cinematography is jaw-dropping and the pioneering dolly zooms are still fresh enough to cause nausea and unease in today’s audiences. The costumes and make-up are the pinnacle of bygone 1950s glamour, but they’re more than decoration – they’re essential to the transformation which includes an extremely sinister makeover montage. The score is a typical large work of the composer Bernard Hermannand even the opening credits designed by Saul Bass are a work of art. Whether you know this classic or not, it’s worth a visit vertigo on the big screen. The film will screen as part of NGA’s Dark Mirrors: The Double in Cinema series at 2 p.m. on August 6 at the National Gallery of Art’s East Building Cinema, 4th Street and Constitution Avenue NW. nga.gov. Free, registration required. —Stephanie Rudig

Sunday: lost highway at AFI Argent

Always by David Lynch lost highway

There’s nowhere on the internet to stream legally lost highway. Believe me, I looked. It’s not on Prime, HBO or Netflix. (Yes, I tried the VPN.) Its glaring absence from the mediasphere borders on surreal, never mind that the film itself is an ultraviolent fusion that strips its characters of their identity before dropping them into hell. . The best way for you to see this film is to attend the director-approved restoration tours this summer, but I didn’t have that option. I volunteered to write about lost highway in advance of its screening at AFI Silver, which meant finding a DVD. After finally watching, I had to recognize the meta-poetry the universe had thrust upon me by having me find a physical copy of a movie whose inciting incident comes in the form of a videotape. When an unhappy couple, played by Bill Pullman and Patricia Arquette, discover the tape on their steps, they put it in the VCR. They find themselves in a stranger’s POV, someone filming their house, lingering on their doorstep. This is just the first in a series of incidents that are beginning to unravel their realities. lost highway was released in 1997, at a low point in the director David Lynchhis career. It flopped on its initial release, grossing $3.7 million, which is a shame, as it’s probably the most straightforward David Lynch film. That doesn’t mean it’s linear or logical, God doesn’t. It’s complete gibberish. But he is the most frankly Lynchian of Lynch’s films, complete with chopped and screwed anti-conspiracy and filled with his directorial signatures (mystery men, deceitful blondes, dangling wires, red curtains). lost highway is Lynch’s tribute to vertigo (also recommended in City Lights this week!) and The big sleepsure, but it’s mostly Lynch’s tribute to Lynch. Roger Ebert roast lost highwaygiving it two stars and claiming it made her feel”jerked off.” It’s a reasonable reaction to a film that transports us to and from alternate realities without explanation and kills off characters only to replace them with lookalikes. Yet with Lynch, the gaps in logic are where the terror seeps in. The victims of slashers may be doomed, but at least they can understand their fate. The souls lost in a Lynch movie stand to lose more than their lives. Reality itself is unraveling, like a magnetic tape spitting out of a cassette. The Lynch-approved restoration of lost highway, with an exclusive recorded introduction from the director, screens on August 5 (7 p.m.), August 6 (3:30 p.m.), August 7 (6:30 p.m.), August 9 (6:30 p.m.), August 10 (6:30 p.m.) and August 11 (6 p.m. 30) at AFI Silver, 8633 Colesville Rd., Silver Spring. silver.afi.com. $11 to $13. — Will Lennon

Monday: Rolling Blackouts Coastal Fever at Black Cat

Rolling Blackouts Coastal Fever; credit: Nick McKinlay

Some of the members of the Melbourne, Australia, group Coastal fever used drum machines and synthesizers on the demos each created for songs from their latest album, Endless rooms, while quarantining separately during the pandemic. But that doesn’t mean this melodic, jangly rock band, formed in 2013, has gone dance-rock or experimental. Tom Russoone of the band’s three guitarists, says city ​​paper over email that the song “‘Dive Deep’ started out as a funky computer jam that way, and then when we finally got to get together, we kind of reverse-engineered it into a song that sounded more typical of Blackouts using our instruments, and put a verse-chorus structure in that.” Russo says the band members know there’s a risk that “crazy stuff” will end up boring or confusing. “We’ve known each other for so long now, we just innately know when something is working and if it’s good for the band, sometimes things are cool but just don’t fit together.” Russo says that each of the band’s lyricists, however, got a little “wild…and conceptual” with their phrasing on this album. Guitarist Joe White told Stereogum that the catchy pop-rock “The Way it Shatters” has multiple meanings. He says he quotes a Violet Crumble Chocolate Bar Slogan and refers to the various individual ways in which glass can break, and how some white Australians are blessed to grow up in a prosperous situation and want to deny those opportunities to others. Russo notes that the band plans to emphasize some Endless pieces songs as well as those of the 2020s Next to New Italy, which was also released after the band’s final US tour. Whether or not one can fully follow the intended meaning of their verbiage, the band’s best compositions still resonate aesthetically through their timeless blend of ringing instrumental beats and haunting vocal choruses. The show starts at 7 p.m. on August 8 at Black Cat, 1811 14th St. NW. blackcatdc.com. $20. —Steve Kiviat

Until September 23: Joe Feddersen at the National Academy of Sciences

“Lake Omak” by Joe Feddersen, 2019

Exhibit the works of Joe Feddersen, a Native American artist who dwells on native landscapes and symbols, is a bit of a departure for the National Academy of Sciences’ art exhibition program, which has historically focused on subjects such as nature, medicine and astronomy. But if you squint, you can see why Feddersen, a Washington state-based artist of Okanagan and Arrow Lakes ancestry, fits the mould, particularly in his interest in repeating, minimalist geometric patterns and his blending of colors. ancient and modern visual archetypes. (A particularly resonant symbol in Feddersen’s work is the high voltage power line, a common sight in the West and which can also be interpreted as a human form, as in ancient petroglyphs.) Feddersen works in an impressive range of media, from linocuts and spray-painted prints to glass works and linen sculptures. He also experiments with a diverse range of styles. One work offers pleasingly simple, stylized brick-red lines on a reflective silver background, while in a technically impressive monotype, Feddersen stacks five distinct layers of images on top of each other in the same space. A small laundry basket is decorated with rows of human shapes topped with quirky “heads,” ranging from trees and woods to television monitors and antennae. And in a linocut, “Cul de sac”, Feddersen produces a simple but elegant distillation of the streets seen from the sky, a softer version of Piet Mondrianis lively”Broadway Boogie Woogie.” The exhibit is on view through September 23 at the National Academy of Sciences, 2101 Constitution Ave. NW. cpnas.org. Free. Photo ID and proof of vaccination required. Monday to Friday, 9 a.m. to 5 p.m. —Louis Jacobson

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