Category: Lifting Voices

REVIEW: Tiger Stripes

Ella Larsen Leave a comment

7:30pm • Tuesday, Oct. 31, 2023 • State Theater

Directed by Amanda Nell Eu and brought to Ann Arbor by the annual Halaloween film festival, Tiger Stripes follows Zaffan, an 11-year-old girl living in rural Malaysia, and her friends Mariam and Farah. When Zaffan has her period, drastic changes begin occurring in her body and she becomes a social pariah, only to discover her own power.  Tiger Stripes captures the fraught experience of adolescence through a combination of thoughtful character development and body horror. 

In the beginning of the movie, scenes where Zaffan dances for TikTok videos in the school bathroom and rough-houses with her friends develop her feisty, rebellious nature. At the same time, Farah’s disgust and Mariam’s admiration for Zaffan’s behavior set the stage for the relational conflicts which occur later in the story. Something I thought was brilliant in the way Eu portrayed the friends’ responses to Zaffan’s rebelliousness, and then her period, was how they hinted at the process of socialization and the intergenerational transfer of beliefs and values. Farah’s story about how mad her father was when her older sister bled on the couch revealed how Farah’s personal experiences informed her understanding of menstruation. 

Also brilliant was the way that Eu projected beliefs and values about purity and cleanliness present in Zaffan’s community directly onto her body. When Zaffan gets her period, the first thing her mother says is “You’re dirty now,” shepherding Zaffan into the shower. Later, Zaffan’s former friends bully her, saying that she smells and questioning whether she is taking showers. Zaffan becomes afflicted with angry red rashes all over her body, her nails peel off, and her hair begins falling out, a physical manifestation of her friends’ teasing. Zaffan’s fear and disgust at the changes occuring in her body reflected the feelings many girls experience during adolescence.

Even in the midst of all of these horrors, Zaffan remains true to her bold, joyful identity, emerging from the trials of adolescence as a powerful, liberated new version of herself. Eu brings moments of levity into the story using tongue-in-cheek special effects and comedic jump-scares that seem to infuse the movie with Zaffan’s bright personality. I loved the way Tiger Stripes brought joy and humor together with horror to portray adolescence and coming of age. It was a new experience for me to embrace horror as a genre that can be playful, even funny, and made me ask new questions about the balance between serious subjects and making fun out of their representation. I cannot recommend this movie enough, and encourage you to watch it if you have the opportunity.

REVIEW: Shoebox

Ella Larsen Leave a comment

7:15pm • Wednesday, Oct. 18, 2023 • State Theater

Shoebox was a thought-provoking film that stood out for its deliberate and introspective approach to storytelling, coupled with cinematography that beautifully captured a city in transition. The story, which took place in Allahabad on the cusp of its renaming, followed Mampu as she watched her father struggle to maintain his deteriorating movie palace in the midst of a health crisis. The narrative drew me slowly and quietly into a world where local politics intersected tragically with personal daily struggles.

One of the standout features of Shoebox was its cinematography. The film took its time, offering long, meditative shots of a city in the midst of transformation. These visuals provided a vivid backdrop to the characters’ lives, showcasing the beauty and decay of the urban landscape. Allahabad itself became a character in the film, reflecting the societal shifts and economic challenges faced by its inhabitants. Each frame was a work of art, and the cinematographer’s mastery was evident in every scene.

For me, the most meaningful aspect of the film was its understated portrayal of Mampu’s struggles to care for her father against a backdrop of corrupt politics. The characters’ daily lives were punctuated by the effects of political decisions made far beyond their reach. The powerlessness of the family was palpable, and their attempts to navigate a system riddled with corruption were both poignant and frustrating. Mampu’s experience reflected that of many who had to choose between protesting the injustices dealt to them and protecting themselves and those they cared for.

One of the most impactful moments in the film occurred during a simple yet profound scene involving a pack of cigarettes. This moment of intimacy between Mampu and her father became a lens through which the family’s dynamics were clarified. It revealed the unspoken connections and tensions that existed within the household, adding depth to their characters and relationships. This subtlety in storytelling was another of the film’s great strengths, showcasing the actors’ ability to convey emotions without the need for grandiose displays of drama.

In conclusion, Shoebox was a mesmerizing and quietly powerful film that invited viewers to contemplate the intersection of personal and political challenges. Its deliberate pacing and exquisite cinematography created a sense of immersion in a world where beauty and decay coexisted. The film’s understated storytelling style allowed the audience to connect deeply with the characters. Shoebox was a masterclass in subtlety and a testament to the impact of quiet moments in cinema. It was a poignant exploration of the human spirit in the face of daunting challenges, leaving a lasting impression long after the credits rolled.

REVIEW: Aurora’s Sunrise

Ella Larsen Leave a comment

3:00pm • Friday, Sept. 29, 2023 • State Theater

Content warning: genocide, violence against the Armenian community

Aurora’s Sunrise, directed by Inna Sahakyan (who was in attendance for a Q&A session at Friday’s screenings), tells the unlikely story of Aurora Mardiganian, a young woman who survived the Armenian genocide of 1915-1923. In 1918, Mardiganian escaped to America and through an unlikely series of events became a silent film star, playing herself in Ravished Armenia (Auction of Souls). The silent film was produced in 1919, purportedly to raise money for Near East Relief, a charitable organization working to protect refugees in the Ottoman Empire during WWI. Through its unique combination of animation, archival footage, and interviews, Aurora’s Sunrise provides a platform for the often-erased history of the Armenian genocide, while raising important questions about ethical storytelling.

For me, exploitation and revictimization were two of the documentary’s most striking motifs. Not only did we witness the horrors Mardiganian faced as a young girl in Armenia, which included watching the murders of her entire family and being repeatedly sold into slavery, but we also saw how she was forced to relive those traumas again and again for an American audience. Filming Auction of Souls was physically grueling, and when Mardiganian broke her ankle in a fall, she was forced to continue acting on it for weeks. Not only did Mardiganian re-enact her two years in exile for the film: At every screening, she shared the details of her story with private audiences of American women, enticing them to donate to Near East Relief. At a turning point in the film, Mardiganian fainted on stage at a speaking engagement. The director of Auction of Souls (who had taken legal guardianship of the young woman) told her she had ruined the event and abandoned her at a convent. Rather than providing a platform for Mardiganian’s own voice, we saw how powerful individuals in Old Hollywood co-opted her story and controlled her personal life.

Aurora’s Sunrise exposes how the Armenian community’s trauma was commodified and minimized for the sake of Hollywood spectacle, under the guise of humanitarian awareness-raising. Mardiganian’s work to spread her story and the realities of the Armenian genocide was highly impactful, raising over 30 million dollars for humanitarian efforts in the Ottoman Empire, but at what cost? The documentary raises essential questions about the ethics of representation: Can narratives of suffering be told without perpetuating harm and revictimization?

Despite the horror and injustice of her circumstances, Mardiganian’s strength and dedication to her community shine throughout the entire documentary. In her Q&A at the end of the film, director Inna Sahakyan prefaced the discussion with the fact that over 100 years after Mardiganian’s story took place, Armenians are facing renewed ethnic cleansing by Azerbaijan. I was struck by the parallels between the director and her subject, both of whom have chosen to convey deeply painful stories to removed audiences, out of a profound commitment to their people. Sahakyan urged moviegoers on Friday to share the film with friends and family, so I am using this opportunity to encourage readers to go watch Aurora’s Sunrise, and prevent this important story from being lost.

REVIEW: Michelle Zauner in Conversation

Sappy Leave a comment

Michelle Zauner’s last stop for her book tour was yesterday night at the Michigan Theater. I arrived an hour early for the event, but the line was already so long that I couldn’t get a front-row seat… understandable because the tickets sold out within a week.

Michelle was interviewed by one of the University’s professors, Kiley Reid, and they touched on a variety of topics such as how the cover of Crying in H Mart was designed, how her book came to be published, what kind of scenes she wishes she could’ve included, and many more. I can’t capture all the details of their conversation, but here’s a quick summary of how Crying in H Mart came to be:

After her mother died, she found a ‘real’ job in New York advertising wallpapers. During that time Michelle found herself deeply engrossed in cooking Korean food. This experience inspired her to write an essay that she submitted to thousands of agencies. It was only after a year of rejections that an agent reached out to her, which was also around the same time her band, Japanese Breakfast, began to grow popular.

She prioritized her music career, but as she traveled around the world she strived to write 1,000 words a day during plane rides or as she waited backstage. Most of the book was written during her world tour for Japanese Breakfast. After reading her first draft, though, Michelle realized that her writing was so full of anger: anger at every person and anger at all her experiences, which wasn’t the kind of memoir Michelle wanted to write. Once she reached her last destination in South Korea however, the place where her mother grew up, she learned that there was more to write about outside her grief, and after continuously cutting down, editing, and revising her work, she had her final product: the first chapter titled Crying in H Mart.

After her interview with Kiley, there was also a Q&A session. Many people asked Michelle for advice on how to connect with their culture and progress their careers as a writer. She advised people to continuously interact with aspects of their heritage, whether it be learning history, taking language classes, or cooking food until it becomes a part of them. She also emphasized that to be a good writer, you have to write a lot of shit.

Overall, it was a super inspirational experience. It was also the first time I met an author, and Michelle was so humorous and down to earth. I initially thought the event would be a serious discussion due to the topic of the memoir, but it turned out to have a light-hearted atmosphere. There will also be a movie adaptation of the book!

I can’t wait to see what Michelle has planned for us in the future.

REVIEW: Rent

Ella Larsen Leave a comment

Thursday, April 13, 2023 • 7:30 pm • Power Center

SMTD’s Rent was an incredible experience! Everything from the artists to the accompaniment to the set and costuming was spot-on, and I’m so grateful I got to see this iconic show live.

Shoutouts for favorite performers go to Alex Humphreys (Joanne Jefferson) and Sevon Askew (Tom Collins). I loved Humphreys’ tightly-wound portrayal of Joanne, holding back until her full voice finally exploded through in “Take Me or Leave Me.” Askew played a perfect Tom Collins, simultaneous dreamer and voice of reason. The duet with Angel (“I’ll Cover You”) was beautiful while somehow still hinting at the tragedy to come, and the reprise was heartbreaking.

As I mentioned earlier, the set for this show was super cool. The structure evoked a corner of the East Village circa 1990, every element of the stage simultaneously a darkened street, a lot, a tent city, a community of apartments. Not that I can exactly vouch for its accuracy, but it matched my generation’s faux-nostalgia for the grungy late-80s, early 90s. The program detailed a little of the dramaturgs’ approach to the historical integrity of the play, including details like following AZT dosage instructions or matching the brands of makeup popular at the time. As far as the set goes, I liked how the lack of borders between elements of the set seemed to reflect the transience of housing in the show–one moment the cast was in Mark and Roger’s apartment, the next they were on the street.

The last time I watched the 2005 screenplay version of Rent was probably 2018 or so, when I was in ninth grade, and I think a lot of it went over my head, especially the historical elements like the HIV/AIDS crisis. I took a course on social movements this year where we spent a long time analyzing the ACT UP movement, which brought me a whole new level of appreciation for Rent‘s relationship to and portrayal of the epidemic.

I’m glad I got to see SMTD’s last show of the season, and I can’t wait to check out some of their 23/24 lineup when I get back after the summer. Access to so many incredible performances is one of the things I love most about living in Ann Arbor, and if you’re a student reading this, I hope you’ll take this opportunity and make the most of the campus art scene while you’re here.

REVIEW: 17th Annual Multicultural Greek Exhibition

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*The image above features Lambda Theta Alpha Latin Sorority, Incorporated; sorry I didn’t have a good seat to take a picture from :,)*

I saw many familiar organizations from the Yardshow last semester at the Multicultural Greek Exhibition (MGX) on Saturday. Since this event was in a smaller and more private venue, I think I got to know more about the community; one art form I really appreciated seeing again is called a ‘salute’. It’s a tradition unique to many Latino-Greek organizations and is performed in a line formation. They described it as being different from a step or stroll, which are more dance-like, and compared it to a form of poetry expressed through both recitation and movement honoring past accomplishments and cultural history.

Saluting can be startling when seeing it for the first time due to its intense nature, and I hadn’t heard of it before last Saturday; when I first saw it at the Yardshow I didn’t even know that some of the performances I was watching were called a salute. I’m sure many others haven’t heard or seen a salute before either because of how integrated it is in Greek (specifically Latino-Greek) culture and there aren’t many opportunities to see them. I highly recommend it though, because it’s truly a special experience.

It’s impossible for me to capture the salutes I saw only in words, but in my best attempt to describe it the members were SO powerful with their facial expressions, had amazing coordination, showed unbreakable unity, and expressed passionate language. You truly see a whole other side to someone who is performing a salute. Their hard work is so impressive.

I did enjoy the other groups too! I’ve only been attending more serious dance-focused events recently, as in the performers and centered around dance performance, and coming to this event reminded me of how much fun it is for the audience AND the performers when they’re not even ‘dancers’.

While I don’t want to compare, I did prefer the Yardshow more, largely due to the location. Since it was indoors and in a smaller room, there wasn’t much awareness or accessibility to the general public that the event was happening. This meant that the amount and kind of audience were limited and the view I had of the stage wasn’t very good.

Still, it was a fun time and I’m glad I went! Shoutout to all the organizations that performed, especially Lambda Theta Alpha Latin Sorority, Incorporated for organizing it and doing such a good job hosting.