When thinking of Tarzan, a cartoon man in a family of gorillas, a treacherous hunter or a Phil Collins soundtrack might come to mind. But as one new comedy group on campus is trying to show, there’s much more to the character than meets the eye.
For its North American premiere, “Where We Belong” screened at Full Frame Documentary Film Festival earlier this month. The film gave viewers a raw look into the lived experiences of young children affected by their parents’ marital troubles.
Despite the rain, Duke students, faculty members and Durham residents gathered Sunday to see the 19th Annual Animation Show of Shows at the Rubenstein Arts Center.
I used to be an outgoing kid. Ask me five years ago, and I would have proudly identified myself as an ENFJ personality-type.
Need any pop culture recommendations? Recess’s weekly roundup is a new series in which our writers and editors discuss what they are listening to, reading, eating or watching in a given week.
Reevaluating the past and future of cinematic theory was the objective of a mini-conference held Friday at the Franklin Humanities Institute, under the title “On Cinema.”
Hoof 'n' Horn always mixes up the genres of plays it performs, but its spring production may be more revolutionary than most: "In the Heights" takes an almost unprecedented look at Latinx and POC experiences for the theater company.
“Ramy” has the familiar trappings of any other dramedy about any other millennial: Our protagonist, Ramy (Ramy Youssef, who is also writer, director and co-producer), is a 20-something working at a sinking tech start-up, stumbling through the last chapter of his bildungsroman and trying to figure it all out before he hits his 30s.
Confidently sauntering on stage, each with a unique jumpsuit and head full of hair, the members of Habibi gracefully transformed the Pinhook into a blend of cultural identities and diverse backgrounds Thursday night.
In his lone season in a Duke uniform, Marvin Bagley III had some of the best single-season statistics in Duke history, scoring the most points ever by a freshman at the time and posting the first-ever 30-point, 20-rebound game in the Coach K era. But it turns out those aren’t the only records he’s dropping.
Member of Forbes 30 under 30 and Out 100, Jacob Tobia, T’14, is a writer and producer, known for their work as the creator and producer of MSNBC’s “Queer 2.0” and as producer of “Transparent.” They recently wrote the book “Sissy: A Coming of Gender Story,” a memoir that questions societal binaries in gender.
"Midnight Family" follows the Ochoa family, who runs a private ambulance company in Mexico City. Nine million people reside there, but less than 45 government ambulances are running, according to the film.
As the projected number one draft pick, Zion Williamson’s head may be in the game, but his heart’s in the song.
Drone shots. Even with dried-out lakes and stagnant rivers that weakly glisten in the greedy sun, South Africa’s landscape is still beautiful with its rocky mountains and plateaus with swirling patterns.
Four presidential campaigns in, Selena Meyer is as power hungry and cutthroat as ever. The same cast of bumbling staffers surrounds her campaign, which predictably struggles from the outset with launch problems, airport mishaps and more.
“Santuario” follows Juana Luz Tobar Ortega as she lives in sanctuary at St. Barnabas Episcopal Church in Greensboro. In April of 2017, Immigration Customs and Enforcement (ICE) told Ortega she had to leave within 30 days, so she entered sanctuary instead.
There is a moment of utter depravity in the fifth of six vignettes that comprise Natal’ya Vorozhbit’s play “Bad Roads,” a scene so chillingly vile that it is legitimately difficult to watch.
The Chronicle spoke with the film critic and PhD candidate in the Romance Studies department about his current projects and the mechanics of film criticism.
Nearly 16 years ago, OutKast released “Hey Ya!,” a single that stands as one of the biggest hits of the new millennium. For all its ubiquity today, though, “Hey Ya!” was deceptively revolutionary: Blending an acoustic guitar-driven hook with a funk bassline, rapped breakdowns and an atypical time signature, the song seemed to signal a new dawn for genre — or, rather, the lack thereof.
The 2014 film “What We Do in the Shadows” brought needed fresh energy to the vampire genre through its mockumentary set-up and brilliant deadpan humor. It never received a wide U.S. release, and its legacy is that of a cult classic: a film with a small but devoted following.
