A24 and Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” hits screens in the United States on March 7, having released earlier in the United Kingdom and Ireland on Dec. 6, 2024. The film, co-produced in Ireland, the U.K., the U.S. and Zambia, explores the family dynamics that come into play during a funeral.

The movie opens on a scene of revelry — in stark contrast to the funeral — with Shula (Susan Chardy) driving home from a costume party at night. While driving through empty roads, she stops upon seeing a dead body, which she quickly recognizes as her maternal uncle Fred. Confused, yet not emotionally perturbed, Shula calls up her father (Henry B. J. Phiri, “Black Dollar”) to inform him about what she has seen. She is joined at the scene by her cousin Nsansa (Elizabeth Chisela, “Pa Maliketi”), who is distressed and drunk. Together, the duo calls the police and navigates the awkward situation.

Soon after, Shula is rushed mid-meeting by her maternal relatives to pause her life as a white-collar worker in a multinational company and participate in funeral proceedings. Throughout the process, Shula is poker-faced — cooperative without being enthusiastic. While at the funeral home, Shula comes across some information that makes her question her family and leaves her with moral doubts regarding the funeral.

The film is a gripping and well-packaged product that prefers situational ironies to dialogue as a means of communication. Cinematographer David Gallego frequently uses darkness in the shots to set the mood and build mystery and intrigue. Several scenes also feature dull and repetitive background thuds to convey the main character’s confusion and mental fatigue. The set design is also minimalistic, with just enough details for the viewer to remember and connect to later. There are also just a handful of characters the viewer needs to keep track of, making the film an easy watch.

Chardy as Shula phenomenally suppresses her emotions in the first part of the film before showcasing her range in the latter part. Her character drives the film’s moral questioning and fits the role of the middle-generation, unwilling familial pillar. Through Shula, the film explores the complex nature of familial ties, the way dependence on family can be a double-edged sword. The volatile Nsansa, seen as a liability to Shula early on during the film, also showcases her importance as Shula’s ally in her moral struggle. As compared to Chardy, Chisela’s performance is full of emotion and melodrama and acts as a foil to the lead.

While situated in a middle-class Zambian context, several elements of the film are universally relatable — familial power dynamics, sexism, justice, the influence of elders as moral decision-makers, and the difficult choice between independence and communalism. Director Nyoni also intelligently portrays Shula’s relationship with her mother and father. While she is closer to her mother, she considers her father more of an objective decision-maker, given her mother’s personal stake in the matter.

Overall, “On Becoming a Guinea Fowl” is a lighthearted exploration of a complex issue. With its artful cinematography, well-crafted screenplay and engaging soundtrack, the film’s 95-minute runtime breezes by.

The post “On Becoming a Guinea Fowl” explores the complexity of family appeared first on Technique.

A24 and Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” hits screens in the United States on March 7, having released earlier in the United Kingdom and Ireland on Dec. 6, 2024. The film, co-produced in Ireland, the U.K., the U.S. and Zambia, explores the family dynamics that come into play during a funeral.

The movie opens on a scene of revelry — in stark contrast to the funeral — with Shula (Susan Chardy) driving home from a costume party at night. While driving through empty roads, she stops upon seeing a dead body, which she quickly recognizes as her maternal uncle Fred. Confused, yet not emotionally perturbed, Shula calls up her father (Henry B. J. Phiri, “Black Dollar”) to inform him about what she has seen. She is joined at the scene by her cousin Nsansa (Elizabeth Chisela, “Pa Maliketi”), who is distressed and drunk. Together, the duo calls the police and navigates the awkward situation.

Soon after, Shula is rushed mid-meeting by her maternal relatives to pause her life as a white-collar worker in a multinational company and participate in funeral proceedings. Throughout the process, Shula is poker-faced — cooperative without being enthusiastic. While at the funeral home, Shula comes across some information that makes her question her family and leaves her with moral doubts regarding the funeral.

The film is a gripping and well-packaged product that prefers situational ironies to dialogue as a means of communication. Cinematographer David Gallego frequently uses darkness in the shots to set the mood and build mystery and intrigue. Several scenes also feature dull and repetitive background thuds to convey the main character’s confusion and mental fatigue. The set design is also minimalistic, with just enough details for the viewer to remember and connect to later. There are also just a handful of characters the viewer needs to keep track of, making the film an easy watch.

Chardy as Shula phenomenally suppresses her emotions in the first part of the film before showcasing her range in the latter part. Her character drives the film’s moral questioning and fits the role of the middle-generation, unwilling familial pillar. Through Shula, the film explores the complex nature of familial ties, the way dependence on family can be a double-edged sword. The volatile Nsansa, seen as a liability to Shula early on during the film, also showcases her importance as Shula’s ally in her moral struggle. As compared to Chardy, Chisela’s performance is full of emotion and melodrama and acts as a foil to the lead.

While situated in a middle-class Zambian context, several elements of the film are universally relatable — familial power dynamics, sexism, justice, the influence of elders as moral decision-makers, and the difficult choice between independence and communalism. Director Nyoni also intelligently portrays Shula’s relationship with her mother and father. While she is closer to her mother, she considers her father more of an objective decision-maker, given her mother’s personal stake in the matter.

Overall, “On Becoming a Guinea Fowl” is a lighthearted exploration of a complex issue. With its artful cinematography, well-crafted screenplay and engaging soundtrack, the film’s 95-minute runtime breezes by.

The post “On Becoming a Guinea Fowl” explores the complexity of family appeared first on Technique.

A24 and Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” hits screens in the United States on March 7, having released earlier in the United Kingdom and Ireland on Dec. 6, 2024. The film, co-produced in Ireland, the U.K., the U.S. and Zambia, explores the family dynamics that come into play during a funeral.

The movie opens on a scene of revelry — in stark contrast to the funeral — with Shula (Susan Chardy) driving home from a costume party at night. While driving through empty roads, she stops upon seeing a dead body, which she quickly recognizes as her maternal uncle Fred. Confused, yet not emotionally perturbed, Shula calls up her father (Henry B. J. Phiri, “Black Dollar”) to inform him about what she has seen. She is joined at the scene by her cousin Nsansa (Elizabeth Chisela, “Pa Maliketi”), who is distressed and drunk. Together, the duo calls the police and navigates the awkward situation.

Soon after, Shula is rushed mid-meeting by her maternal relatives to pause her life as a white-collar worker in a multinational company and participate in funeral proceedings. Throughout the process, Shula is poker-faced — cooperative without being enthusiastic. While at the funeral home, Shula comes across some information that makes her question her family and leaves her with moral doubts regarding the funeral.

The film is a gripping and well-packaged product that prefers situational ironies to dialogue as a means of communication. Cinematographer David Gallego frequently uses darkness in the shots to set the mood and build mystery and intrigue. Several scenes also feature dull and repetitive background thuds to convey the main character’s confusion and mental fatigue. The set design is also minimalistic, with just enough details for the viewer to remember and connect to later. There are also just a handful of characters the viewer needs to keep track of, making the film an easy watch.

Chardy as Shula phenomenally suppresses her emotions in the first part of the film before showcasing her range in the latter part. Her character drives the film’s moral questioning and fits the role of the middle-generation, unwilling familial pillar. Through Shula, the film explores the complex nature of familial ties, the way dependence on family can be a double-edged sword. The volatile Nsansa, seen as a liability to Shula early on during the film, also showcases her importance as Shula’s ally in her moral struggle. As compared to Chardy, Chisela’s performance is full of emotion and melodrama and acts as a foil to the lead.

While situated in a middle-class Zambian context, several elements of the film are universally relatable — familial power dynamics, sexism, justice, the influence of elders as moral decision-makers, and the difficult choice between independence and communalism. Director Nyoni also intelligently portrays Shula’s relationship with her mother and father. While she is closer to her mother, she considers her father more of an objective decision-maker, given her mother’s personal stake in the matter.

Overall, “On Becoming a Guinea Fowl” is a lighthearted exploration of a complex issue. With its artful cinematography, well-crafted screenplay and engaging soundtrack, the film’s 95-minute runtime breezes by.

The post “On Becoming a Guinea Fowl” explores the complexity of family appeared first on Technique.

A24 and Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” hits screens in the United States on March 7, having released earlier in the United Kingdom and Ireland on Dec. 6, 2024. The film, co-produced in Ireland, the U.K., the U.S. and Zambia, explores the family dynamics that come into play during a funeral.

The movie opens on a scene of revelry — in stark contrast to the funeral — with Shula (Susan Chardy) driving home from a costume party at night. While driving through empty roads, she stops upon seeing a dead body, which she quickly recognizes as her maternal uncle Fred. Confused, yet not emotionally perturbed, Shula calls up her father (Henry B. J. Phiri, “Black Dollar”) to inform him about what she has seen. She is joined at the scene by her cousin Nsansa (Elizabeth Chisela, “Pa Maliketi”), who is distressed and drunk. Together, the duo calls the police and navigates the awkward situation.

Soon after, Shula is rushed mid-meeting by her maternal relatives to pause her life as a white-collar worker in a multinational company and participate in funeral proceedings. Throughout the process, Shula is poker-faced — cooperative without being enthusiastic. While at the funeral home, Shula comes across some information that makes her question her family and leaves her with moral doubts regarding the funeral.

The film is a gripping and well-packaged product that prefers situational ironies to dialogue as a means of communication. Cinematographer David Gallego frequently uses darkness in the shots to set the mood and build mystery and intrigue. Several scenes also feature dull and repetitive background thuds to convey the main character’s confusion and mental fatigue. The set design is also minimalistic, with just enough details for the viewer to remember and connect to later. There are also just a handful of characters the viewer needs to keep track of, making the film an easy watch.

Chardy as Shula phenomenally suppresses her emotions in the first part of the film before showcasing her range in the latter part. Her character drives the film’s moral questioning and fits the role of the middle-generation, unwilling familial pillar. Through Shula, the film explores the complex nature of familial ties, the way dependence on family can be a double-edged sword. The volatile Nsansa, seen as a liability to Shula early on during the film, also showcases her importance as Shula’s ally in her moral struggle. As compared to Chardy, Chisela’s performance is full of emotion and melodrama and acts as a foil to the lead.

While situated in a middle-class Zambian context, several elements of the film are universally relatable — familial power dynamics, sexism, justice, the influence of elders as moral decision-makers, and the difficult choice between independence and communalism. Director Nyoni also intelligently portrays Shula’s relationship with her mother and father. While she is closer to her mother, she considers her father more of an objective decision-maker, given her mother’s personal stake in the matter.

Overall, “On Becoming a Guinea Fowl” is a lighthearted exploration of a complex issue. With its artful cinematography, well-crafted screenplay and engaging soundtrack, the film’s 95-minute runtime breezes by.

The post “On Becoming a Guinea Fowl” explores the complexity of family appeared first on Technique.

A24 and Rungano Nyoni’s latest film, “On Becoming a Guinea Fowl,” hits screens in the United States on March 7, having released earlier in the United Kingdom and Ireland on Dec. 6, 2024. The film, co-produced in Ireland, the U.K., the U.S. and Zambia, explores the family dynamics that come into play during a funeral.

The movie opens on a scene of revelry — in stark contrast to the funeral — with Shula (Susan Chardy) driving home from a costume party at night. While driving through empty roads, she stops upon seeing a dead body, which she quickly recognizes as her maternal uncle Fred. Confused, yet not emotionally perturbed, Shula calls up her father (Henry B. J. Phiri, “Black Dollar”) to inform him about what she has seen. She is joined at the scene by her cousin Nsansa (Elizabeth Chisela, “Pa Maliketi”), who is distressed and drunk. Together, the duo calls the police and navigates the awkward situation.

Soon after, Shula is rushed mid-meeting by her maternal relatives to pause her life as a white-collar worker in a multinational company and participate in funeral proceedings. Throughout the process, Shula is poker-faced — cooperative without being enthusiastic. While at the funeral home, Shula comes across some information that makes her question her family and leaves her with moral doubts regarding the funeral.

The film is a gripping and well-packaged product that prefers situational ironies to dialogue as a means of communication. Cinematographer David Gallego frequently uses darkness in the shots to set the mood and build mystery and intrigue. Several scenes also feature dull and repetitive background thuds to convey the main character’s confusion and mental fatigue. The set design is also minimalistic, with just enough details for the viewer to remember and connect to later. There are also just a handful of characters the viewer needs to keep track of, making the film an easy watch.

Chardy as Shula phenomenally suppresses her emotions in the first part of the film before showcasing her range in the latter part. Her character drives the film’s moral questioning and fits the role of the middle-generation, unwilling familial pillar. Through Shula, the film explores the complex nature of familial ties, the way dependence on family can be a double-edged sword. The volatile Nsansa, seen as a liability to Shula early on during the film, also showcases her importance as Shula’s ally in her moral struggle. As compared to Chardy, Chisela’s performance is full of emotion and melodrama and acts as a foil to the lead.

While situated in a middle-class Zambian context, several elements of the film are universally relatable — familial power dynamics, sexism, justice, the influence of elders as moral decision-makers, and the difficult choice between independence and communalism. Director Nyoni also intelligently portrays Shula’s relationship with her mother and father. While she is closer to her mother, she considers her father more of an objective decision-maker, given her mother’s personal stake in the matter.

Overall, “On Becoming a Guinea Fowl” is a lighthearted exploration of a complex issue. With its artful cinematography, well-crafted screenplay and engaging soundtrack, the film’s 95-minute runtime breezes by.

The post “On Becoming a Guinea Fowl” explores the complexity of family appeared first on Technique.

The national tour of “Clue” made a pit-stop at the historic Fox Theatre in Atlanta the week of Jan. 28 to Feb. 2. The celebrated play, based on the movie of the same name and the board game “Clue,” is a murder mystery set in 1952 that attempts to identify the killers of seven victims in a single night.

First performed in 2020 at the Cleveland Play House, the play has been performed hundreds of times since and has revived interest in the movie despite its mediocre reception at the time. Although there are some crafty elements of direction and set mechanics in the theater performance, a large part of the content of the play is borrowed from the movie.

The Technique spoke to Tari Kelly, a theater veteran of 35 years, who has enacted Mrs. White in the national tour of Clue.

“Audiences today have a hunger for nostalgia. People love new content too, but there is always a space for shows like ‘Clue,’ which have timeless value,” Kelly said.

Set in the opulent Boddy Manor, an English country house, the play introduces butler Wadsworth, the cook, maid Yvette and the six main characters of the game — Colonel Mustard, Professor Plum, Mr. Green, Mrs. White, Mrs. Peacock and Mrs. Scarlet. Wadsworth serves as a narrator as well, setting the stage for the events to come. The characters then reveal their oddities one by one to add to the memorability of their names and outfits.

Wadsworth then adds intrigue to the plot by revealing more about each of the guests, which helps the audience gauge their motivations and potentially gives them clues to solve the mystery about to unfold. As bodies pile up rather humorously, suspense builds until all is unraveled at the end. 

“There are a few things I made up about Mrs. White — that her husband was successful and that she was his assistant. It explains many of the small behaviors I do, even if the audience doesn’t specifically notice them. I think part of Mrs. White also feels what happened to her husband was justified and doesn’t believe she did anything wrong,” Kelly said.

Aside from Kelly, whose portrayal of the dark and mysterious Mrs. White masterfully builds tension in the piece, Jeff Skowron as Wadsworth and John Shartzer as Mr. Green are standout performers. Wadsworth’s role is particularly demanding due to the character’s importance as the host and function as a storyteller. Despite a tight runtime of 80 minutes, the show is dense with narrative and develops each character in great detail.

The effortless chemistry between the characters stems from nearly 300 performances together on the national tour. Several scenes required the characters to be in perfect synchronization with each other while peeping out from doors, breaking into dances or turning in the same direction together for dramatic effect.

“My favourite moment on tour was us visiting every theme park in Florida together during the day and doing the tour at night. Behind the scenes, I like to scare people, which works well because I’m dressed in black. I once got in trouble because someone screamed while the play was on, so I don’t do that anymore. Every sound check, we check in with each other and read each other better,” Kelly said.

While the witty script and expressive acting made “Clue” a success, the set design and technical work shone alongside. Revolving set elements opened up secret passageways, majestic chandeliers fell dramatically and lightning struck through the windows of the manor. When heavy set-changing work was needed, the comical scene transition movements of the actors helped distract the audience from the mechanics. The majestic venue, which was densely packed for the night, also made the experience memorable.

“The Fox Theatre is ornate, gorgeous and vast. It’s huge, but you feel intimacy as if you are encompassed by the audience. I feel like singing when I perform at this venue. Backstage, there is still a 95-year-old elevator which is run by an operator, which lends this theater a special touch,” Kelly said.

Although some elements of the play felt out of touch with the contemporary United States — such as homophobia and a McCarthy-era targeting of communists — others seemed just as relevant today.

“The main theme of the play — being suspicious of each other, reporting on each other — we were discussing how it’s coming back today. We are worried about immigration and DEI [diversity, equity and inclusion], and how the discussion around them feels like we are going back to that time,” Kelly said.

“Clue” is an entertaining package that leaves viewers thinking and guessing till the very end, giving them their money’s worth with each shock reveal. For tickets and more information about the Atlanta leg of the tour, visit atlanta.broadway.com/shows/clue.

The post Comedy meets suspense in “Clue” at Fox Theatre appeared first on Technique.

The Mini 500 race, a humorous exhibition of engineering prowess at Tech, took place in a circuit around the Peter’s Parking Deck on Friday, Nov. 8. The eight-lap tricycle race saw a total of 60 teams take part, each competing in one of five distinct categories — Housing, IFC (Fraternity), CPC (Sorority), Clubs and Registered Student Organizations (RSO), and Enthusiasts.

The theme for the race and for Homecoming Week was “Legends of Homecoming” — which several teams chose to display in their costumes and tricycle decorations. Several tricycles were also modified with geared wheels, front tire replacements, padding and wheelbase extensions to ensure better rider comfort and performance. A tailgate before the race drew students and alumni in with free offerings. The tailgate was a new addition this year that saw vendors such as Tiff’s Treats, Shake Shack and NaanStop assembled near the entry to the race area before the event started.

“It’s always fun to be back here watching the trike race. The trike race was certainly going on in the ‘80s,” said Drew Clarke, EE ‘83 and former Chi Psi member watching the race. In fact, the race has been an almost 60-year tradition, starting in 1969.

Each team consisted of seven to eight members, some of whom participated as racers and some as pit crew. A line-up of volunteers from the Ramblin’ Reck Club called “pit bosses” were in charge of inspecting two pit crews each. After a build-up of anticipation, Tech president Angel Cabrera watched on as the Ramblin’ Wreck’s horn signaled the start of the race a few minutes before 5 p.m.

A few tricycles broke down moments after the start of the race, and breakdowns continued throughout the hour run time. Several tricycles could not make it up Freshman Hill, the most challenging uphill portion of the track. When the tricycles broke down, spectators launched into vicious chants of “Spike that trike!” to encourage the racers to let out their frustration. Although pit crews worked feverishly to repair broken tricycles, on some occasions, they could not fix the fragile vehicles.

“Spiking the trike can be dangerous because of metal shrapnel. One accident can seriously injure someone. It’s something we don’t want to see. Last year, lots of teams spiked their trikes. This year we made an effort not to encourage it and stressed with racers about the safety violation,” said Gal Ovadia, fourth-year CS and sub-chair of the Ramblin’ Reck Club.

The Georgia Tech Cycling Club won the race in the RSO category and was the overall race winner. The other winners were Phi Kappa Theta (IFC), Alpha Phi (CPC), RUF Build a Trike (Enthusiast) and FFaMily (Housing). 

“Well, the first step was to build an overpowered trike that was within the rules. So we made the fork a little bit taller, made the trike longer and beefed everything up. We did lots of welding — three of us worked forty hours each this past week,” said Nathan Kleinschmidt, fourth-year MSE and a member of the winning team.

According to Ovadia, 15 out of the 60 competing teams were disqualified from the competition because their tricycles broke down irredeemably.

“The front of the tricycle has two metal parts that support the front wheel. They just immediately gave out due to the compressive load in the first lap. I think, as a boxer, the whole mentality is, it doesn’t matter if you get knocked down, it matters if you get back up. And so we got back up as much as we could, but now it’s just time to call it quits,” said Ivan Ayala, third-year AE and member of the Georgia Tech Boxing Club contingent that withdrew after four laps.

The organizers installed ten route guard personnel around the track to monitor the race and alert them in case of potential violations. To take care of injuries, EMS was stationed at the bottom of Freshman Hill. The club also coordinated with Parking and Transportation Services to block off roads, install cones and tow cars that were parked on the track.

For those who were unable to show up in person, Tech’s RotorJackets club live-streamed the entire race through multiple drone cameras working simultaneously. The crew used a combination of drones for mapping and cinematics. An operator switched feeds captured from these drones, one of which flew close to racers to deliver close-up shots.

“My favorite thing is getting a different point of view — getting above the trees, flying through the trees. This [drone] has a zoom camera which lets me do unique shots. It’s a unique way to interact with the environment, and because of how it records and streams, I can share that with anyone,” said Bryan Cochran, fifth-year PhD ME, a member of the RotorJackets and licensed drone pilot.

All in all, the Mini 500 was a satisfying continuation of an enduring Tech tradition. Months of planning culminated in an experience that students and alumni could cherish. “My favorite thing about the Mini 500 is that it’s a quirky tradition to characterize Tech,” Ovadia said. “We are probably the only school that does it right now, which makes it special.” 

For more details about the race, visit reckclub.org.gatech.edu.

The post Mini 500 kicks Homecoming into high gear appeared first on Technique.

Award-winning Indian actor-comedian Vir Das returned to the United States on Nov. 8 to resume his international “Mindfool” tour. The 45-year-old performer, who in 2023 won an International Emmy award for his “Landing” special on Netflix, is set to host the 2024 edition of the glamorous television award show on Nov. 25 in New York.

In recent years, Das has called out what he refers to as the suppression of India’s mainstream media. The Technique spoke to the artist prior to the first show of his U.S. tour. 

“I don’t think comedians need to speak truth to power, comedians merely have to speak funny to people. This is an expectation people place on us, but speaking truth to power is more your job [as a journalist],” Das said.

Entering the country soon after Donald Trump won the 2024 U.S. presidential election, Das — who frequently uses impressions of Trump in his comedic routines and publicity — had a humorous take on the change in power.

“I’m not sure about policies, but I do think this will be a good time for comedy, things like SNL [Saturday Night Live] skits. There will be a demand for thoughtful comedy. Whenever there is a culture, people create a counterculture and I’m sure we will see something similar here,” Das said.

The comedian’s connection with the U.S. began long before his recent tours. Das first came to the country to study economics at Knox College in Galesburg, Ill., where he concentrated on theater and performance. Given the proximity of his Atlanta show’s venue — the Tabernacle — to Tech and Georgia State University, Das shared some advice for Indian international students attending his show.

“Plans can change — I came to the U.S. to study economics and work at a firm, but a teacher of an acting course changed my life. The U.S. college system is more flexible than what you have in India and Europe. You can take a combination of economics, theater, soccer, anything you like. Coming to a new country is always a great experience, so come with an open mind,” Das said.

In the past three years, Das’s comedic career has faced dramatic ups and downs. His monologue at the Kennedy Center in Washington, titled “I Come From Two Indias,” which exposed double standards in India, was met with criminal charges of defamation and sedition back home. Despite these setbacks — which took a personal toll on him and made him consider quitting comedy — Das continued to receive critical acclaim for his work, receiving one Emmy nomination in 2021 and winning an Emmy in 2023. While initially hesitant, Das acknowledged how his career had transformed in this period.

“I’m not someone who reflects on my journey while I’m in it. It’s like playing blackjack — I keep hitting and hoping I get lucky, rather than looking at the hand I have. Yet, I want to be grateful. Yes, more people are coming in, I am performing at larger venues and doing more shows. Think about the odds of this happening — I went to school in Noida near Atta Bazaar, and from there I made it to Carnegie Hall and the Emmys,” Das said.

The successful artist shed some light on what audiences could expect from his latest tour, which started in Mesa, Ariz. on Nov. 8 and culminates at the Union Chapel in London on Dec. 6. 

“We have some fresh content — this is a show about happiness. Many comedy shows revel in despair, but this is one that makes you happy and sends you back home. Eight weeks ago, I was shooting in London when I got the news that we sold out two shows in Mumbai in quick time. I lost my voice that day, which took me six weeks of recovery. That made me frame content around losing your voice and what it means to have a voice,” Das said.

Das also touched upon his role as the International Emmys host later in the month. Incidentally, he is the first Indian to be invited to host the prestigious awards night.

“I need to do a six-and-a-half minute opening monologue, similar to an SNL skit. In that, I need to contextualize — read the mood of the audience, and also tell people about myself, where I come from,” Das said.

Aside from the tour, Das spoke about his other creative commitments, in the filmmaking and OTT space.

“Immediately speaking, I co-directed a movie called “Happy Patel” which is produced by and features Aamir Khan. I am knee-deep in a Netflix special, which should be out early next year. The “Mindfool” tour in India earlier this year was also the largest tour in Indian comedy. After [the] Union Chapel [performance], I’m just going to sleep! It’s been exhausting,” said Das.

Vir Das will take the stage at the Tabernacle in Atlanta on Nov. 17. For more information about tickets and the tour, visit virdas.in/tour.

The post Vir Das previews upcoming Atlanta show appeared first on Technique.

Renowned director and actor Clint Eastwood’s latest film, “Juror #2,” hit theaters on Nov. 1. Set in Georgia, and starring Nicholas Hoult, Toni Collette and J.K. Simmons in key roles, the film is a low-budget jury thriller that nonetheless makes the most of Eastwood’s directing talent. 

In the movie, jury member Justin Kemp (Nicholas Hoult, “Mad Max: Fury Road”) grapples with the realization that he has specific knowledge in the murder case he is asked to adjudicate upon. Hoult’s portrayal of Kemp, as an average family man, is convincing while understated. His suppressed facial expressions during different stages of the jury trial convey a palpable sense of deep unease. The primary moral dilemma in the film is captured well through his emotional appeals in favor of the accused and contrasting expressions when dealing with the consequences of an acquittal.

The main suspense mechanism in “Juror #2” is the lack of irrefutable evidence or imagery of someone committing the crime, leaving both the protagonist and the audience with a figment of doubt. As pressure mounts on Kemp to reveal what he knows, there are several near-misses that drive up anxiety for the audience. Screenplay writer Jonathan Abrams pulls together a motley crew for the jury, whose seemingly mismatched backgrounds slowly reveal themselves to be useful in making a decision on the case and pushing Kemp further into a corner.

While the film is primarily a jury drama, there are several other elements Eastwood brings into play. Through Toni Collette’s (“The Sixth Sense”) character, Eastwood comments on the interplay of politics and legal verdicts. The character analysis of the accused within the jury discussion also covers numerous perspectives — domestic abuse, gang violence, redemption, familial bonds and the conflict between duties towards family and towards the state. There are occasional elements of humor, through Kemp’s conversations with his wife Allison Crewson (Zoey Deutch, “Something From Tiffany’s”) and throwaway opinions expressed during the jury discussion to counter the overall gravity of the film’s setting.

Veteran actor J.K. Simmons (“Whiplash”) as flower shop owner Harold provides a major plot twist and holds his own as a conscientious and curious jury member. Cedric Yarbrough (“Kung Fu Panda 4”) as Marcus serves as an antagonist to Kemp and constantly seems close to exposing the latter, increasing the element of suspense. Collette showcases steeliness as a lawyer, tenacity in her pursuit of the truth and resoluteness when questioned about her conviction regarding the case. Gabriel Basso (“Super 8”) as suspect James Michael Sythe brings emotional depth to the tough, troubled male archetype, showcasing vulnerability alongside sturdy resolve.

In keeping with Eastwood’s reputation of being an efficient director, “Juror #2” is a well-edited and concise package. Each scene of the film is purposeful and loaded with hints that enhance the mystery. But the film sacrifices elements of character exploration in a quest for thrill and suspense. The bulk of the storytelling is from Kemp’s perspective, with most of the remaining narrative told through Killebrew’s experiences. 

This trade-off ultimately means “Juror #2” suffers from a lack of character depth and memorability. While the storyline is engaging, there are few lines or scene elements that remain in the memory aside from a fight at a pub that was central to the trial. Cinematographer Yves Bélanger depicts this vividly, re-shooting the fight from different perspectives. The shaky camerawork reminiscent of horror films in some scenes offers a hint about the plot to follow. Some characters had potential to be developed further, such as defense lawyer Eric Resnick (Chris Messina, “Argo”), suspect Sythe and Kemp’s wife Crewson. In a bid to stick to commonplace locations and events and avoid distractions, the set design is also unremarkable.

All in all, “Juror #2” is a well-narrated jury drama that cleverly integrates suspense and moral dilemmas into the storyline. With the film slated for a limited release in just 50 theaters in the United States, it is unlikely to develop into a pop culture phenomenon here. However, it rewards viewers for staying invested throughout and extends Eastwood’s creative legacy.

The post “Juror #2” brings suspense to the courtroom appeared first on Technique.

For the first time in the United States, Eclipso Entertainment launched a virtual reality (VR) exhibit commemorating 150 years since the first Impressionist exhibition in Paris. Organized in Eclipso’s temporary space at Illuminarium Atlanta, “Tonight with the Impressionists” was opened to the public on Sept. 17. This is the France-based VR company’s second offering in Atlanta, following on from the success of “Horizon of Khufu” launched in April 2024.

The 45-minute long experience takes guests back to 1874, when a group of French artists rejected by the prestigious Parisian Salon organized their own exhibition in photographer Nadar’s studio. Derided by a critic as the “Exhibition of the Impressionists,” the event marked a bold response to rigidity in Parisian art. It gave birth to what became known as the Impressionist style, characterized by loose brush strokes and a preference for depicting nature as observed.

At the start of the experience, staff help guests with their headsets and acquaint them with the VR environment. Blue, orange and red zones define the limits of the physical space. While some parts can initially feel disconcerting to those new to VR such as reading text hovering in a three-dimensional space and being unable to see one’s hands and feet, they became relatively insignificant concerns within minutes.

Once ready, guests are plunged into the cobblestoned paths near Nadar’s studio in Paris. Horse-drawn carriages and gas-lamp clusters at the elegant Place de l’Opéra help set the scene. A guide character named Rose serves both as a narrator and a navigator through the VR environment. Rose guides guests to the site of the exhibition, allowing them to absorb the environment and introducing them to Impressionist painters in sequence.

After their introductions, the painters launch into monologues about their experiences as Impressionist painters and occasionally transport guests into rooms where they highlight the significance of particular works. Guests are introduced to Edgar Degas’s “Une Blanchisseuse,” Berthe Morisot’s “The Cradle” and Camille Pissarro’s “Hoarfrost” in this fashion. When in the exhibition setting, guests are free to walk around and look at artwork of their choice, even if it is not the subject of conversation or narration.

The experience also includes outdoor scenes where Impressionist painters are spotted painting in the sunlight and depicting natural subjects. Rose’s conversations with the artists throughout the experience expose guests to prevalent artistic and cultural norms of the time period. Dramatic sequences, such as Pierre-Auguste Renoir learning about his rejection from the Salon and Paul Cézanne declaring he would submit a “jar of s—” to the exclusive exhibition, support the narration in explaining the frustration that drove the Impressionists to start their own exhibition.

As per Eclipso, over two years of research and collaboration with Excurio Immersive

Expeditions, GEDEON Experiences, and the Musée d’Orsay went into creating the entire experience. The idea was put forth by the team at GEDEON, in time for the 150th anniversary of the first Impressionist exhibition. Created and launched in France, the experience was then brought to Atlanta to lend diversity to Eclipso’s offerings.

“We are trying to combine culture with technology and innovation. Students learn in different ways. Some are visual, some are tactile learners, and VR experiences engage with all of them. These experiences give them different perspectives and are thought provoking,” said Jennifer Berghs, general manager of Eclipso Atlanta.

Aside from the conversational script, smooth animations and binaural audio make the experience feel rather realistic. The sounds of glasses clinking as the Impressionists raise a toast, of horse hooves on the street below a balcony and of water splashing onto a platform are designed well enough to elicit physical reactions from guests. The visual consistency of complex elements such as fireworks through a window, weather phenomena like sunlight and rain and the relative positioning of buildings in the scene contribute to a suspension of disbelief.

“People feel fully immersed and forget they are in an experience. One of our visitors, who had recently been to Egypt, came out of the Khufu experience in tears. She said she had been to the pyramids and what she saw was exactly like them,” Berghs said.

Although Eclipso merely has a one-year lease at their 11,000 square foot space at Illuminarium Atlanta, the company’s VR offerings are not a temporary experience and will be in Atlanta permanently. Berghs explained what made a venue suitable for VR experiences.

“We are looking for an open space, like a warehouse, without many pillars or corners. Space is important so that more people can take part simultaneously. We also need to ensure people with mobility issues aren’t walking too huge a distance. Some of our spaces in Europe are about half the size of our current space, which we are able to manage with,” Berghs said.

While Berghs felt VR was a growing market with a lot to explore, she felt that Eclipso had no immediate competitors within the field of immersive cultural experiences.

“I’ve seen a number of other experiences, and have always felt there’s something that we do better. Sometimes there’s not enough guidance, unlike our narration via a guide, so it’s unclear what to do. Other times, with VR games, you’re restricted to a lobby with a limited ability to move around. We also explore culture in unique ways — in the Khufu experience, you get to stand on top of a pyramid. Even people who are mobility impaired can experience these things, at any time of day or in any season,” Berghs said.

Aside from the technical challenges involved with VR experiences, Berghs highlighted the number of different costs involved that made it difficult for competitors to enter the space. She mentioned royalties and distribution costs, alongside more local costs such as building costs, insurance and equipment costs. Although unable to specify a ballpark figure, Berghs estimated that costs for a new VR experience center could be “in the millions.”

Eclipso already has plans to follow up “Tonight with the Impressionists” with their latest experience titled “Life Chronicles,” which traces the evolution of life and brings guests face-to-face with microorganisms and dinosaurs. For more information including student discounts, visit eclipso-entertainment.com.

The post New VR experience celebrates art history appeared first on Technique.