10 Arts and Culture Favorites from 2024

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As a long-time fan of animated films and a connoisseur of British humor, I must say that Nick Park’s latest creation, “Wallace & Gromit: Vengeance Most Fowl,” left me utterly charmed! Having grown up watching their adventures, it was a delight to see the duo return after nearly two decades. The film not only showcases the intricate stop-motion animation that has become so popular but also delivers on the classic slapstick humor that made Wallace & Gromit beloved.

This past year has been marked by both personal heartaches and national turmoil, leading me to ponder a great deal about the concept of time. It’s fascinating how hours can stretch on endlessly, while days seem fleeting and weeks blend together so seamlessly that it becomes challenging to distinguish where one ends and another begins.

As I curated my top choices for arts and culture this year, I kept in mind the essence of each piece. Some resonated with me deeply, like a book that I couldn’t tear myself away from. Others posed thought-provoking questions about the limited time we have as a collective, focusing on how climate change affects our most vulnerable populations. A few works took a linear approach, providing insights into our past to help us shape a better future.

Here are some works, in alphabetical order, that rearranged time for me: 

Alvin Ailey

Two recent pieces provide insights into the history, present state, and future aspirations of the Alvin Ailey American Dance Theater. The exhibition titled Edges of Ailey, exhibited at the Whitney Museum until February 9, delves into the life story of the dance choreographer and his revolutionary approach to modern dance. This exhibition, comprising an 18-channel video installation by filmmakers Josh Begley and Kya Lou, encompasses the space with photographs of Ailey, his personal notes, and posters from initial performances. For a glimpse into the company’s current status, consider their ongoing holiday season at the New York City Center, which extends until January 5. This period is dedicated to Judith Jamison, the late artistic director emerita and Ailey’s muse. The shows during this time include timeless pieces like Revelations, a new rendition of the captivating Treading, and the world premiere of Are You in Your Feelings, Kyle Abraham’s poignant reflection on contemporary love. If you cannot attend either show, there is always the option to stream Jamila Wignot’s documentary Ailey on Hulu.

An Enemy of the People

This year, members from the Extinction Rebellion movement disrupted a performance of Sam Gold’s gripping adaptation of Henrik Ibsen’s play An Enemy of the People, originally written in the 19th century by Amy Herzog. Their actions demonstrate that this classic story remains strikingly relevant today, as it was running until June. Jeremy Strong portrayed Dr. Thomas Stockmann, a researcher who faced ostracism from his town when he tried to alert residents about harmful pollution in their new spas. The play, which featured Michael Imperioli, Victoria Pedretti, Caleb Eberhardt, and Thomas Jay Ryan, is remarkably timely given current issues like Flint’s ongoing struggle for clean water and scientists being arrested for protesting climate change.

Doechii’s Alligator Bites Never Heal

In “Alligator Bites Never Heal”, Doechii showcases her unique artistic flair even further. Her fourth mixtape, comprising 19 tracks, showcases her continued sonic ambition and lyrical prowess that she has demonstrated since the release of “Coven Music Session, Vol. 1” in 2019. On the summer anthem “Nissan Altima”, Doechii exudes confidence with vibrant wordplay and bold assertiveness. Throughout the mixtape, she delves into a more introspective mood as she ponders the life changes and challenges that fame has brought her way. A standout track on the project is “Denial Is a River,” where Doechii converses with a therapist-like character about creative stressors, financial woes, and substance abuse issues. Other tracks like the opener “Stankah Pooh” and the mellow “Wait” serve as proof that Doechii is an extraordinary artist of her generation.

Eiko Ishibashi’s score for Evil Does Not Exist 

It’s appropriate that Ryusuke Hamaguchi’s “Evil Does Not Exist” originated as visual accompaniment for composer Eiko Ishibashi, whom Hamaguchi collaborated with on “Drive My Car,” during a live performance. As Ishibashi produced these hauntingly chilling tracks characterized by icy, almost silver tones, Hamaguchi developed a narrative exploring the complex bond between man and nature. Their joint effort yields a film with a minimalist plot that is driven by soft and eerie tracks such as “Hana V.2” and “Deer Blood.” Although Ishibashi’s score enhances Hamaguchi’s movie, it can stand alone as a powerful testament to the fragile equilibrium between humans and their surroundings.

Fatima Al Qadiri’s scores for Seeking Mavis Beacon and Skincare

Over the years, the Kuwaiti artist Fatima Al Qadiri has built up a modest yet impressive collection of film scores. She has demonstrated her unique talent for evoking the eerie undertones characteristic of cinematic soundscapes in various feature-length projects such as Mati Diop’s captivating debut “Atlantiques”, Paco Plaza’s “The Grandmother”, Jazmin Jones’ documentary “Seeking Mavis Beacon” and Austin Peters’ visually stunning thriller “Skincare”. The scores for “Skincare” and “Seeking Mavis Beacon” share an eerie atmosphere that makes them seem almost alien.

Gatz

2022 will be the 100th anniversary of F. Scott Fitzgerald’s melancholic novel, The Great Gatsby. To commemorate this milestone, The Public Theater in New York is reviving a special presentation of Gatz, which was initially staged by the Elevator Repair Service in 2004. In this innovative production directed by John Collins, a man (the remarkable Scott Shepherd) discovers a copy of Fitzgerald’s timeless book and starts reading it aloud. He becomes captivated by Nick, Daisy, and Gatsby’s story, which significantly affects his connection with his environment. His coworkers assume the roles of the characters, transforming the office into a stage for the retelling of the narrative. For him and the audience, time seems to stand still as the eight-hour performance moves swiftly. Gatz is an exhilarating experience, serving less as a traditional adaptation and more as a tribute to the captivating, time-warping experience of reading.

Invasive Species 

This year, various works such as Alonso Ruizpalacios’ intense workplace drama “La Cocina“, Julio Torres’ quirky production “Problemista“, and Brady Corbet’s grand project “The Brutalist” all grappled with the harsh reality of immigrating to America. Similar to Torres, Maia Novi’s electrifying off-Broadway play “Invasive Species” portrays the pursuit of citizenship (and by extension, the American Dream) as the ultimate role for an ambitious Argentinian actress (portrayed by Novi herself). Produced by Jeremy O. Harris (of “Slave Play“) and directed by Michael Breslin, this production delves into Maia’s chaotic experiences at the Yale School of Drama (where she is a student) and a youth psychiatric ward (to which she is admitted shortly before graduation). With its dynamic performances and innovative structure, Novi’s 75-minute rollercoaster ride feels like a high-stakes fever dream.

Love Island USA Season 6 

Could it be possible that you’d find it hard to disbelieve me if I told you that the most thrilling location to visit this summer was a villa in Fiji, where a bunch of young, predominantly American singles were vying for love and an attractive monetary reward? The sixth season of Love Island USA, presented by Arianna Maddox from Vanderpump Rules and available on Peacock, lived up to the anticipation that defines great reality television: charming characters, genuine friendships, exhilarating romances, and a wealth of memorable quotes. It created quite a stir, propelling the contestants into extraordinary levels of fame and giving birth to numerous online crazes. This group of islanders appeared to be unaffected by the typical dishonesty often found in unscripted television; their genuine responses to romantic heartache and platonic betrayal mirrored the emotional ups and downs of contemporary dating. Although the reunion was less exciting, I won’t easily forget the excitement of watching these islanders exclaim, “I got a text!

Oh, Mary!

In a fresh, reimagined take, Cole Escola’s play “Oh, Mary!” presents Mary Todd Lincoln as a struggling alcoholic cabaret performer attempting a comeback, while Abraham Lincoln is portrayed as a man grappling with the need to hide his identity while leading a war. The production, initially staged at the Lyceum Theater before transferring to Broadway this summer, has created a stir with its impressive box office figures and high-profile endorsements. Escola’s performance in the title role, who also penned the play, is noteworthy; as my colleague David Rooney noted in his review, it showcases “a master class in precise comic timing, sly double takes, and spirited physical comedy.” The committed acting, fast-paced farcical style, and dynamic staging by Sam Pinkleton underscore that this is Escola’s creation. It’s a relief to know we get to experience it.

Wallace & Gromit: Vengeance Most Fowl

Approximately two decades following the groundbreaking success of Wallace & Gromit as the first stop-motion animation feature to win an Oscar, Nick Park is back with a new installment titled Wallace & Gromit: Vengeance Most Fowl. This film premiered at AFI Fest this year and will be available for streaming on Netflix starting January 5. Co-directed by Park and Merlin Crossingham, and co-written with Mark Burton, the movie revisits the chaotic events from the 1993 short The Wrong Trousers, where Feathers McGraw attempts to falsely accuse Wallace and Gromit of a high-profile theft. The film showcases advancements in the intricate claymation technique (which has since gained widespread popularity) and serves as a testament to its lasting impact on the craft. Vengeance Most Fowl retains the comedic slapstick that endeared the duo to audiences, while also offering thought-provoking commentary on suburban surveillance, media, and the potential pitfalls of artificial intelligence.

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2024-12-20 21:55