tells story – Abajo El Telon http://abajoeltelon.com/ Sun, 27 Mar 2022 14:20:47 +0000 en-US hourly 1 https://wordpress.org/?v=5.9.3 https://abajoeltelon.com/wp-content/uploads/2021/10/icon-120x120.jpg tells story – Abajo El Telon http://abajoeltelon.com/ 32 32 What’s Coming to Netflix UK in April 2022 https://abajoeltelon.com/whats-coming-to-netflix-uk-in-april-2022/ Mon, 14 Mar 2022 12:04:45 +0000 https://abajoeltelon.com/whats-coming-to-netflix-uk-in-april-2022/ Welcome to a first look at what’s set to come to Netflix in the UK (and likely Ireland) for April 2022. We’ll be listing all the new movies and TV shows coming to Netflix throughout the month, whether it’s a Netflix Original or licensed. If you’re only looking for Netflix Originals coming in April, head […]]]>

Welcome to a first look at what’s set to come to Netflix in the UK (and likely Ireland) for April 2022. We’ll be listing all the new movies and TV shows coming to Netflix throughout the month, whether it’s a Netflix Original or licensed.

If you’re only looking for Netflix Originals coming in April, head over to our separate preview. If you’re American, you’ll want to refer to our Netflix US guide for new Netflix releases in April 2022.

As always, where there are arrivals, there are also departures. We catalog every show and movie leaving Netflix UK in April 2022 here.


Full list of what’s coming to Netflix UK in April 2022

Polite notice: if you are from an outlet in the UK and are copying this listing, please mention it. We’re watching you The Independent.

This list is not yet complete. We will update at least once a week until April 2022 arrives.

What’s new on Netflix UK TBD

  • The battle for Britney: fans, money and guardianship – British documentary that dives deep into the #FreeBritney movement.

What’s new on Netflix UK Daily in April 2022

  • Trivia Quest (Season 1) NOT – New interactive quiz that will arrive daily.

What’s new on Netflix UK on April 1st

  • Apollo 10 1/2: A Childhood in the Space Age (2022) NOT – A new hybrid anime series starring Jack Black. About a man recounting his early years in Houston during the historic Apollo missions.
  • Battle: Freestyle (2022) NOT – A new romantic drama Norweigen.
  • Beyblade: Burst Surge (Season 1) – Japanese anime series based on the famous children’s toy.
  • Captain Nova (2022) NOT – Dutch sci-fi film about a fighter pilot who travels through time to stop a global catastrophe.
  • Celeb Five: Behind the Curtain (2022) NOT – Comedy film with a fake VCR.
  • Get Organized with The Home Edit (Season 2) NOT – New episodes of the reality series looking to organize your home.

in good company netflix

  • In Good Company (2004) – Dennis Quaid, Topher Grace and Scarlett Johansson star in this romantic comedy.
  • Pet sematary (1989) – Classic horror with Dale Midkiff.
  • Rise of the Footsoldier: Part II (2015) – British action film starring, written and directed by Ricci Harnett.
  • Stunt Science (Season 1) – British reality series that tries to understand the science of the most daring stunts.
  • The Bubble (2022) NOT – An all-star cast comes together in this pandemic-era flick about a group of actors trying to make a movie while quarantining in a hotel.

the last bus new on netflix april 2022

  • The Last Bus (Season 1) NOT – A new British children’s series about a group of students who fight to save humanity from an army of drones.
  • Women (2008) – Comedy about a wealthy New Yorker who struggles to hatch a plan with other socialites to help her win her man back.
  • Welcome to Eden (Season 1) NOT – Science fiction series in Spanish.

What’s new on Netflix UK on April 3

confession netflix

  • Confessions (2022) – David Beton writes and directs this real-time action thriller set during a night when a vengeful religious confession takes place.

What’s new on Netflix UK on April 4th

the goldfinch netflix

  • The Goldfinch (2019) – A boy in New York is taken in by a wealthy family after his mother is killed in a bombing at the Metropolitan Museum of Art. Produced by Amazon Studios and distributed by Warner Brothers.

What’s new on Netflix UK on April 6th

  • Michela Giraud: The truth, I swear! (Season 1) NOT – Italian stand-up special.
  • Palpito (Season 1) NOT – Telenovela in Spanish.
  • The Ultimatum: Get Married or Move On (Season 1) NOT – New reality series from the creators of Love is Blind. Sees six different couples put their engagement to the test.

What’s new on Netflix UK on April 8

  • Dancing on Glass / Las niñas de cristal (2022) NOT – Spanish thriller.
  • Dutch Lines (Season 1) NOT – Dutch drama series.

green eggs and ham season 2 netflix

  • Green Eggs and Ham (Season 2) NOT – New batch of episodes of the Warner Brothers animated series.
  • Metal Lords (2022) NOT – From Game of Thrones writer DB Weiss comes this new teen movie about two kids who start a metal band in hopes of making it big.
  • The In-between (2022) NOT – The Paramount+ movie starring Joey King is coming exclusively to Netflix. About a heartbroken teenager.
  • TIGER AND RABBIT (Season 2) NOT – Animated sci-fi series.
  • Yaksha: Ruthless Operations (2022) NOT – Korean spy action movie directed by Na Hyeon. On a mission to a perilous city to inspect a Black Ops team and its notorious leader, a righteous prosecutor embarks on a deadly war between spies.

What’s new on Netflix UK on April 11

joker new on netflix uk

  • Joker (2019) – Joaquin Phoenix stars as the iconic Joker in this dark reimagining of the character. Written and directed by Todd Phillips.

What’s new on Netflix UK on April 13

  • Almost Happy (Season 2) NOT – Comedy from Argentina.

What’s New on Netflix UK on April 14th

hard cell netflix

  • Hard Cell (Season 1) NOT – Catherine Tate appears as several characters in her new series of mockumentaries set in a prison.
  • Ultraman (Season 2) NOT – Three years after its first premiere, the anime series returns for new episodes.

What’s new on Netflix UK on April 15

anatomy of a netflix scandal series

  • Anatomy of a Scandal (Limited Series) NOT – Produced in the UK, this new forensic thriller tells the story of a sexual consent scandal among Britain’s privileged elite and the women caught in its wake.
  • Choose or Die (2022) NOT – Horror previously known as CURS>R produced in Britain and starring Asa Butterfield (Sex Education).

What’s new on Netflix UK on April 20

russian doll season 2 netflix april 2022

  • Russian Doll (Season 2) NOT – Natasha Lyonne returns in this follow-up season to the Groundhog Day-esque series.

What’s new on Netflix UK on April 22

  • On the way for the ride (2022) NOT – Romantic feel-good drama based on a book.

What’s new on Netflix UK on April 27

  • Siege of Silverton (2022) NOT – Arnold Vosloo stars in this crime drama about three young freedom fighters seeking sanctuary in a South African bank.

What’s New on Netflix UK on April 28

netflix anime bubble season 1 uta

  • Bubble (2022) NOT – Animated film directed by Tetsuro Araki. In an abandoned Tokyo overrun with bubbles and gravitational anomalies, a gifted young man has a fateful encounter with a mysterious girl.

What’s new on Netflix UK on April 29

  • Honeymoon with my mother (2022) NOT – Comedy in Spanish.
  • Ozark (Season 4 – Part 2) NOT – The final season of Ozark which sees Ruth on a mission for revenge.

What will you be checking out on Netflix UK in April 2022? Let us know in the comments below.

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Oklahoma! at the Forrest Theater https://abajoeltelon.com/oklahoma-at-the-forrest-theater/ Sun, 13 Mar 2022 02:25:33 +0000 https://abajoeltelon.com/oklahoma-at-the-forrest-theater/ Forgive me Dionysus, for I have sinned: it was the first time I looked Oklahoma!. Any Oklahoma! Not even a charming, misguided high school production. No klahomas. I find myself in a permanent conundrum with Golden Age musicals, and I’m not alone in this debate: is it worth dwelling on outdated material to get to […]]]>

Forgive me Dionysus, for I have sinned: it was the first time I looked Oklahoma!. Any Oklahoma! Not even a charming, misguided high school production. No klahomas.

I find myself in a permanent conundrum with Golden Age musicals, and I’m not alone in this debate: is it worth dwelling on outdated material to get to what it can? show us today? Especially for audience members in marginalized communities, the risk of seeing the oppression continue unchallenged through song and dance often outweighs the joy of seeing yet another love triangle story. Watching this production, however, I was surprised to discover that the original text (which this revival retains in its entirety) does not tell of a conventional love triangle. Instead, it tells the story of the burden placed on women to assess and bear the danger of refusing a man. I can’t imagine any production of this show bringing that fact to the fore the way this tour does so effectively.

Sasha Hutchings and Sean Grandillo
Photo: Matthew Murphy and Evan Zimmerman

Laurey, played stunningly by Sasha Hutchings, must choose between suitors Curly and Jud, though it’s clear to her and the town that she only considers Jud because she’s afraid of what he will do. if she says no. In the end, Laurey’s conflict is not between two hopeful husbands, but between what she wants and what will protect her. This dilemma is accentuated by daring lighting choices, including moments in total darkness, the dramatic chaos of Act 2’s opening dream ballet (my jaw dropped watching Gabrielle Hamilton perform it) and the casting of a masterfully imminent Christopher Bannow as Jud. Unfortunately, Laurey’s choice is one that many women face. Domestic violence and toxic masculinity haven’t gone away since the days of Rodgers & Hammerstein, and have worsened in many ways with online subcultures such as “incel” encouraging men to get what they want. want by any means necessary, including violence. How can you tell which refusal you give, no matter how well worded, will become dangerous?

The walls of the set serve as Chekhov’s most ambitious collection with a total of 114 guns. This staggering display is one that started conversations before the first note was played; just before the curtain, I heard a discussion between two other spectators about the first time they had fired a gun. Certainly not a standard pre-show conversation, but a stark reminder that gun violence is a normalized foundation of both the world of Oklahoma! and our society today. the Oklahoma! The team donated a minimum of $100 per gun to Gun Neutral, an initiative calling for greater social responsibility surrounding the depiction of gun violence in entertainment.

Shall I give the ironic title “Woke-lahoma” that the internet has so often given to this production? That would be a reductive assessment for me to make, classifying an entire work through what I perceive as a white person as “fairly progressive.” The most contrary evidence is that, keeping the original text 100%, the g-slur used against Roma still made the difference. That said, the production gracefully walks a tightrope on the original text’s more old-fashioned humor about women and relationships without reverting to misogyny, thanks in large part to the actors’ clever delivery.

A woman sings into a microphone.
Sis as Teen Annie
Photo: Matthew Murphy and Evan Zimmerman

As a transgender theater performer and audience member, this is a rare theater outing that I get to watch not one but of them transgender performers on stage, let alone a couple in love and not the punchline of bigoted jokes. See Sis, who plays Teen Annie with glowing enthusiasm, belts out the line “How can I be what I’m not?” and falling in love with Will Parker (Hennessy Winkler had me cracking up several times with her performance) was a breath of fresh air at a time when Broadway seems to insist on churning out transphobic narratives relentlessly.

Aside from all the heavy stuff on this tour, watching this show was pure and absolute pleasure. From the stellar work of the set to an area of ​​corn splatter and Bud Light (yeah, you read that right), this was a show I would absolutely watch again despite my previous doubts about the original text. If you’re hesitant to try your hand at an older show, I encourage you to give the Oklahoma! one turn. If you’ve seen other productions and feel like you’re missing yet another version of the same story, I can assure you that this isn’t just another version. While Twitter has been buzzing since the Broadway revival began in 2019, it’s not your grandparents’ Oklahoma!and you’ll walk out of the Forrest Theater with a new perspective on a toe-tapping classic.

The national tour company of Rodgers & Hammerstein's OKLAHOMA!
The Oklahoma National Tour Company!
Photo: Matthew Murphy and Evan Zimmerman

Oklahoma! is running through March 20, 2022. Tickets can be purchased by calling 212-239-6200, visiting www.telecharge.com, or in person at the Academy of Music box office daily from 10 a.m. to 6 p.m. . All audience members must show proof of vaccination with valid photo ID and must remain masked while at the Forrest Theater.

Learn more at www.kimmelculturalcampus.org.

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NO WAR PLEASE: Salem cinema opens the curtain on Ukrainian aid | News https://abajoeltelon.com/no-war-please-salem-cinema-opens-the-curtain-on-ukrainian-aid-news/ Sat, 12 Mar 2022 17:27:37 +0000 https://abajoeltelon.com/no-war-please-salem-cinema-opens-the-curtain-on-ukrainian-aid-news/ SALEM — Marshall Strauss wants “no war, please,” and his cinema is helping to spread that message. On Sunday, Cinema Salem will present what is believed to be the US big screen premiere of “The Guide,” a 2014 Ukrainian film that tells the story of the genocide of Ukrainians at the hands of the Soviets […]]]>

SALEM — Marshall Strauss wants “no war, please,” and his cinema is helping to spread that message.

On Sunday, Cinema Salem will present what is believed to be the US big screen premiere of “The Guide,” a 2014 Ukrainian film that tells the story of the genocide of Ukrainians at the hands of the Soviets in the early 1930s.

The debut precedes a nationwide rollout of the film as cinemas and the film industry as a whole also begin to use it as a platform to raise awareness about the nearly decade-long Russian-Ukrainian war. This conflict has exploded in recent weeks with a full-scale Russian invasion of Ukraine, a sequence of events that has thrown global markets and energy sectors into chaos.

The film tells the story of the Holodomor, also known as the Great Famine and the Terror-Famine, which caused the death of approximately 3.9 million Ukrainians from starvation and prevented the birth of 6, 1 million additional Ukrainians.

“This disaster was overshadowed by other disasters that began to form in Europe in the 1930s,” said Strauss, co-owner of the Salem Cinema with his wife Elaine Gerdine. “Now it all comes back tragically today, in front of all of us.”

This week, the words “NO WAR PLEASE” appeared on the marquee hanging above the Church Street entrance to the theatre, alongside a Ukrainian flag. The phrase is a nod to Andrey Rublev, a Russian tennis star who wrote “NO War Please” on the lens of a television camera broadcasting his match live around the world in late February.

“It’s not about my game, how it affects me,” Rublev told the media after the game. “What is happening is much more terrible. and as I said, you realize how important it is to have peace in the world and to respect each other no matter what, and to be united.

Strauss said the moment inspired him to take action and do more as the phrase went viral around the world. It echoed efforts he had been involved in decades earlier to air human rights documentaries on Russian television in the 1990s, as well as efforts to protect exiles from the Tiananmen Square massacre. He recalled efforts in 1989 to identify “Tank Man”, an unidentified Chinese man who stopped a column of tanks leaving the square by standing in front of them, a sequence of images now widely recognized around the world, except in China.

“We were unable to locate this person, although our searches suggested he was ultimately killed,” Strauss said. “This man in front of the tanks is such a photograph. The child in a Vietnamese village fleeing napalm is one of those moments.

“NO WAR PLEASE,” said Strauss, is this generation’s moment.

Tickets are free, though donations are both encouraged and solicited at the event, according to Strauss. Proceeds will benefit selected nonprofit organizations actively identified by the Harvard Ukrainian Research Institute. To RSVP, visit tinyurl.com/5n6v88dh.

Moving tickets was not a problem, according to Strauss. As of midday Thursday, efforts were underway to open a second screen for the film due to ticket availability for the initial screening.

At the time of Tuesday’s theater announcement, it was said that Sunday would represent the film’s first-ever screening in the United States, but Strauss said he was unsure if that had changed in the past few days. Since its announcement, the film has crossed the radars of some major players in the entertainment industry, according to Strauss.

“The screening of this film in Salem on Sunday will take place just before a nationwide rollout,” he said. “The movie industry is coming together to start showing this film on (Friday) March 18. All ticket revenue from across the country will be donated to Ukrainian humanitarian aid.”

The screening will also include remarks from Oles Sanin, the film’s director. He has pre-recorded a message but will attempt to appear live via video from Kyiv, Ukraine’s beleaguered capital.

“We’re working with him,” Strauss said, “with the very real possibility that the Internet link to Kiev will be cut by the Russians.”

John Andrews, founder of the Creative Collective and frequent partner of Cinema Salem, said the conflict also gives the arts a moment to shine and respond to the crisis in Ukraine.

“The power of the creative community has always brought hope and healing across the world,” Andrews said. “Any attention we can give to Ukrainian creators is something we can support.”

Andrews said he also sees the situation as an obligation, as does Strauss.

“With the continued devastation of Ukraine’s artistic and cultural assets, we felt it was our duty to do what we can to support in this time of crisis,” he said. “We support cinema in every way possible.”

To RSVP for the event, visit tinyurl.com/5n6v88dh.

Contact Dustin Luca at 978-338-2523 or DLuca@salemnews.com. Follow him on facebook.com/dustinluca or on Twitter @DustinLucaSN.

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PRETTY WOMAN Prettier than NYC critics let on https://abajoeltelon.com/pretty-woman-prettier-than-nyc-critics-let-on/ Thu, 10 Mar 2022 20:59:52 +0000 https://abajoeltelon.com/pretty-woman-prettier-than-nyc-critics-let-on/ The film PRETTY WOMAN, based on the song by Roy Orbison, which was originally intended to be a tale of class and prostitution but was reimagined as a romantic comedy, opened up to both the enjoyment of critics and the public. It always gets a sizable audience when it airs on TV. Unfortunately, PRETTY WOMAN: […]]]>

The film PRETTY WOMAN, based on the song by Roy Orbison, which was originally intended to be a tale of class and prostitution but was reimagined as a romantic comedy, opened up to both the enjoyment of critics and the public. It always gets a sizable audience when it airs on TV.

Unfortunately, PRETTY WOMAN: THE MUSICAL, a version of which is now on stage at the Connor Palace as part of the Key Bank Broadway series, opened to universally negative reviews.

Based on the film’s success, before it officially opened, the 2018 Broadway previews broke the Nederlander Theater box office record for a week of eight performances.

Following the release of critics, generally calling Bryan Adams and Jim Vallance’s score “enjoyable but bland”, and “the plot in need of updating” and the “genre dynamics of the film’s plot having aged badly” , the series limped off, running 27 previews and 420 regular performances.

The book by Garry Marshall and JF Lawton tells the story of “Vivian Ward, a free-spirited Hollywood prostitute who lives with her best friend and sarcastic roommate, Kit De Luca. Vivian is hired by Edward Lewis, a handsome ‘rich businessman, to be his escort for several business and social functions.’ The question, of course, is whether this is going to be a Cinderella story where the unlikely duo becomes a real-life “happily ever after” tale.

The touring company released a surprise coupe on its opening night.

Playing with a handful of substitutes, due to medical issues, the audience, who lukewarmly applauded “Welcome to Hollywood”, a lackluster curtain-raiser, got heated when the charming Olivia Valli, in the role of Vivian interpreted by Julia Roberts , sang , “Any Where but Here”, “I want a song” from the show, the purpose of which is to clarify the desires of the main character and to put the plot on the right track. Olivia doesn’t want to be a prostitute, but seems to have no options. It is similar in plot development to “Wouldn’t It Be Loverly?” from MY FAIR LADY, where Eliza tells us about her desire to own a flower shop and stop selling flowers on the street.

Eliza is cared for by Henry Higgins and Vivian bonds with Edward Lewis and the plot and the woman’s wishes are fulfilled.

Audience production “hey, this is better than I expected” continued with comedic characters including Kit De Luca (a lovely Jessica Crouch), Nico DeJuses (a stand-in for the role of Guilio , a hotel hunter, almost stole the show with his danceable, comedic timing), and Happy Man/Hotel Manager (the dynamic Kyle Taylor Parker, who appeared on Broadway as co-frontman of KINKY BOOTS) rode on the scene.

DeLuca gave us the image of a fun-loving sex worker, DeJuses is a hunk-sized charmer, and Parker delighted in “On a Night Like Tonight,” “Don’t Forget to Dance,” and “Never Give Up on a Dream”. “

When handsome and muscular Chris Manuel replaced Adam Pascal of RENT fame as Edward, sang the complaining “Something About Her”, then sang “Freedom”, the applause was prolonged and the audience was on their way. to experience a satisfying evening of musical theatre.

Don’t leave until the curtain rolls or you’ll miss the joint cast and audience singing, dancing, swaying, and clapping version of “Pretty Woman,” the film’s theme song, which isn’t part of the score. musical comedy.

Capsule judgment: PRETTY WOMAN is not a great musical. It’s definitely not CHORUS LINE, or MY FAIR LADY, or WEST SIDE STORY, but this production, even with the obvious script and poor score, is worth watching. The audience, after delivering the required “we are nice people of Cleveland and give almost all productions a standing ovation”, came away with a very positive chatter!

How to get tickets

PRETTY WOMAN THE MUSICAL runs at Connor Palace until March 27. For tickets, go to 216-640-8800 or go online for https://www.playhousesquare.org/events/detail/pretty-woman

Attention: Although you no longer have to present proof of Covid vaccine, this production requires that people seated in the first two rows of the lower level (Dress Circle A & B, rows D & E) wear a mask during each representation.

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After 25 years, the curtain closes on ‘RENT’ | Arts https://abajoeltelon.com/after-25-years-the-curtain-closes-on-rent-arts/ Tue, 22 Feb 2022 07:33:00 +0000 https://abajoeltelon.com/after-25-years-the-curtain-closes-on-rent-arts/ “Rent,” the highly acclaimed rock opera that tells the story of a year in the life of a group of bohemians struggling to live and love in New York’s East Village, comes to the Merriam Theater at the Kimmel Cultural Campus , from March 4 to 6 for a 25th anniversary farewell tour. On Broadway, […]]]>

“Rent,” the highly acclaimed rock opera that tells the story of a year in the life of a group of bohemians struggling to live and love in New York’s East Village, comes to the Merriam Theater at the Kimmel Cultural Campus , from March 4 to 6 for a 25th anniversary farewell tour.

On Broadway, “Rent” won several awards, including the Pulitzer Prize for Drama and the Tony Award for Best Musical. And although many years have passed since its original production, Shafiq Hicks, who plays Tom Collins in this production, says its message still holds true today.

“The show tells real stories that touch real people and is based on the AIDS/HIV epidemic that hit the world in the 1980s,” says Hicks. “Filled with great songs and characters, ‘Rent’ ultimately forms an electrifying portrait of life and love flourishing in the face of adversity.

“I loved the piece when I first saw it, and I continue to love it to this day. And I’m so grateful to be able to return to the business after being away from the show. since COVID, another epidemic, shut us down in 2019.”

Hicks, a native of Philadelphia, grew up singing in church and in school plays. A graduate of Philadelphia High School for the Creative and Performing Arts (CAPA), Hicks was also a major voice at Temple University and an alumnus of the Kimmel Center’s “Showstoppers” education program.

Over the years he has sung with many artists including Aretha Franklin, Andrea Bocelli, Estelle and many more. His theater credits include “The Wiz” and “Pippin” among others.

In this production of “Rent”, Hicks plays Tom Collins, “a guy who goes with the flow, someone who’s the complete opposite of me. I’m one of those people who always wants to be in control. I like to know where everything is and what I’m going to do during the day.

“Tom is the glue that holds everything together,” Hicks continues. “Being in this character taught me to be more open to life in general, as well as love.”

On the show, Hicks sings many of the show’s most memorable songs, including his favorite, “Christmas Bells”. But, he admits, his favorite number, and one song he can’t sing, is “Take Me or Leave Me.”

Overall, Hicks says, “Being on this show is like living a dream. And I’m really looking forward to coming to Philadelphia with the show.

But what’s it like to play in front of a local audience?

When your hometown audience is Philly, it’s just awesome,” Hicks insists. “Everyone I know – friends and family – will come out to celebrate my presence on the show. At least I hope so. And you can always trust a Philadelphia audience. They let you know if you’re talented or not. They don’t hold anything back, so I’m a little scared, but I pray they like me.

Besides an extremely talented cast, Hicks says “Rent” also comes with a message. “And that message is, with COVID still going on, we all need to learn to live and love one another. In fact, I think you should always lead with love and allow people to be who they are, no matter what! »

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Center for Documentary Studies founder Alex Harris’ new project, “Our Strange New World,” blurs the line between fact and fiction https://abajoeltelon.com/center-for-documentary-studies-founder-alex-harris-new-project-our-strange-new-world-blurs-the-line-between-fact-and-fiction/ Mon, 14 Feb 2022 14:00:00 +0000 https://abajoeltelon.com/center-for-documentary-studies-founder-alex-harris-new-project-our-strange-new-world-blurs-the-line-between-fact-and-fiction/ The “South” is an evolving concept with an apparent dichotomy of stories. In 1874, Atlanta Constitutional Editor Henry Grady coined the term “The New South”, attempting to distinguish the area from its roots. But with a history steeped in racist institutions and shaped by an uneven sense of progress, many Southerners struggle to understand where […]]]>

The “South” is an evolving concept with an apparent dichotomy of stories. In 1874, Atlanta Constitutional Editor Henry Grady coined the term “The New South”, attempting to distinguish the area from its roots. But with a history steeped in racist institutions and shaped by an uneven sense of progress, many Southerners struggle to understand where they call home.

In his most recent project, photographer Alex Harris captured film sets in the American South, exploring the role of storytelling and perspective in our perception of reality. Working alongside his wife, photographer and designer Margaret Sartor, he compiled the images into a exposure for the High Museum (November 27, 2019 – May 3, 2020) and a book called “Our Strange New Land”. The work was part of the museum’s collection “Imagining the South” project: to commission “a current look at the subjects and themes of the South while constituting the collection of contemporary photography of the Museum”.

Harris’s inspiration for the work came more than a decade before. Harris was invited on the set of Steven Soderbergh’s biopic “Che” in 2007. There he was given complete freedom to photograph the filmmakers and actors.

“I was struck by how real it was for them and how committed they were,” Harris said. “What a great experience for a photographer. I could get closer to the so-called action.

Working with 41 independent Southern filmmakers, Harris experienced a unique ability to capture the intimacy that is often disconnected by photographing real-life moments.

“It would take me months, if not years, to be part of a community,” Harris said. “Whereas, on a film set, once [I was] accepted as a crew member, I was allowed to photograph anything I wanted[ed].”

When creating the book, Harris and Sartor were tasked with digging through the thousands of images to create an open-ended narrative. The book opens with sketches of film scenes to immediately remind the viewer of the imaginary world they are about to experience. According to co-editor Sartor, “If you watch the opening sequence, it tells you that you’re entering a new world, pulling back the curtain. The book tells its own story.

The title itself emphasizes the element of imagination and the importance of perspective. Harris had first seen the college history book that became his title in one of the sets he photographed. It depicted the history of American colonization through the perspective of the Puritan settlers, leaving out the native voices that had existed there for centuries.

Harris writes in his afterword: “‘Our Strange New Land’ has become the title of this book, a phrase I have attempted to reverse, to indicate new and different stories of life in the South told by contemporary filmmakers. ”

When exploring the book itself, photographs are carefully juxtaposed, film scenes placed alongside to create contrast in our imagination. Others show the thin veil between the emotion on stage and the camera itself. While intimacy itself carries its own legitimacy, we are reminded, as viewers, that there is a frame to every moment. The pages unfold to allow the viewer to completely escape into the narrative world that Harris and Sartor created with the help of dozens of filmmakers. It has a simultaneous layer of intentionality coupled with the freedom granted by the viewer’s own imagination.

Although, as Harris asserted, photographing film offered a new sense of freedom in intimate emotional expressions, the editing process brought to light new ethical considerations. Her daughter was brought onto the project to review the footage and cut out any that were deemed too upsetting.

“We became amazed to rethink our childhood and what we were taught about our history, especially as Southerners,” Sartor said. “It was so great to have the perspective of a 25-year-old because she lives through what these images mean, especially images that deal with the police and the Antebellum South.

Inspired in part by the conclusion of that work and revisiting decades of photography, Harris’ next project will chronicle his own family.

“What I’ve done is go back to my archive of photographs over the years. One of the things I’ve photographed the most in my life, but haven’t shown, is our family,” Harris said. “My goal as a photographer was to step into a world where I could photograph life in a way that was meaningful and intimate and where I was part of the story in some way. another one.”

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