TeenTix Blog Film

It’s love season and we at TeenTix have many partners we adore (partner venues, that is). We love seeing our partners invest in new works, so we are thrilled to have three world premieres from TeenTix venues this February. Dacha Theatre, a new addition to the TeenTix Pass Program, is debuting the electro-synth musical An Incomplete List of All the Things I’m Going to Miss When the World is No Longer.

During the COVID-19 pandemic, ACT Theatre Core Company member Reginald André Jackson pursued an extensive research project about forgotten Black theatre artists, which has culminated in the production History of Theatre: About, By, For, and Near. The play explores whether the history of the oppressed can properly be shared without expressing oppression.

With one turn of a calendar’s page, 2023 has arrived. For many, the new year is a time for self-reflection. Some might make New Year’s resolutions to look back on their year in review; others might set on the path to a fresh start. For the more creatively inclined, the new year is a magnificent chance to delve deep into who you are and who you want to become through art. If you’re interested in experiencing the myriad of artistic perspectives the new year has inspired in the Seattle community, check out the events covered this month on the TeenTix Arts Blog, curated by the Teen Editorial Staff.

For those of you aching to return to theater after the holidays, look no further for some truly exciting events. Seattle Repertory Theatre is welcoming in the new year by contemplating change and transformation with Metamorphoses, a thrilling new theatrical production inspired by Ovid’s classic epic poem. If you’re looking to delve even further into history, check out History of Theatre at ACT Theatre, a production that seeks to explore and celebrate the rich, little-known history of Black theatre in America. To challenge your social perceptions, consider seeing This Bitter Earth at Seattle Public Theater, a beautiful exploration of racial issues, Queer identity, and modern love.

Terrifier 2, directed by director and special effects artist Damien Leone, is not particularly well-written, compelling, or even all that terrifying. Gross, yes, but not scary. The characters are flat, the dialogue is bad, and the plot is absurd; it fails to build any suspense and therefore lacks the stakes that make a psychological horror film scary. But Terrifier 2 is not a psychological thriller, nor is it pretending to be. And that’s why it’s fantastic.

Terrifier 2 is the follow up to Leone’s equally incomprehensible Terrifier, which starred the killer mime, Art the Clown. In Terrifier 2, Art once again goes on a Halloween rampage, this time hunting the 12-year-old Jonathan (played by appropriately cast Elliott Fullam) and his teenage sister Sienna (played by the not at all appropriately cast 44-year-old Lauren LaVera). Though it was originally intended for a one-week limited theatrical run, audience demand led to it being extended for several weeks, and I managed to score tickets for Terrifier 2’s closing weekend. Despite viewers allegedly throwing up and fainting in theaters due to the extreme violence, the audience I sat amongst did nothing of the sort. Instead, we all shared several guffaws as we watched a killer mime try on novelty sunglasses, go for joyrides on a tiny tricycle, and peel a woman’s arm in half like string cheese.

“If she’s young, beautiful, and foreign, does that make her a murder suspect?” This is the question Decision to Leave (2022), the latest film from enigmatic South Korean director Park Chan-wook presents, never giving a straight answer and throwing off both the characters as well as the audience.

Insomniac Detective Hae-joon (Park Hae-il) is indifferently married to his wife Jung-an (Lee Jung-hyun) and by the way he commits to his investigations, you’d think he’s married to his work. He wades through each day lifelessly until a mysterious new case arises; a man’s mangled body is discovered at the foot of a climbing rock. Hae-joon is electrified by the new case and begins to wonder how the man died. Was it suicide? Was he pushed? He meets the deceased man’s wife, the alluring and suspicious Seo-rae (Tang Wei), and their attraction towards each other grows stronger and eventually beyond professional boundaries, blurring the truth about her husband’s death.

Welcome to the “Thursday” of the year! November isn’t exactly the Wednesday of the week, but it definitely isn’t Friday either. As we float towards the weekend of the year (December), the local arts scene too begins making the shift from fall to the holiday season. Various arts events of holiday spirit now coexist with cultural exhibitions that redefine the giving season, culminating in a Mariah Carey-esque thawing as the festive fun begins. So please you, enjoy yourself this November with productions of all kinds, holiday-themed or not!

Thanksgiving season is a time to reflect on our cultural identities, identifying how they will shape our futures. American Art: The Stories We Carry, an exhibit at the Seattle Art Museum, does just that, highlighting a diverse array of experiences that give new meaning to the term “American.” The exhibit opened on October 20th, and is a fun way to spark conversation with family and friends as you trudge about Seattle’s art scene in the remaining fall weather.

When our communities break, do we fight, lie, trick, and steal? Help each other out? Or do we flee the situation completely? Vesper (2022) is a French-Lithuanian dystopian film directed by Kristina Buozyte and Bruno Samper. It tells a story of a young girl navigating an inhospitable Earth while dealing with classism, relationships, morality, and survival. After an effort to combat an ecological disaster using genetic engineering goes wrong, most life is destroyed by bioengineered bacterial organisms, plunging the planet into “the new dark ages.” The upper class hedges itself off in affluent areas called Citadels, where they enslave artificially created, humanoid creatures called Jugs. The Citadels control food and resources, so the poor are forced to scavenge for food and to rely on the wealthy for genetically modified seeds that yield only one harvest each.

Vesper (Raffiella Chapman) is a curious 13-year-old girl struggling to survive in a community where resources are scarce and monopolized. She is incredibly intelligent with a natural talent for biohacking, an ability that she utilizes throughout the movie to experiment on plants and produce food and medicine. Vesper has a genuine heart but is polluted by the naivety of youth. Her tenacity is tested throughout the movie, when the condition of her paralyzed father (Richard Brake) grows increasingly worse, and a mysterious stranger (Rosy McEwen) offers a poisonous promise that could hold the key to Vesper’s survival. Film still from Vesper directed by Kristina Buozyte and Bruno Samper

A rush of autumnal spirit thrums in the air. The transition from September to October is jarring—all of a sudden, the wind picks up, carrying the aroma of fall spices, and Halloween seems just around the corner. Throughout the local art scene, creative minds are preparing for this transition, setting up spooky productions of well-known favorites and spine-tingling selections of film and art that are sure to offer you a new vision into what the human mind is capable of creating. This October, seek out some new frights and thrills to get your blood pumping and rejuvenate your spirit, curated by the Teen Editorial Staff here at TeenTix.

If you’re eager to experience how the classic monster-laden iconography of Halloween manifests in the mind of Shakespeare, visit Center Theatre for Seattle Shakespeare Company’s taste of cackling witches and cold-blooded murder in their production of the world-renowned play Macbeth. If you’re riding on that wave of spooky theater but are looking for something a bit more lighthearted and punchy, drop by at Village Theatre to watch Little Shop of Horrors, based on the cult classic 1960s film of the same name. The show is jam packed with comedy, rock, romance, and carnivorous, borderline predatory plants.

As summer yields itself to autumn, a sense of renewal flurries in the air. For TeenTix, this manifests itself most literally in our new batch of TEDS (Teen Editorial Staff) and Newsroom writers, but we also want to consider the importance of increasing the range of stories we consume and how we consume them. Depending on your perspective, the events you’ll see reviewed on the blog this month can act as windows into experiences different from your own, as well as mirrors reflecting and representing voices that are too often left unheard.

Art has served as an outlet for marginalized communities, but the arts community has also historically suppressed these voices, making diverse perspectives inaccessible. We believe it is critical for teens (and all citizens) to see themselves represented in art and expose themselves to the experiences of others. As the school year starts back up, it is our hope that we continue this trend of renewal and are able to introduce a greater feeling of belonging in the arts scene.

On Monday May 30, 2022, comedian Bo Burnham honored the one year anniversary of his popular Netflix special Inside by releasing over an hour of outtakes on his YouTube channel. While the outtake reel isn’t as polished as the original special, I believe it more effectively satirizes the role of media in our society and delivers laughs of larger quantity and quality. It also serves as an educational tool for aspiring and practicing artists alike:

Lesson 1: Respect the audience.

This coming of age meets horror film unnervingly unpacks Tinja’s (Siiri Solalinna) toxic relationship with her mother (Sophia Heikkilä) as well as her own repressed demons. Tinja’s mother is a family lifestyle vlogger, determined to encapsulate her family’s day to day life as perfect. Throughout the film, however, it becomes apparent that Tinja’s family is far from perfect. Director ​​Hanna Bergholm exposes the overbearingness of Tinja’s mother through costuming and set design. Tinja is thirteen years old and still wears frilly dresses and hair bows. Her bedroom is the epitome of a grandma who’s aesthetic never developed past the 1940s. With walls covered floor to ceiling in flowery wallpaper and sheer voile curtains, there is no doubt that Tinja has never rebelled against her mother.

To any outsider, this behavior would scream mommy issues, but to Tinja, she is simply upholding her mother’s desires and is happy to do so for her mother’s approval. Tinja lacks the freedom to be an unbothered teenage girl, so when she finds an egg in the woods, Tinja immediately bonds with it as this is the first thing that is truly hers. Still from Hatching (2022) directed by Hanna Bergholm. Distributed by IFC Films.

Exam season is in full swing for teens across the country. It can be difficult to ease the waves of stress that accompany exams. We at TeenTix would like to reassure our readers that we have full faith in their abilities. Whatever happens, it will be alright! De-stressing is important for success, both personally and academically. We hope that readers will set time aside to take care of themselves by participating in art, be it a classical music performance or a modern film! There’s a huge selection of events that will be happening this month, and we’d like to highlight just a few that we hope you’ll enjoy.

From May 20-21, Pacific MusicWorks will be holding their music show, Wayward Sisters: A Dynamic Tapestry of Sound, at Benaroya Hall. The event will be an ode to 17th century soprano trios, reimagining the major works of the century as theatrical events. If you’re looking for something more contemporary, catch SIFF’s film Hatching. The film follows a twelve-year-old gymnast as she confronts her conflicts in the form of a fantastical, yet increasingly grotesque, creature that hatches from an egg that she finds in the woods.

Spin Me Round is a comedic fever dream that surprises the audience with its crazy twists, well-rounded cast, and addicting relationships. What seemed like a basic comedy turned out to be a unique film that delivered emotion, depth, and genuine disappointment.

Amber, played by Alison Brie of the popular show Community, works as a manager for a trashy Italian food chain in the small town of Bakersfield. While working there, she is invited on a corporate retreat to the company’s luxurious mansion in Italy. Amber heads off on her trip with hopes of finding love and a life-changing experience.

There is something a bit nostalgic every time spring rolls around. The familiar whiff of flowers that brings to mind the warmer seasons. For those of us going to school, the end of the year starts to come into crisp focus. And best of all, the days grow longer, giving us just a little more time in the day to play. At TeenTix, we like to play by enjoying art. If you would like to join us as we use our new daylight hours, consider visiting the TeenTix calendar for a full list of arts events happening this month. Let us also recommend a few of the April events that we are most looking forward to.

As the weather gets warmer and students get restless, it’s a great month to take a look at some old favorites. If a nostalgia trip feels like the right thing for you this time of year, come down and see a musical adaptation of the classic, fun kid’s book Don’t Let the Pigeon Drive the Bus! at Seattle Children’s Theatre. Or if you want to engage in some more mature forms of art, Pacific Northwest Ballet will be presenting the unforgettable Swan Lake. Even if you are not much of a ballet enthusiast, this age-old story is truly a delight to watch for everyone, and the dancers performing are sure to be talented and creative.

Cannibalism, capitalism, and class struggle come together in Stephen Sondheim’s darkly humorous satire, Sweeney Todd: The Demon Barber of Fleet Street, beautifully adapted by director Tim Burton for the screen. Songs are cut down and some slashed altogether, shaving an hour off of the stage show’s runtime. The pacing keeps things engaging, and, unless you’re a diehard fan of the original Broadway production, it’s hard to tell anything’s missing. The film manages to do what many other stage-to-screen adaptations miss the mark on—making a movie that stands on its own.

After spending fifteen years in prison for a crime he didn’t commit, mild-mannered barber Benjamin Barker (Johnny Depp) returns home with a thousand-yard stare, a newfound cynicism, and a new name—Sweeney Todd. His last shred of hope is shattered when he discovers his wife Lucy (Laura Michelle Kelly) is dead and his teenage daughter Johanna (Jayne Wisener) is in the custody of the corrupt Judge Turpin (Alan Rickman) who had him sent away. Promising revenge on the aristocrats that ruined their lives, Sweeney and down-on-her-luck baker Mrs. Lovett (Helena Bonham Carter) hatch a delectable plan. But as they build a business off consuming the rich, they too are consumed—Sweeney by violence and Mrs. Lovett by greed—becoming the very things they swore to destroy. After all, you are what you eat. Johnny Depp in Sweeney Todd: The Demon Barber of Fleet Street (2007) directed by Tim Burton.

Musical theatre is a beloved art form. However, fans of the genre will be the first to admit that there are a lot of unrealistic parts to musical theater: breaking into song every few seconds, random dance breaks, that one character who only talks in minute-long monologues. Unfortunately, one all-too-real problem is how inaccessible it is. Musical theater is supposed to be fantastical and fun. Even when it discusses hard topics, there are songs and elaborate dance numbers to add levity. It’s a way to escape from the real world for a while, to a place where everything is a little brighter. It’s not fair that only some people get to experience this form of escapism.

As a lower-middle class individual who loves musical theater and has grown up bouncing between Chicago and Seattle, two big theater industries, catching shows has been near impossible. Tickets are expensive and getting them for a family of four is a financial nightmare. My family tried to get tickets to Hamilton for two years before we were able to find upper balcony, back row seats that we still had to dip into our savings for. Theatre is elitist. It shouldn’t be.

“Banned! Witch Hunt,” is the first of a series of film talks at SIFF focussing on banned films and censorship throughout history. This informative two-hour workshop was communicated via a thought-provoking presentation on films banned by the U.S. government under 1920s obscenity laws. Due to COVID-19 precautions, this production was offered in a hybrid model where audience members had the option to participate in-person or view the production online through Zoom.

I engaged through Zoom, and the workshop started promptly. The presentation was effectively presented through a shared screen and the audio was extremely clear. The session was largely divided into three parts: an educational lesson on silent films, an exploration of two silent films, and a Q&A.

2022 will be another year of firsts—some good, some bad, but hopefully enough to get us on the right track. It can be difficult to face yet another wave of uncertainty, but if nothing else, we here at TeenTix know that the art world will continue to flourish. Be it film, theater, music, or whatever else gets your creativity flowing, join us as we start the new year off with pieces from across the state.

Feeling like heading back to the stage this January? If you’re looking for something to make you laugh, come and watch See How They Run at Taproot Theatre Company, a lighthearted comedy about how one woman’s night out on the town can turn to mayhem. Or if you have an animal companion at home and want to see a creative take on their shades of morality, take a look at Animal Saints & Animal Sinners 3 at 18th & Union. For those who like a touch more realism, ACT presents Hotter Than Egypt, a dramedy (drama-comedy) that follows two American tourists and their two Egyptian tour guides. And for anyone interested in historical activism, Seattle Rep’s one-woman musical Fannie: The Music and Life of Fannie Lou Hamer is sure to be a hit.

As we move into the shorter days, Whim W’Him opens their season with their annual Fall Showcase, this year featuring “Nova” by Alice Klock and Florian Lochner, “Underlove” by Mark Castera, and “E=16-0163-TSX” by Rena Butler. Presented as both live performances and as films on Whim W’Him’s streaming platform IN-With-WHIM, these three dances traverse the lands of unreality in ways that manage to hit startlingly close to true.

(The following is a review of the films only, not the live performances.)

As we settle into the cozy fall weather, November beckons a slew of holiday celebrations. One way to get into the spirit is by enjoying some good old art, maybe to bond with a loved one you haven’t caught up with in almost two years, or maybe to treat yourself on a solitary afternoon. In the coming month, the TeenTix Newsroom will be hurtling through ballet shows, film classes, timeless plays, and holiday thrillers—and we hope you can join us in the journey.

To kick off the month right away with a healthy dose of feminism, we highly recommend checking out From Heartthrob to Movie Star at SIFF on November 4th. This virtual class focuses on the power of stories written specifically for a female audience and the importance of continuing to tell these stories despite the film industry’s increasing disregard for their value. Or, if you’re interested in female empowerment but want something a little more self-guided, Henry Art Gallery is hosting Diana Al-Hadid’s Archive of Longings exhibition, which will showcase sculptures exploring the natural world, Syrian and Muslim histories, and the female body.

The Local Sightings Film Festival is continuing to thrive in its 24th year. It is the only film festival in Seattle dedicated to Pacific Northwest films. The Northwest Film Forum was founded in 1995. It has kept Seattle’s film culture alive through its countless festivals, even through the ongoing COVID-19 pandemic. Last year, the Local Sightings Film Festival was held entirely online and now this year’s has been held hybrid, showing films both in person and in a virtual, COVID-safe manner. This year's festival has shown a wide array of genres and narratives with their only commonality being their connection to the Pacific Northwest. Regardless of their many differences they all feel as though they belong and there is something for everyone to appreciate.

Occupying the Megalopolis