Listings, April 4-10

theater

HOT DOGS IN THE LITTER BOX. From New York City’s comedy group Utah Arm, comes the fresh new sketch comedy show “Hot Dogs in the Litter Box,” playing this weekend at the Adams House Pool Theatre. The show mixes humor with musical tunes such as, “Top Gun: The Musical” and “Karate Kid: The Musical,” for a night of light-hearted fun. Through Saturday, April 5 at 8:00 p.m. Tickets $5, $4 for students (limit 2 per ID) and senior citizens, $3 for Adams House residents, available at the Harvard Box Office or by phone (617) 496-2222. Adams House Pool Theatre. (MC)

MARISOL. Puerto Rican-born American playwright Jose Rivera’s 1993 Obie-Award winning play comes to the Loeb Experimental Theatre this weekend, under the direction of Rebecca R. Kastleman ’05. In Rivera’s beautiful, surrealistic play, the young woman Marisol confronts the dejection and dereliction of New York City’s post-apocalyptic streets, while the city’s guardian angels rebel against a complacent and dying God. Kastleman’s surrealistic production promises to explore the love between friends in the the city’s back alleys, in this highly poetic and imaginative play. Through Saturday, April 5 at 7:30 p.m., and Saturday at 2:30 p.m. Tickets are free, available through the Loeb Box Office. Loeb Experimental Theatre. (MC)

CHESS. In this season’s Mainstage rock musical, three master chess players, Florence, Freddie and Anatoly face off in their pursuit to understand the ever-shifting alliances in love, life and politics. With lyrics by Tim Rice and a score by Benny Andersson and Bjorn Ulvaeus, Chess was originally inspired by Cold War politics and its effects on the lives of everyday people, played out through the metaphor of Chess. The musical also offers a darker glimpse at the realities we avoid and the stories we invent, while “we go on pretending stories like ours have happy endings.” Through Saturday, April 12. 7:30 p.m. on Wednesday and Thursday, at 8 p.m. on Friday, and at 2 p.m. (April 5 only) and 8 p.m. on Saturday. Tix $12; $8 for seniors and students. (MC)

readings

THE POETRY OF RAY DIPALMA. A New Yorker, Ray Dipalma has published over thirty collections of poetry and visual art. Critics have variously associated his delicate lyricism with Wallace Stevens, the Language movement and Dada. Noted volumes of poetry include Letters, Provocations, and Motion of the Cypher. Thursday, April 10, 5:30 p.m. Woodberry Poetry Room, Lamont Library. Free and open to the public. (JPC)

HELEN VENDLER. Nobel Prize-winner Seamus Heaney has named her “the best close reader of poems to be found on the literary pages.” Hard to match for her attention to nuance and breadth of knowledge, Porter University Professor Helen Vendler will read from her most recent work of criticism, Coming of Age as a Poet: Milton, Keats, Eliot, Plath—a study of four poets’ first “perfect,” or mature, poems. Friday, April 4, at 3 p.m. Free. Harvard Book Store, 1256 Massachusetts Avenue, (617) 661-1515. (JPC)

ELEANOR P. DELORME. Long after French military and economic influence began to decline, France is still a center of European art and style. Among those who helped to burnish France’s cultural credentials was Josephine de Beauhamais, best known as wife to Napoleon. While her husband relied on her for emotional support, his empire relied on her for her impeccable taste in art. Eleanor P. Delorme will present her new biography, Josephine: Napoleon’s Incomparable Empress, in a lecture hosted by the Harvard Bookstore at the Sackler Museum at 6 p.m. on Apr. 10. Complimentary tickets are available in advance at the Harvard Bookstore. (NKB)

opera

THE SORCERER. The Harvard-Radcliffe Gilbert and Sullivan Players promise to transform the Agassiz Theatre into the parodied Victorian England of “The Sorcerer.” The duo’s first full-length operetta, also known as “The Elixir of Love,” follows “John Wellington Wells, a dealer in magic and spells” as he causes mayhem with his love potions in true Gilbert and Sullivan style. Though the show pokes fun at outdated Victorian values, the fresh and lighthearted score can still charm and entertain modern audiences. Through Saturday, April 12. 8 p.m. Opening night is black tie. Tickets are $12/$10 general; $8/$6 students, senior citizens, and children; $4 with Harvard ID. Matinees: tickets are $10/$8 general; $6/$4 for students, senior citizens, and children. Patrons making a donation receive two tickets: $40, friend; $70, donor; $100, benefactor; $150, sponsor, available at the Harvard Box Office or by phone (617) 496-2222. (MC)

VI-4: A NIGHT OF STUDENT OPERA PREMIERES. This weekend, the Leverett House Old Library will boast an evening of brand new, world-premiere operas, composed and written by Harvard students. In this fourth year of the dramatic project, entitled “VI-4,” students will perform four short chamber operas, accompanied by chamber ensemble. The operas include the psychological drama “Dr. Magic,” with music by Carson P. Cooman ’04 and “Strapped,” with music by Matthew T. O’Malley ’04 and a libretto by Anthony Gabriele ’03. Through Sunday, April 6 at 8 p.m. Tickets $6 general, $5 students (limit 2 per ID), $4 Leverett House residents, available at the Harvard Box Office (617) 496-2222. (MC)

music

JORDI SAVALL AND HESPÈRION XXI. The critically acclaimed early music group will be performing 15th and 16th century songs from the Iberian Peninsula this Friday at Cambridge’s First Church on Garden Street. The group, led by Barcelona-born viola da gamba player Jordi Savall, focuses on the pre-1800 Iberian and European musical tradition and their re-interpretation and resurrection. Their latest albums Diàspora Sefardí and El Cancionero de Montecassino received Grammy nominations in 2001 and 2002, respectively. Friday, April 4 at 8 p.m. First Church in Cambridge, 11 Garden St., Cambridge. Tickets $20-$48. For more information call (617) 661-1812. (MC)

AARDVARK JAZZ ORCHESTRA Founded in 1973, the Aardvark Jazz Orchestra will be performing the music of Mark Harvey and Duke Ellington to students and jazz aficionados alike. Led by Harvey, who is the group’s founder, principal composer, and founding member, the group will offer a night of free entertainment for those who crave a taste of new and classic jazz tunes. Friday, April 4, 8 p.m. Free. MIT Kresge Auditorium, 48 Mass. Ave., Cambridge. (617) 253-2906. (MC)

RUSTED ROOT. Fan favorites Rusted Root will be performing in Hampton, New Hampshire this weekend, bringing their characteristic Latin and African-inspired tunes to the stage. This six-member band hailing from Pittsburgh released their latest album Welcome to My Party in 2002. The band has gained a grassroots following for their unique percussion-driven music. Saturday, April 5, at 8 p.m. The Hampton Beach Casino Ballroom, 169 Ocean Blvd., Hampton, NH. Tickets, $24.50. For more information, call (617) 931-2000. (MC)

THE HARVARD-RADCLIFFE ORCHESTRA. The Harvard-Radcliffe Orchestra performs an “All-Russian Program” featuring Prokofiev’s “Lt. Kije,” Kabalevsky’s “Colus Bergeron Overture,” and Mussorgsky’s “Pictures at an Exhibiton,” with guest conductor Gil Rose. Friday, April 4, at 8 pm. Tickets $13/$11/$8 general, $10/$8/$6 students (2 per ID). Series tickets available at $38/$32/$23 general, $29/$23/$17 students, and $10/$8/$6 for groups of ten or more, from the Harvard Box Office (617) 496-2222. Sanders Theatre. (GH)

THE PRO ARTE CHAMBER ORCHESTRA. The Pro Arte Chamber Orchestra, led by conductor Gunther Schuller, presents “Glorious Gunther.” Works to be performed include White’s “Five Minatures,” Schubert’s “Rondo for Violin and Orchestra,” Schuller’s “Concerto Da Camera,” and Haydn’s “Symphony No. 46,” featuring Peter Zazofsky on violin. The program includes a free pre-concert apertif at 2:00 p.m., a post-concert ask the artists session, and for a nominal charge, a wine and cheese reception after the concert. Sunday, April 6 at 3 p.m. Tickets are $42/$29/$19/$9 general, $2 off for students (2 per ID) and seniors, $5 off for WGBH members; Outings and Innings 2 for 1 (no discount on $9 tickets); $9 student rush (2 per ID) 30 minutes prior to curtain. Contact the Harvard Box Office for ticket purchases (617) 496-2222. Sanders Theatre. (GH)

SPOON. Critically acclaimed indie rock band Spoon makes an appearance at the Middle East club as part of their spring tour 2003. Joining them are The Crooked Fingers and The Fiery Furnaces. Tuesday April 4 at 8 p.m. Tickets $12 advance available at the Middle East Box office or from ticketmaster (617) 931- 2000, $14 at the door, must be 18+. Middle East Club (downstairs), 472 Massachussetts Ave. (617) 864-3278. (GH)

dance

HARVARD DANCE PROGRAM. The Dance Program of the Office for the Arts at Harvard presents “Dancer’s Viewpointe III,” the third installment of an annual series under the direction of Elizabeth Bergmann. Jazz, ballet, tap and modern dance all feature in these works by student and professional choreographers, performed by an ensemble of Harvard students. Thursday, April 10 through Saturday, April 12 at 8 p.m. General admission $10, discounted to $5 for senior citizens and students (limit 2 per ID). Tickets available through the Harvard Box Office or by phone at (617) 496-2222. Rieman Center for the Performing Arts, Radcliffe Yard. (JPC)

KOREAN CENTENNIAL CULTURE SHOW. Once again the Korean Students Association lights up the stage for its annual culture show—this time to celebrate 100 years of Korean immigration to the United States. Alongside other student performances, the night’s program includes traditional dance, a Korean drum troupe and the guest artist group Jinusean. Saturday, April 5, at 7:30 p.m. Tickets available for $15 through the Harvard Box Office, (617) 496-2222. Lowell Lecture Hall.

(JPC)

visuals

ALPHABETICS. This exhibit at the Amy Lowell Room in the Houghton Library features various historical artistic representations of different alphabets throughout the world. Works include a medival illustrated Bible, and early 18th century Russian alphabetic book, and an early Latin translation of the Qu’ran. Through April 30. Amy Lowell Room, Houghton Library. For details, call Hope Mayo at 617.495.2444. (MC)

ON THE SURFACE. A solo exhibition of paintings and drawings by artist Sue Williams, who joins the Department of Visual and Environmental Studies as a visiting faculty member during Spring 2003. Through April 13. Hours are Mondays through Saturdays, 9 a.m. to 11:30 p.m., and Sundays noon to 11:30 p.m. Free admission. Call (617) 495-3251 for more information. Lobby, Carpenter Center, 24 Quincy St. (TIH)

STEVEN HOLL: LIGHT, MATERIAL AND DETAIL. The highly celebrated American architect enjoys a double exhibition across MIT’s campus. Works examined include the Helsinki Museum of Contemporary Art, Holl’s expansion to the Nelson Atkins Museum of Art in Kansas City and MIT’s very own Simmons Hall dormitory. Through April 16. Free. Hours: Mondays through Fridays 9 a.m. to 5 p.m., Wolk Gallery, MIT School of Architecture and Planning. Mondays to Fridays 9:30 a.m. to 5 p.m, Compton Gallery, MIT Museum. (RJK)

THE COLOR YELLOW: BEAUFORD DELANEY. The exhibit, which is the first retrospective of an African-American artist at a Harvard University museum, is also Delaney’s first retrospective since he passed away in 1979. It features 26 highly textured, vibrant paintings by the underappreciated 20th-century African-American expatriate artist, most of which are dominated by warm, vivid shades of yellow See full story in the Feb. 28 Arts section. Through May 4. Hours: Mondays through Saturdays, 10 to 5 p.m.; Sundays 1 to 5 p.m. Free. Sert Gallery, Carpenter Center, 24 Quincy St., (617) 495-9400. (CWP)

IMAGE AND EMPIRE: PICTURING INDIA DURING THE COLONIAL ERA. The exhibit features about 50 different works of art that capture different views of colonial India. The paintings, decorative objects, figurines, photographs and sketches not only document the colonial era (17th-20th centuries) in India, but also demonstrate the cross-pollination between British and Indian artistic traditions. See full story in the Feb. 7 Arts section. Through May 25. Hours: Mondays through Saturdays, 10 a.m. to 5 p.m.; Sundays, 1 to 5 p.m. $6.50, $5 students/seniors, free for Harvard ID holders, Cambridge Public Library card holders and to people under 18. Group rates available. Sackler Museum, 485 Broadway, (617) 495-9400 (CWP)

BUDDHIST ART: THE LATER TRADITION. This comprehensive exhibit at the Sackler of Buddhist art from China, Korea, Japan, Tibet and India spans more than a thousand years. Surveying the transmission of Buddhism throughout East Asia from the 10th through the 18th centuries, the exhibit feature 72 pieces, including scroll paintings, Buddhist “sutras” or sacred texts, Chinese censers and Tibetan bell handles. See full story in the Feb. 14 Arts section. Through Sept. 7. Hours: Mondays through Saturdays, 10 a.m. to 5 p.m.; Sundays, 1 to 5 p.m. $6.50, $5 students/seniors, free for Harvard ID holders, Cambridge Public Library card holders and to people under 18. Group rates available. Sackler Museum, 485 Broadway, (617) 495-9400. (CWP)

film

TURKISH FILM SERIES. The director shot both films and a judge during his years as one of Turkey’s best known political activists and writers. Three of his later films, Road, The Wall and The Herd, will be screened this weekend in a series jointly presented by Harvard’s Center for Middle Eastern Studies and the Harvard Film Archive. The films are a merciless attack on Turkey’s government, which Guney considered fascist, and its culture, which he considered primitive and self-destructive. Yol, which won Guney a Palme D’Or at the 1982 Cannes Film Festival, follows five prisoners on furlough as they travel home and witness the ills imposed on the Turkish people by their government, military and customs.  Guney wrote and edited the Yol while he himself was in prison, enlisting Serif Goren to do the actual filming. All three films have been newly subtitled in English and will be introduced by Center for Middle Eastern Studies Director Cemal Kafadar. Two are set in prisons. Their bleakness reflects the frustration and despair off their director, a man who considered his homeland a prison. Yol screens Apr. 4 at 7 p.m.  The Wall screens Apr. 4 at 9:30 p.m. and Apr. 5 at 7 p.m. The Herd screens Apr. 5 at 9:30 p.m. (NKB)

HARVARD SQUARE LOEWS

10 CHURCH ST., (617) 864-4580

ADAPTATION. At its core, Adaptation is an analysis of the intellectual diseases that plague every writer, from editorial pressure to sibling rivalry to unrequited love. But its narrative edges make it a unique experience. Nicolas Cage plays writer Charlie Kaufman (the real-life writer of the film), who becomes consumed by his assignment to adapt Susan Orlean’s meditative nonfiction novel The Orchid Thief and his own personal eccentricities. Like Kaufman and director Spike Jonze’s previous film Being John Malkovich, several plots overlap and intertwine with surprising at dramatic twists, creating a frustrating, complex film that is infinitely insightful and weirdly moving. Adaptation screens at 12:30, 3:30, 6:15 and 9:15 p.m. (CJF)

AMANDLA!  A new documentary on the role that song played in the battle against apartheid in South Africa, Amandla begins with the sight of children singing as they watch the exhumation and reburial of their executed father’s corpse. Closing with the sight of newly-elected president Nelson Mandela gleefully dancing amid throngs of followers, the film contrasts the violence of South Africa’s apartheid era with the humanity and emotion of both its Afrikaaner and black South African subjects. The movie tells the story of black South African freedom music and how it articulated and embodied the people’s spirit during the struggle to end apartheid. “Amandla,” the Xhosa word for “power,” was the rallying cry that activists used to punctuate the end of many songs. Amandla is a compilation of personal interviews, musical performances, reenactment and original clippings from newsreels and films of rallies. Images and songs are allowed to present themselves, appearing with minimal explanation and subtitles. The frames practically drip with color, as though every object within them bursts with an energy and vitality reflected by the nation as a whole. Amandla screens at 12:15, 3:15, 7 and 9:45. (JJH)

CHICAGO. The potential revival of the Hollywood musical is upon us with Chicago—for better or worse. Ignoring its politicized ramifications as a genre revival, Chicago on its own is a pretty wild ride, showcasing once and for all that the new school of glitzy film stars can sing better than Jennifer Lopez. Catherine Zeta-Jones, Renee Zellweger, and especially John C. Reilly are surprisingly watchable in this furiously edited, expensive adaptation of the murderous Broadway classic. Winner of this year’s Academy Awards for Best Picture, Best Supporting Actress, Best Art Direction, Best Costume Design, Best Editing and Best Sound. Chicago screens at 1, 4, 7:30 and 10:10 p.m. (CJF)

COWBOY BEBOP. This anime entertainment from Japan has marked time alongside The Powerpuff Girls on the Cartoon Network, but otherwise the two series don’t have much in common. Cowboy Bebop’s celluloid incarnation avoids Powerpuff’s sugar-and-spice conceit in favor of a complex plot involving Martians, killer Macadamia nuts and pharmaceutical corporations. The film borrows copiously from a range of niche genres—action, romance, western and sci-fi, among others. It’s a shame that it isn’t a musical, too (“Bebop” is the name of the film’s spaceship), considering that it’s been decades since Paint Your Wagon wiped out the potentially entertaining future of the song-and-dance western, and it couldn’t hurt to try reviving the genre. Cowboy Bebop screens at 1, 4, 7 and 10. (BJS)

THE HOURS. This adaptation of Michael Cunningham’s Pulitzer-winning novel is unapologetically Oscar bait, backed by a triumvirate of A-list actresses (Meryl Streep, Nicole Kidman, Julianne Moore). Yet for a film of its ostensible weight, The Hours certainly takes easy shots at its lead trio—three colossally boring straw women who rediscover their lost vitality in drearily obvious ways as the picture progresses. Perhaps The Hours’ greatest value rests in its side-by-side comparison of Moore, the greatest actress of her generation, and Streep, the most acclaimed actress of hers; when judged head-to-head, Moore ends up easily topping Streep, if for no other reason than that Streep persists in being an actress onscreen while Moore is content to be a person. Winner of this year’s Academy Award for Best Actress. The Hours screens at 12:45, 3:45, 6:45 and 9:45 p.m. (BJS)

KENDALL SQUARE CINEMA

ONE KENDALL SQ., (617) 494-9800

ASSASSINATION TANGO. Robert Duvall’s career as a film actor reads like a smorgasbord of human types; he’s played a surf-crazy colonel in Apocalypse Now, a conformist tightass in MASH, a fire-spitting preacher in The Apostle and everybody in between. He lets his feet do some of the talking as he stars in Assassination Tango, a dance-tinged character study armed with a title that explains its plot with TV Guide-caliber brevity (Duvall’s an assassin, and he tangos!). Duvall’s aging hitman, his hair yanked back in a low-hanging mini-ponytail, departs his Brooklyn pad for a job in Argentina, where he drinks in the local color. Duvall also directs and writes—the first time he’s done so since The Apostle six years ago. Assassination Tango screens at 1:55, 4:30, 7:05 and 9:45. (BJS)

BEND IT LIKE BECKHAM. This touching English comedy has won rave reviews on both sides of the Atlantic for its humorous depiction of women’s soccer. Or, as the characters would say, football. The movie follows the trials and tribulations of an 18 year-old Sikh girl determined to pursue a career in professional football. Her incredible on-field talent, though, is not enough to convince her religiously orthodox parents to allow her to trade the kitchen for the football pitch. So, she runs away from her home in West London to move to Hamburg and follow her sporting dreams. A charming, light-hearted picture that will appeal to even those who are unfamiliar with papadums and penalty kicks. Bend It Like Beckham screens at 1:30, 2:10, 4:05, 4:45, 6;40, 7:20, 9:15 and 9:55. (Anthony S.A. Freinberg)

BOWLING FOR COLUMBINE. Michael Moore’s quintessential documentary on red-neck Americana and its political basis has turned more heads in curiosity than a gun show in Harvard Square would. Criticized for its self-indulgence and questionable objectivity, Bowling for Columbine is nonetheless a dazzling example of the power of politically charged cinema. Probably the most talked-about film of the year, Bowling for Columbine effectively condenses nearly a decade of American history into a digestible, moving meditation on the sources of American gun violence. That’s no small feat. Winner of this year’s Academy Award for Best Documentary. Bowling for Columbine screens at 4:30 and 9:50 p.m. (CJF)

LAUREL CANYON. Frances McDormand plays against type in Laurel Canyon, a well-crafted family dramedy by director Lisa Cholodenko. McDormand, the overbearing mom in Almost Famous, this time plays the type of fast-moving music producer scorned by her character in Cameron Crowe’s amusing 2000 cult favorite. Among her character’s transgressions: inviting Alex (Beckinsale), her future daughter-in-law, to join a three-way as part of an unconventional “getting to know you” exercise. Sam, her uber-straightlaced son (Christian Bale), would not approve. Sam and Alex are the best-looking Harvard grad school alums since Reese Witherspoon’s law school party girl in Legally Blonde. Family issues aside, one leaves the film wishing that life imitated art more often. Laurel Canyon screens at 2, 4:35, 7:10 and 9:35. (NKB)

LAWLESS HEART. Friends and family converge on a small town in northern England for a funeral in Lawless Heart. Stuart, the deceased, was a young gay man who leaves behind a healthy bank account and successful restaurant when he drowns off the Isle of Man. Nick, his partner, and Dan, his brother-in-law, immediately begin competing over the restaurant. Both are sidetracked by unexpected relationships: Nick with his first woman, and Dan with an inappropriately frisky female guest at Stuart’s funeral. The film’s structure is initially somewhat confusing-it revisits the funeral and other scenes three times from the perspectives of three different people. But once the story gets going, it’s surprisingly humorous and heartfelt. Lawless Heart screens at 2:35, 5, 7:25 and 10. (NKB)

NOWHERE IN AFRICA. This year’s Oscar winner for best foreign film sheds new light on the exodus of one small group German Jewish refugees in the late 1930s. It’s the tale of Walter Redlich, a Jewish lawyer who goes to Africa to live with the European expatriate community (which is now mostly Jewish) in and around Nairobi. After opening with scenes of his family’s comfortable home life back in Germany, the film depicts the Redlichs adapt to their new home on a desolate Kenyan farm and struggle with relationships between family members and other refugees from Nazi-controlled Europe . Particularly interesting is Walter’s daughter, Regina, who quickly transitions to life Kenya, embracing the country as her true home and being accepted by native Kenyans after learning their language. The story ultimately questions what a home is. Despite early misgivings, Jettel, Regina’s mother, is ultimately won over as well. They grudgingly accompany Walter “home” to Germany-the country which rejected them and butchered the rest of their family-so that he can help rebuild the judicial system. The poignant story is enhanced by the Nowhere in Africa’s beautiful cinematography and evocative soundtrack. Winner of this year’s Academy Award for Best Foreign Language Film. Nowhere in Africa screens at 3, 6:20 and 9:25. (EC)

THE PIANIST. Adrien Brody’s magnetic, largely silent performance in Roman Polanski’s Holocaust drama almost compensates for The Pianist’s inconsistent tone and distasteful political sensibilities. Brody’s Wladek Szpilman, who could hardly have picked a worse time and place to be Jewish, transforms from cocky concert pianist to starving phantom hunted by Nazis after escaping death in the bombed-out ghetto. The film soars briefly as it reflects on the redemptive power of music and the Szpilman’s commitment to survival; it stumbles badly in its misleading depiction of universally heroic Poles and in its sympathy for an officer of Hitler’s vicious army to the east. Winner of this year’s Academy Awards for Best Director, Best Actor and Best Screenplay. The Pianist screens at 2:50, 6 and 9:10 p.m. (NKB)

THE QUIET AMERICAN. Michael Caine is garnering some of the best reviews of his career for his role as a hardened journalist in this adaptation of Graham Greene’s novel. The film, set in 1950s Vietnam, pits Caine against Brendan Fraser’s undercover American spy as Fraser vies for the affections of Caine’s Vietnamese mistress (Do Thi Hai Yen). Fraser’s intervention in the romance is intended to parallel the film’s other plot—a commentary on the early American efforts to eradicate communism in Vietnam. Christopher Hampton (Dangerous Liaisons) and Robert Schenkkan adapt Greene’s book, while Phillip Noyce (Rabbit-Proof Fence) directs. The Quiet American screens at 2, 4:20, 6:55 and 9:15 p.m. (BJS)

TALK TO HER. The only recognition that Pedro Almodovar’s pretentious Talk to Her deserves is as the year’s most overrated film. Though beautifully shot and populated with a set of unusually complicated characters, Talk to Her shamelessly and outrageously asks its audience to sympathize with a rapist. The film manages, paradoxically, to be both sloppily edited and deadeningly self-conscious. As it progresses, the audience is slowly but surely ushered into a stupor very closely resembling that of the coma victim at the story’s inane center. Winner of this year’s Academy Award for Best Original Screenplay. Talk to Her screens at 1:10, 4, 7:10 and 9:55 p.m. (NKB)

—Happening was edited by Michelle Chun ’05 and compiled by Tiffany I. Hsieh ’04, Ryan J. Kuo ’04, Benjamin J. Soskin ’04, Jayme J. Herschkopf ’06, Nathan K. Burstein ’04, Clint J. Froehlich ’05, Ashley Aull ’06, Christopher W. Platts ’06, Samuel H. Perwin ’04, Ben B. Chung ’06, Emily Caplan ’04, Gary Ho ’06, Josiah P. Child ’05, Anthony S.A. Freinberg ’04, Julia E. Twarog ’05 and Thomas J. Clarke ’04.