Chipotle is teaming up with Edible DFW for a spring food film series that raises awareness about sustainable farming practices and buying local. A minimum $2 donation gets you in the door for each screening, and those proceeds support nonprofits committed to combating hunger and supporting local farming efforts.
The four-film series begins April 16 at the Angelika Theater with Eating Alabama, a documentary that follows a young couple that moves back to Alabama to “set out to eat the way their grandparents did — locally and seasonally.” Proceeds from this screening benefit Cafe Momentum.
The series continues April 30 with the documentary Grow, which chronicles a movement of young, educated people leaving cities and corporate jobs to become farmers in Georgia.
Cafeteria Man, the May 14 screening, is the story of Tony Geraci, a Baltimore foodservice director for the city’s public schools, who is on a crusade to make school lunches healthier by way of school vegetable gardens, student-designed meals and nutrition education.
The final film is In Organic We Trust, a look at the organic food industry and what lies behind the marketing of the one-time grassroots movement turned $30 billion industry. It shows May 28.
All screenings run from 7-10 pm. Following each film is a panel discussion with local farmers and sustainable food advocates. Seating at each screening is first-come, first-served, and each participant walks away with a “Grow Your Own” seed packet that includes a buy-one, get-one card from Chipotle.
Grow plays April 30 at the Angelika Film Center in Mockingbird Station.
Photo courtesy of Grow
Grow plays April 30 at the Angelika Film Center in Mockingbird Station.
As recently as the late 2010s, if a movie was made about an LGBTQ+ character, it was more than likely about their coming out experience. Romance, if it existed, was typically chaste, and actual sex was almost completely out of the question. Things have changed dramatically in the 2020s, to the point that a major movie star has no issue starring in a film called Queer.
Based on the 1985 novella by William S. Burroughs, the film features William Lee (Daniel Craig), whom everyone calls just Lee, a writer living in 1950s-era Mexico City who spends most of his time haunting local bars with friends like fellow writer Joe Guidry (Jason Schwartzman) and hitting on younger men. His early interactions in the film seem to indicate that Lee has a bad reputation within the local gay community, as multiple people avoid him or give him odd looks.
Lee senses an opportunity when he encounters a newcomer, Eugene Allerton (Drew Starkey). Despite some awkward interactions, the two of them start spending time together, although Lee has much more invested in the relationship than Eugene does. Their hit-and-miss bond continues until Lee, who’s starting to get into drugs in addition to the booze, convinces Eugene to accompany him on a trip to South America.
Directed by Luca Guadagnino and written by Justin Kuritzkes (making their second straight film together after Challengers), early on the film seems to be mostly about the divide between an older person who’s grown comfortable in his ways and a younger person who’s living a relatively carefree life. The introduction of drugs into the plot changes things, though, with Lee searching out more ways to open his eyes to what the world has to offer.
Guadagnino and his team use some interesting visual storytelling techniques to introduce ideas that may not be present in the actual script. The most successful, demonstrated in multiple scenes, is the superimposition of movements by Lee over what’s actually taking place in the scene. The subtle overlay gives the audience insight into Lee’s true feelings, showing what he can’t or won’t say out loud.
Music also plays a big part in how the plot is perceived, with the use of anachronistic songs from Nirvana and Prince serving to heighten certain moments. The score by Trent Reznor and Atticus Ross is not as in-your-face as the one they did for Challengers, but it complements the film well, especially when the plot starts to get trippy in its final half hour.
Craig, who appears sweaty and disheveled for much of the film, is about as far from the suaveness of James Bond as you can get in this role. He takes multiple risks with his performance and almost all of them pay off. Starkey’s character is subdued by comparison, but still comes off well. Schwartzman and Lesley Manville are given showy roles, with both using altered appearances that make them nearly unrecognizable to deliver memorable performances.
Queer is not as accessible as Challengers was storytelling-wise, but the fact that it tells a story about gay men living their lives as they see fit with no interference or questions shows how far the film world has come in a short period of time. It also continues Guadagnino’s streak of making audacious films in a way that few other filmmakers are willing or able to approach.
