After Missouri Students Association Senate Speaker Mark McDaniel gaveled in the meeting, conversations and discussions ranged from diversity, to elections and more. However, there was one topic that was brought up again and again: the university’s budget. Or, more accurately, the cuts to the budget.
The True/False Film Festival is a fusion of festivity and creativity that citizens of Columbia enjoy for one weekend out of the year. The 2016 season brought 45 nonfiction films to venues around the city, and I was able to attend the last screening of “The Pearl” that was held at the Blue Note. “The Pearl” features four middle-aged transgender women that are living in the Pacific Northwest. Nina is a part-time pizza deliverer who rarely dresses as herself in public, Jodie and Krystal are two sisters that live together, and Amy is the eldest who operates a safe house for trans women. Film-makers Jessica Dimmock and Christopher LeMarca film the four women as they go through their daily routines discussing their personal journeys.
The Missouri Students’ Association had, in essence, four vice presidents in the last 24 hours. Payton Head is both the former and current president of MSA. None of the six candidates in last fall’s election are occupying either of the top two positions in the government.
Every year, the University of Missouri’s School of Journalism awards the Missouri Honors Medal for Distinguished Service in Journalism. This award, which has been presented to numerous outstanding journalists since its creation in 1930, stands as a tribute to “advertising and public relations practitioners, business people, institutions and media organizations from around the world.” These journalists, selected by the faculty of the School of Journalism, are selected on the basis of “lifetime or superior achievement,” and are presented with an award each year at the University of Missouri Honors Medal Banquet.
Ready to leave the Missouri Student Association’s presidential debates, I listened to the moderator’s announcing of its end, but I missed the sound of any applause or acknowledgment of good performance from the audience members. The lack of applause translated to me a collective sigh. I knew, at that point, that the rest of the people in Bengal’s Lair felt the same as I did: that the MSA a) fails to relate to its students or its issues and b) that none of the candidates maintain the students’ interest or praise. The three groups running—Haden Gomez and Chris Hanner, Jordan McFarland and Jonathan Segers and Syed Ejaz and Heather Parrie—all showed a general understanding of the issues, and all spoke well enough to convey their platforms. The sad fact is that none of these candidates will raise that number, making the MSA presidential race a pile of dust, with the candidates being individual specks.
Steve Jobs reaches all the goals it had set out for: a clear demonstration of the man behind Apple, exposition of Job’s work and family life, and dazzling presentation akin to the sleek, artistic model of his products. Directed by the Oscar-winning Danny Boyle, who is best known for his work on Slumdog Millionaire, the movie entertains you and baffles you with a nearly unanswerable question: is Steve Jobs a better man than his products? The movie attempts to answer this in a three-part plot, one in 1984, one in 1988, and the final in 1998, finally tying together plotlines involving his daughter Lisa, his prevalent egoism, and his relationship with lifelong friend Steve Wozniacki. And although the movie covers the development of Apple, I am not sure I agree with Fassbender’s Jobs when he says, “The two most significant events of the twentieth century: the Allies win and this.”
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It is not too much of a stretch to view all of history as a desperate attempt to change what has happened in the past. Both in war and in peace, the essential goal of all of humanity has essentially remained the same: to correct past wrongs; to gain what is rightfully one’s own; to ensure that one’s offspring will never have to endure the hardships endured by preceding generations– in essence, to ensure that justice prevails. Therefore, if the human race didn’t have, by and large, a warped and self-centered sense of justice, we would live in a paradise.
There is a moment in Actress when Brandy Burre, the film’s subject, is sitting alone in a playroom, her back against a wall littered with board games and action figures. Brandy looks around her and says softly, “I moved to Beacon, I’m not acting, so this is my creative outlet.” She pauses as though seeking an affirmation from the toys surrounding her, and her voice gains a hint of certainty as she announces again, “I moved to Beacon, I’m not acting, so this is my creative outlet”.
Nightcrawler is a legitimately thrilling film that is at the same time terrifying.
The film follows the story of Lou Bloom (Jake Gyllenhaal), a go-getter who is doing anything to survive. When the film opens up, he is trying to parlay selling stolen chain link fence and copper wire into a construction job and gets shot down. After witnessing freelance cameramen cover the aftermath of a gruesome roadside crash, Lou turns his efforts to broadcast news. He teams up with Nina Romina (Rene Russo), the graveyard shift news manager at a station whose motto is “If it bleeds, it leads.” The rest of film follows Lou as he delves into dark ethical territory in order to get the juiciest footage.