Martin Cid's Blog: Martin Cid Magazine, page 155

Dead Boy Detectives – Series on Netflix: Neil Gaiman Straddling the Ancient and the Modern

Dead Boy Detectives is a series created by Neil Gaiman and Matt Wagner. It stars George Rexstrew, Jayden Revri, Kassius Nelson and Lukas Gage.

Imagine a vibrant, stylish, and youthful concoction that blends the intrigue of Sherlock Holmes with spirits, possessions, and an abundance of comedy. This series, based on characters by Neil Gaiman and featuring the author himself as an executive producer, promises to be Netflix’s next big hit among the youth audience. No expense was spared for one of the network’s brightest stars (Gaiman) in adapting his brilliant story into a series that marries a modern aesthetic, narrative, and execution to perfection.

Utterly entertaining.

Dead Boy DetectivesPlot

Edwin Payne and Charles Rowland helm a detective agency that tackles extraordinary cases because they, too, are extraordinary—being ghosts, they solve mysteries in this world. Their investigations take on a new complexity when a medium named Crystal Palace joins their team.

About the Series

With its elegant and meticulously crafted visuals, this series has everything to appeal to younger viewers. It balances the spirit of traditional elements through Edwin and juxtaposes them with Charles and Crystal, who add a contemporary flair. Visually, the series is a blend of gothic elements like graveyards and a decadent ambiance with the modernity of the internet age, sticking firmly, however, to an otherworldly aesthetic.

More a comedy than an action series, it carries the aesthetic genius of comic legend Neil Gaiman, backed by all means for a high-quality production. Netflix pulls out all the stops for Gaiman once again, following the successful bet on “The Sandman,” which became a favorite among audiences and critics alike (with eager anticipation for its second season).

“Dead Boy Detectives” may be less profound and philosophical but is infinitely more refreshing, fun, and carefree. It doesn’t aspire to epic status, focusing instead on its comedic tone and the three characters who invariably infuse scenes and cases with humor.

The script excels in its entertaining dialogue more than in character creation. Yet, what truly stands out is its visual aspect, sure to please fans of Gaiman’s work and capturing the cheeky spirit of his characters in imagery: a modern take on Sherlock Holmes’ aesthetic, filled with spirits, yet retaining the essence of literary romanticism brimming with graveyards and tormented souls.

The series showcases a refreshing approach to rhythm and editing. Scenes feature rapid cuts, some lasting only minutes, with a continuous shift in shots that are meticulously and tenderly crafted.

A visually stunning work, “Dead Boy Detectives” is lively, modern, and aims to become a massive success among the younger demographic.

We’re betting on it.

Dead Boy DetectivesEpisode ListEpisode 1: The Case of Crystal Palace

After assisting a teenage medium in resolving a dangerous demonic situation, Edwin and Charles embark on a journey to the United States in search of a missing girl. Along the way, they unexpectedly gain the support of an unlikely ally.

Episode 2: The Case of the Dandelion Shrine

Stranded in a drowsy town in Washington, the investigators are faced with a peculiar mission: aiding Crystal’s eccentric roommate Niko in getting rid of her ghostly infestation.

Episode 3: The Case of the Devlin House

The team attempts to liberate a spectral family trapped in an endless cycle within a haunted mansion, only to unintentionally trigger a severe case of déjà vu for one of the detectives.

Episode 4: The Case of the Lighthouse Leapers

The team of investigators delves into a troubling pattern of fatalities occurring at a lighthouse. While Crystal diligently pieces together various clues surrounding the mysterious deaths, she suddenly hears a distinct voice that leads her down an unexpected path.

Episode 5: The Case of the Two Dead Dragons

As Crystal, Edwin, and Charles delve into the investigation of two beloved jocks’ murders, Niko orchestrates a butcher shop date for Jenny (played by Briana Cuoco) and her secret admirers.

Episode 6: The Case of the Creeping Forest

When a crisis strikes, Crystal is forced to think on her feet as Monty (played by Joshua Colley) enlists the help of the boys to find his lost friend. However, as they delve deeper into the case, they realize that things are not as they seem and an eerie atmosphere surrounds them.

Episode 7: The Case of the Very Long Stairway

In a moment of fear, Edwin finds himself in a daunting situation. Thankfully, Charles turns to his trusted best friend’s detailed notes to locate him. Meanwhile, Crystal refuses to back down and bravely confronts her former partner.

Episode 8: The Case of the Hungry Snake

As memories come rushing back, Crystal is forced to confront her past. She must reckon with the painful events that shaped her and prepare for the biggest challenge she has ever faced. Meanwhile, Esther (Jenn Lyon) has put her sinister plan into motion, leaving the group no choice but to confront their most ruthless enemy yet.

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Dead Boy Detectives (2024) Series on Netflix: Neil Gaiman Straddling the Ancient and the Modern

Dead Boy Detectives is a series created by Neil Gaiman and Matt Wagner. It stars George Rexstrew, Jayden Revri, Kassius Nelson and Lukas Gage.

Imagine a vibrant, stylish, and youthful concoction that blends the intrigue of Sherlock Holmes with spirits, possessions, and an abundance of comedy. This series, based on characters by Neil Gaiman and featuring the author himself as an executive producer, promises to be Netflix’s next big hit among the youth audience. No expense was spared for one of the network’s brightest stars (Gaiman) in adapting his brilliant story into a series that marries a modern aesthetic, narrative, and execution to perfection.

Utterly entertaining.

Dead Boy DetectivesPlot

Edwin Payne and Charles Rowland helm a detective agency that tackles extraordinary cases because they, too, are extraordinary—being ghosts, they solve mysteries in this world. Their investigations take on a new complexity when a medium named Crystal Palace joins their team.

About the Series

With its elegant and meticulously crafted visuals, this series has everything to appeal to younger viewers. It balances the spirit of traditional elements through Edwin and juxtaposes them with Charles and Crystal, who add a contemporary flair. Visually, the series is a blend of gothic elements like graveyards and a decadent ambiance with the modernity of the internet age, sticking firmly, however, to an otherworldly aesthetic.

More a comedy than an action series, it carries the aesthetic genius of comic legend Neil Gaiman, backed by all means for a high-quality production. Netflix pulls out all the stops for Gaiman once again, following the successful bet on “The Sandman,” which became a favorite among audiences and critics alike (with eager anticipation for its second season).

“Dead Boy Detectives” may be less profound and philosophical but is infinitely more refreshing, fun, and carefree. It doesn’t aspire to epic status, focusing instead on its comedic tone and the three characters who invariably infuse scenes and cases with humor.

The script excels in its entertaining dialogue more than in character creation. Yet, what truly stands out is its visual aspect, sure to please fans of Gaiman’s work and capturing the cheeky spirit of his characters in imagery: a modern take on Sherlock Holmes’ aesthetic, filled with spirits, yet retaining the essence of literary romanticism brimming with graveyards and tormented souls.

The series showcases a refreshing approach to rhythm and editing. Scenes feature rapid cuts, some lasting only minutes, with a continuous shift in shots that are meticulously and tenderly crafted.

A visually stunning work, “Dead Boy Detectives” is lively, modern, and aims to become a massive success among the younger demographic.

We’re betting on it.

Dead Boy DetectivesEpisode ListEpisode 1: The Case of Crystal Palace

After assisting a teenage medium in resolving a dangerous demonic situation, Edwin and Charles embark on a journey to the United States in search of a missing girl. Along the way, they unexpectedly gain the support of an unlikely ally.

Episode 2: The Case of the Dandelion Shrine

Stranded in a drowsy town in Washington, the investigators are faced with a peculiar mission: aiding Crystal’s eccentric roommate Niko in getting rid of her ghostly infestation.

Episode 3: The Case of the Devlin House

The team attempts to liberate a spectral family trapped in an endless cycle within a haunted mansion, only to unintentionally trigger a severe case of déjà vu for one of the detectives.

Episode 4: The Case of the Lighthouse Leapers

The team of investigators delves into a troubling pattern of fatalities occurring at a lighthouse. While Crystal diligently pieces together various clues surrounding the mysterious deaths, she suddenly hears a distinct voice that leads her down an unexpected path.

Episode 5: The Case of the Two Dead Dragons

As Crystal, Edwin, and Charles delve into the investigation of two beloved jocks’ murders, Niko orchestrates a butcher shop date for Jenny (played by Briana Cuoco) and her secret admirers.

Episode 6: The Case of the Creeping Forest

When a crisis strikes, Crystal is forced to think on her feet as Monty (played by Joshua Colley) enlists the help of the boys to find his lost friend. However, as they delve deeper into the case, they realize that things are not as they seem and an eerie atmosphere surrounds them.

Episode 7: The Case of the Very Long Stairway

In a moment of fear, Edwin finds himself in a daunting situation. Thankfully, Charles turns to his trusted best friend’s detailed notes to locate him. Meanwhile, Crystal refuses to back down and bravely confronts her former partner.

Episode 8: The Case of the Hungry Snake

As memories come rushing back, Crystal is forced to confront her past. She must reckon with the painful events that shaped her and prepare for the biggest challenge she has ever faced. Meanwhile, Esther (Jenn Lyon) has put her sinister plan into motion, leaving the group no choice but to confront their most ruthless enemy yet.

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City Hunter (2024) – A Hilariously Outrageous Netflix Movie: The Flirty Private Detective

City Hunter is a Japanese movie on Netflix directed by Yuichi Satoh and written by Tatsuro Mishima. It stars Ryohei Suzuki and Misato Morita.

Do you enjoy comedies that actually make you laugh? Yes, it sounds simple, straightforward, and pretty obvious, but they’re becoming increasingly rare. “City Hunter” stands out as one of those unique comedies crafted purely for entertainment, centered around a charismatic lead who’s somewhat of a superhero with a penchant for stripping and partying hard.

In the midst of his wild lifestyle, he finds himself on a mission to solve his friend’s murder.

City HunterPlot

Ryo Saeba, a private detective, spends his off-hours mingling in Kyoto’s clubs and flirting away. His life takes a dramatic turn when his partner is murdered, linking back to a drug that grants extraordinary physical strength to its users but at the cost of driving them utterly insane.

About the Movie

This film is a comedy through and through. Remember those 80s films like Beverly Hills Cop with Eddie Murphy? It carries a similar vibe but cranks up the comedic, ludicrous, and non-serious dial even further. “City Hunter” is a movie that flirts with the absurd, parodying the detective genre.

Our protagonist exudes charisma, and the film revolves around his “bad jokes” and foolish antics. He’s a bizarre mix of Batman, Philip Marlow, and a flirtatious cosplay enthusiast—imagine girls dressed as bunnies and the like. Add to this, mobsters, dangerous drugs, brawls, and loads of jokes and silliness.

You might enjoy “City Hunter” because it allows you to relax and simply sit back to relish in this nonsensical movie, or you might take a more neo-realist view and feel that such foolishness contributes nothing to humanity. Personally, I adore movies that don’t demand anything intellectually and are created with the pure intention of providing entertainment and fun, nothing more.

Ryo is a character you’ll either love or hate; there’s no middle ground. We find him incredibly appealing, pitying those who can’t see the unrefined humor behind a character that amalgamates so many cinematic icons.

Technically, it’s well-crafted with adequately lit scenes and some commendable shots. But make no mistake: it feels like a TV movie, with a TV pace and a TV plot. It’s forgettable as you watch it, but that doesn’t matter because no one’s watching this to figure out who the villain is. The joy comes from going with the flow and seeing what new absurdity befalls our protagonist and his new partner (the sister of his slain colleague).

Our Opinion

Sit down, enjoy, forget you were born with neurons, and ignore that the world might be witnessing its final moments. It’s worth unwinding with a brilliantly dumb movie of yesteryears, offering nothing but good times and laughter.

And, of course, the exceptional company of Ryo Saeba.

City HunterWhere to Watch “City Hunter”

Netflix

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The Doomsday Cult of Antares de la Luz (2024) – A Documentary on Netflix: A Horrifying Crime Amidst Delusion, Cults, and Hallucinogens

The Doomsday Cult of Antares de la Luz is a documentary directed by Santiago Correa.

Set in Santiago, Chile, amidst a group of individuals seeking self-discovery through meditation and peace, Ramón Gustavo Castillo Gaete emerges as a pivotal figure. A charismatic leader, Gaete, who self-proclaimed as “Altars of Light,” attracted followers in search of inner truth and self-knowledge. They meditated together, sharing experiences and beliefs under his guidance.

Gaete, troubled by chronic pain, found relief in Ayahuasca – a potent brew described as almost magical for its pain-relieving properties and its supposed ability to unlock spiritual realms. This illegal concoction in Chile, coupled with self-awareness literature, led to a horrendous outcome – a human sacrifice.

The Doomsday Cult of Antares de la LuzAbout the Documentary “The Doomsday Cult of Antares de la Luz”

“The Doomsday Cult of Antares de la Luz” isn’t your typical true crime documentary. It diverges from focusing on the gruesome details of the crime itself to exploring the indoctrination process from the perspective of Gaete’s followers. The documentary provides insights into how these individuals came to view Gaete as a reincarnated deity, driven largely by his charisma, persuasive rhetoric, and the vision-inducing effects of Ayahuasca.

The narrative doesn’t tread new ground; it’s a familiar tale of self-discovery seekers led astray by a figure offering enlightenment at the cost of submission. Yet, “The Doomsday Cult of Antares de la Luz” uniquely immerses the viewer into the world of the followers, offering a glimpse into how and why such radical beliefs were adopted.

The film isn’t solely focused on the sensational aspects of the case; it also ventures into the realm of hallucinations and how certain substances can, through suggestion and consciousness alteration, lead to submission and drive individuals to commit cruel acts.

“The Doomsday Cult of Antares de la Luz” ultimately explores the descent into madness and the factors that precipitate such a fall more than it does investigate a crime.

Our Take

“The Doomsday Cult of Antares de la Luz” provides a balanced viewpoint on a grievous event that captivates with its mix of horror and intrigue. While it leverages the sensational elements of a tragic and heinous situation, its well-crafted narrative offers an equitable perspective on the events that unfolded.

Where to Watch “The Doomsday Cult of Antares de la Luz”

Netflix

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Frieze New York 2024: Exploring the Intersection of Abstraction and Human Subject: Alexander Gray Associates Showcases Works by Brey, Stiler, and Bearden

Alexander Gray Associates contextualizes recent work by Ricardo Brey and Ruby Sky Stiler alongside a historic composition by Romare Bearden. Bringing together sculpture, painting, collage, and works on paper, the Gallery’s presentation highlights the three artists’ complex relationships to abstraction, assemblage, and the human subject.

Foregrounding the presentation is Romare Bearden’s lush collage, The Two Moons of Morning (1972). Expanding the academic tradition of the female nude, Bearden’s lyrical image centers a seated woman amid verdant settings. Known for his powerful depictions of the Black American experience, Bearden grew increasingly disillusioned with abstraction over the course of his career, turning instead to innovative deployments of collage and photomontage with works such as The Two Moons of Morning. The excised photograph forming the work’s primary figure manifests Bearden’s commitment to amending art history through strategic odes to “the beauty of black woman.” In his celebration of Black beauty, Bearden asserts the exuberance of his subject matter through the abundance of his accumulated materials. By these means, Bearden attests that Black American life is “perhaps the richest because it is the one lifestyle that is talking about life and about the continuation of life … and through all of the anguish—the joy of life.”

Similarly, Ricardo Brey’s sculptures illuminate a holistic approach to cross-cultural experience and the human condition, uniting Western and non-Western visual vocabularies through modes of assemblage. Brey’s bricolage reimaginings of the Santaría pantheon—including Eshu and Iyalocha (both 2023)—marry together Classical motifs with an undeniably Caribbean frame of aesthetic reference that is uniquely his own. Brey’s foregrounding of darkened and decoratively amended replicas of antique sculpture asserts a syncretic relationship between African visual culture and Western antiquity. In the artist’s words, “the sculptures stand for a moment in time when the ‘great origins of European civilisations,’ looked to the African continent with so much awe and respect that they ended up integrating their imagery into their own culture.”

Just as the artist’s assemblages echo processes of “creolization” within the African diaspora, so too do Brey’s all-blue works on paper provide conceptual models through which multiplicity can be captured. His ambient scenes such as Traces of Light and Weeping Willow (both 2023) embrace the enigmatic, non-reductive forms of the natural world. Foregrounding expansive natural environments, the artist champions both the resilience of nature and the hybrid human subjects who populate it.

The work of Ruby Sky Stiler is likewise invested in a feminist ethic to find what the artist describes as “commonality between human beings.” Recalling modernist block printed textiles, Stiler’s relief paintings such as Artist With Blue Palette (2023) subvert the genre of self-portraiture, reinserting the woman artist as an archetype back into the art historical canon. Through her engagement with collage and dialects of twentieth century abstraction, Stiler combats histories of female objectification. Along these lines, canvases like Two Figures in Blue (2023) are both material amalgams composed of heavy watercolor paper, acrylic paint, and graphite drawings applied to wooden panels, and multilayered interventions into the history of the nude.

Her sculptures similarly complicate the history of the nude while staking out a productive tension between the monumental and the prop-like—as well as the geometric and the organic. With Rose Bathers (2021), Stiler evokes modernist paintings of nude figures who stand before bodies of water, socially balancing the composition by including of male figures and children. To this end, Stiler creates images and models that recall the past while reflecting the ever-shifting expressions, expectations, and aspirations of the present.

Variously reworking fragments of material and visual culture, the works featured in the Gallery’s presentation reinsert omitted subjects into histories of representation. Channeling the past through modes of collage, assemblage, and more, the works on view offer renewed perspectives for understanding the present. Each work, by its own unique means and methods, recalls Stiler’s humanist conviction that art “is like research and development for the greater good; it’s a space for therapy and spirit … it’s a reflection of ideals.”

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Blink Twice: The new comedy with Naomi Ackie and Channing Tatum, in theaters from August 23. Trailer

Blink Twice

Blink Twice is the new comedy directed by Zoë Kravitz and written by E.T. Feigenbaum. Starring Channing Tatum and Naomi Ackie, it also features Alia Shawkat, Adria Arjona, SImon Rex and Christian Slater among its cast.

Synopsis

Frida, una joven y astuta camarera, tiene sus ojos puestos en el magnate tecnológico Slater King. Después de maniobrar hábilmente para entrar en el círculo íntimo de King, es invitada a una reunión íntima en su isla privada. A pesar del impresionante escenario, la gente hermosa, el champán que fluye constantemente y las fiestas de baile hasta altas horas de la noche, Frida puede sentir que hay algo aterrador escondido bajo la lujosa fachada de la isla.

Release date

The film is scheduled for release in the United States on August 23, 2024, in theaters only.

Trailer of the film

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Deliver Me (2024) Series on Netflix: A Dramatic Depiction of an Even Sadder Truth

Deliver Me is a Swedish limited series starring Jhullian Carlsson, Ane Dahl Torp and Henrik Norlén.

“Deliver Me” is a series that leaves no doubt about its purpose: to deliver realism enhanced by music and dramatic narrative tools, aiming to further highlight a backdrop that’s even more heart-wrenching and ruthless. Netflix introduces us today to this series set against the backdrop of Sweden’s underworld, focusing on two teenagers entangled in gangs, crimes, and offenses.

A realistic, dramatic portrayal.

Plot

Billy and Dogge are teenagers recruited by a gang. The narrative unfolds dramatically as Dogge shoots Billy, exploring the repercussions of the crime for the minor involved, his family, and the family of the slain boy.

About the Series

Realistic, indeed, but made more evocative with its music, camera movements, and framing that emphasize the drama, making it somewhat less realistic. “Deliver Me” emerges with a definite aim: to narrate the story of two teenagers lost in a brutal and unforgiving world. Don’t expect any sugar-coating, as the series aspires to be, above all, a profoundly dramatic representation of a very real scenario, shedding light on the underbelly of a country that, this time, is Sweden, though it could just as easily be any other.

Typical of Swedish productions, the series offers a glimpse into the complex bureaucracy of government and societal structures, including social services and law enforcement, oftentimes disconnected from the communities they serve, failing to protect the younger population. It conveys a message: perfection is far off, improvements are needed, and reality vastly differs from daily news reports, with much progress yet to be made.

Indeed, “Deliver Me” serves as an eye-opener to which one should willingly approach: it critiques the situation and speaks dramatically of this reality, one of those series that from the get-go carries a moral lesson to which one should approach ready to face uncomfortable truths. Intrigued? It’s unlikely to become the series of the year, given its unsettling elements and intended impact, never meant to be a pleasant viewing experience.

This is not an action series, nor a tale of gangs, cops, and robbers: “Deliver Me” is a dramatic exploration of the current plight of some teenagers in a supposedly civilized European nation, where realities differ from the norm.

Cinematically speaking, it’s well-filmed with a deliberate pace that allows deep reflection for its characters, the true stars of this series. Don’t expect grandiose aesthetic ambitions: although there are intricate shots, technical and aesthetic ambitions are secondary, allowing the reality of the characters and their circumstances to take center stage.

Our Take

This is a series to approach with enthusiasm, a critical mind, and an eye toward the social realities rather than the story itself, as it aims to transcend its own narrative and serve as a mirror to a broader, more troubling and chaotic reality.

Where to Watch “Deliver Me”

Netflix

Official Series Trailer

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Executive Producer Joe Hisaishi and Royal Shakespeare Company Team Up for Record-Breaking Run of My Neighbour Totoro in London’s West End

Executive Producer Joe Hisaishi and the Royal Shakespeare Company (RSC), in collaboration  with Nippon TV and Improbable, today announce a 34-week run for Studio Ghibli’s record-breaking My Neighbour Totoro at the Gillian Lynne Theatre in London’s West End.  

The production will run from Saturday 08 March – Sunday 02 November 2025, with an opening night on Thursday 20 March. Priority booking opens on Monday 29 April, with public booking from  Friday 03 May.  

Adapted by Tom Morton-Smith (Oppenheimer) from Hayao Miyazaki’s celebrated 1988 animated  feature film, the production is directed by Improbable Co-Founder, Phelim McDermott. Winner of six  Olivier Awards and five WhatsOnStage Awards, My Neighbour Totoro broke the Barbican’s Box Office record for most tickets sold in a single day in April 2022, ahead of its global premiere in October 2022. Following both critical and audience acclaim, the production returned to the Barbican Centre for a strictly limited run in Autumn 2023. The production closed at the Barbican Centre in March 2024.  ​

My Neighbour Totoro. Adaptor: Tom Morton-Smith

The Olivier Award Winning adapter, Tom Morton Smith, said: “I am delighted that our take on Totoro will make the move into the West End next year. It’s an incredibly special show that has managed to marry beautiful technical design with so much heart and humanity. I am thrilled that even more people will get to experience the magic and wonder that this production conjures. Spending time with these characters and with Miyazaki’s incomparable gentle giant has been both a joy and an honour, and I can’t wait to once again share this show with  audiences both new and returning.” ​

Director, Phelim McDermott said:“I am constantly delighted by the love that My Neighbour Totoro receives from audiences of all ages, both from those who already cherish the film and those newly introduced to the story of Mei and  Satsuki. It is truly an honour to share the joy of this production with thousands more in London’s West  End.​

“I am grateful to Nippon TV, the Royal Shakespeare Company, and the brilliant cast, creatives, and  staff who have helped bring this adaptation of Miyazaki’s beloved 1988 film to the stage with such  delicacy, beauty, and care. The success of My Neighbour Totoro continues to exceed my own  expectations and I am incredibly proud to work on this once-in-a-lifetime theatrical experience.” ​

My Neighbour Totoro. Adaptor: Tom Morton-Smith

The production’s producer from Nippon TV, Kenichi Yoda, who is also a board member of Studio  Ghibli, said: “We continue to treasure this show, which has been led by Mr. Joe Hisaishi. It’s a pleasure that  My Neighbour Totoro has been loved for a long time, and that more people will discover the  original film.” ​

The RSC’s Co-Artistic Directors, Daniel Evans and Tamara Harvey, said: “We very recently began our first chapter at the RSC – and have just opened our first production in  Stratford-upon-Avon. To see that our inaugural season as Co-Artistic Directors will include the West  End transfer of this magical show is an honour. What a delight to see the RSC’s work thriving in  Stratford, abroad and as part of the London theatre scene.” ​

My Neighbour Totoro features production design by Tom Pye, costume design by Kimie Nakano,  lighting design by Jessica Hung Han Yun, movement by You-Ri Yamanaka and puppetry design and direction is by Basil Twist. The production features music from Joe Hisaishi’s iconic score in a new orchestration by Will Stuart, performed live with sound design by Tony Gayle. Video  design is by Finn Ross and Andrea Scott. Casting is yet to be announced. ​

Artwork for the stage adaptation of My Neighbour Totoro includes a hand drawn title by Toshio Suzuki, Producer for Studio Ghibli, who was involved in the planning and production of the original  animated film.  ​

Mr. Suzuki said: “It would be really wonderful if people thought of Totoro when they think of London.” ​

Satsuki and Mei’s mother has taken ill. In order to be closer to her while she recovers in a rural  convalescent hospital, their father moves the two sisters from their home in a city to the countryside. And though the countryside is beautiful and the people friendly, it’s hard not to be scared when the  wind rustles the trees at night. As the sisters explore their new surroundings, young Mei encounters  magical creatures and the ancient protector of the forest she calls “Totoro” – and they are to be the  girls’ neighbours. ​

Although Satsuki doesn’t believe her little sister at first, they are soon both swept up in exciting  adventures with their new neighbours – transported to a long-forgotten realm of spirits, sprites, and  natural wonder. 

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Limón Dance Foundation Presents the 2024 Spring Gala Honoring Linda Murray and Lourdes Lopez: Celebrating Boundless Artistry and Community Unity

Limón Dance Foundation is thrilled to announce the 2024 Spring Gala, honoring Linda Murray, Anne H. Bass Curator at the New York Public Library and Lourdes Lopez, Artistic Director at the Miami City Ballet. This year’s celebration of our dancers, supporters, and community will commemorate individuals whose work crosses borders to reach new communities and inspire hope for the future.

Limón’s global ethos is central to his deeply humanist legacy, and therefore to the Foundation’s work. We are proud to present the Limón Director’s Award for Artistic Excellence in Curation to Linda Murray, whose work as the Anne H. Bass Curator for the Jerome Robbins Dance Division of the New York Public Library has highlighted not only Limón’s artistic influence but the foundational contributions of artists of color and artists from immigrant and Indigenous communities to American modern dance. We are also excited to announce the Limón Director’s Award for Artistic Excellence in Leadership will be awarded to Lourdes Lopez, whose pivotal tenure as Artistic Director of Miami City Ballet is the culmination of a career dedicated to defining a vision of excellence for the future of American dance.

The evening begins at 6pm with welcome drinks, followed by dinner and the awards ceremony, and a special performance by students from William Lynch Elementary School as part of our Limón4Kids program. After dinner, the Limón Dance Company and Limón2 will perform José Limón’s symphonic masterpiece, Missa Brevis, with live music performed by the St. Bartholomew’s Choir and organist. The evening will conclude with dessert and dancing with special guest DJ Reborn.

Current Gala Sponsors and Host Committee Members include: BNY Mellon, Cone Marshall Group, Withersworldwide, the Jerome Robbins Foundation, Deborah & Charles Adelman, Jody & John Arnhold, Wayne & Dr. Tina Evans, Karl J. Feitelberg, Sylvia Ann Hewlett & Richard S. Weinert, Caroline Hyman, Dr. Jonathan Leinbach, Robert & Jeanne Meister, John E. Oden, Michelle Preston & Brian Kim, Katrina Robinson, Robyn Meredith, Ivan Sacks, and Raina Sacks-Blankenhorn.

Individual tickets for this year’s Gala range from $1,500 VIP seats for the full event to $125 for entry to the performance and afterparty. Table sponsorships begin at $5,000. For more information and to purchase tickets, visit https://www.limon.nyc/gala. Those interested in sponsoring this event can contact Elizagrace Madrone, Development Manager, at emadrone@limon.nyc. All funds raised for the evening will directly support the José Limón Dance Foundation’s ongoing operations, including the Limón Dance Company and the Limón Institute.

About Limón Dance Company

JOSÉ LIMÓN (Founder/Choreographer, 1908-1972) electrified the world with his dynamic masculine dancing and dramatic choreography. One of the 20th century’s most important and influential dance makers, he spent his career pioneering a new art form and fighting for its recognition. Born in Culiacán, Mexico in 1908, he moved to California in 1915, and in 1928 came to New York where he saw his first dance program. Limón enrolled in Doris Humphrey and Charles Weidman’s dance school and performed in several of their works from 1930 to 1940. In 1946, with Doris Humphrey as Artistic Director, Limón formed his own company. Over the next 25 years, he established himself and his company as a major force of 20th century dance. Limón created a total of 74 works, including The Moor’s Pavane, Concerto Grosso, and Missa Brevis.

Founded in 1946 by José Limón and Doris Humphrey, the Limón Dance Company has been at the vanguard of American Modern dance since its inception and is considered one of the world’s greatest dance companies. Choreographer and dancer José Limón is credited with creating one of the world’s most important and enduring dance legacies— an art form responsible for the creation, growth and support of modern dance in this country. Acclaimed for its dramatic expression, technical mastery and expansive, yet nuanced movement, the Limón Dance Company illustrates the timelessness of José Limón’s work and vision. The Company’s repertory, which includes classic works in addition to new commissions from contemporary choreographers, possesses an unparalleled breadth and creates unique experiences for audiences around the world. www.limon.nyc

The post Limón Dance Foundation Presents the 2024 Spring Gala Honoring Linda Murray and Lourdes Lopez: Celebrating Boundless Artistry and Community Unity appeared first on Martin Cid Magazine.

Thomas Dane Gallery to Showcase Groundbreaking Works by Lynda Benglis in May 2024

In May 2024, Thomas Dane Gallery will present together two seminal groups of works from the 1970s by Lynda Benglis. The Knots, realised between 1972 and 1976, and made of cotton bunting, plaster, sparkle paint, sprayed metal or wire mesh, will cohabit at 11 Duke Street, St James’s with a group of her single- channel video works, made at just about the same time – showcasing Benglis’ trailblazing use of new technologies and materials, to shape her corporeal explorative practice.

Since the 1960s, Lynda Benglis (b. 1941, Lake Charles, Louisiana) has been celebrated for her free, ecstatic forms that are simultaneously playful and visceral, organic and abstract. Benglis began her career in the midst of Postminimal art, pushing the traditions of painting and sculpture into new territories. Her work— comprised of a variety of materials, from beeswax, latex, and polyurethane foam to later innovations with plaster, gold, vaporised metals, glass, ceramics, and paper—demonstrates a continued fascination with process and experimentation. The embrace of flowing forms, colour, and sensual surfaces plays a large part in her continuous investigation of sensory experience.

Selected institutional solo exhibitions include: Lynda Benglis, Nasher Sculpture Center, Dallas TX (2022); Lynda Benglis, National Gallery of Art, Washignton DC (2021); In the Realm of the Senses, Museum of Cycladic Art, presented by NEON, Athens, Greece (2019); Lynda Benglis: Face Off, Kistefos-Museet, Jevnaker, Norway (2018); Lynda Benglis: Secrets, Bergen Assembly, KODE Art Museums of Bergen, Norway (2016); Lynda Benglis, Aspen Art Museum, Aspen CO (2016); Lynda Benglis: Water Sources, Storm King Art Center, Mountainville, New York NY (2015); Lynda Benglis, The Hepworth Wakefield, West Yorkshire, England (2015); and Lynda Benglis: Figures, The SCAD Museum of Art, Savannah GA (2012), among many others.

Selected public collections include: Tate, London; Dallas Museum of Art TX; Museum of Contemporary Art Chicago IL; Museum of Contemporary Art Los Angeles CA; The Museum of Modern Art, New York NY; Solomon R. Guggenheim Museum, New York NY; National Gallery of Victoria, Melbourne, Australia, among many others.

Benglis is the recipient of a Guggenheim Fellowship and two National Endowment for the Arts grants, among other commendations.

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