Last week, scores of gamers and video game industry insiders took to the warpath over a Capital article I wrote because it asserted that The Last of Us, a hotly anticipated new survival-horror game, left “nothing to the imagination.”(8)
Megan wants to be taken seriously as an actress, but in Boston, the front row of men just wants to see how she looks walking out of the room. The play she’s auditioning for is Little Murders, which embodies every last theme of this show. From Roger Ebert’s 1971 review of the movie adaptation: “Alfred gets by in New York, sort of, by deadening himself to the terrible cries, smells, sights and pains the city keeps lobbing at him. You can’t feel pain if you can’t feel anything …. Sharp, intense experiences can still penetrate the shell: sex, pain, getting fired. But the gentler emotions have atrophied.”(2)
Most film festivals can be summed up as a party, a marketplace or a platter of cultural fruit and vegetables. Ebertfest, now 14 years old, is a love-in.
Chaz Ebert presides over the film screenings the way my mother used to usher people into her kitchen and fix them a heaping plate. Chaz's famous husband Roger selects the films they show with an emphasis on love and understanding. The characters in Ebertfest films are motivated by love, hobbled by obstacles to understanding.(9)