Your Weekend Arts & Zombie Planner


Our weekend arts preview begins at SIFF (concluding on Sunday), for a cheerful dose of Japanese S&M. Plus murder! Those being just some of the


Your Weekend Arts & Zombie Planner

  • Your Weekend Arts & Zombie Planner

  • ">

    Our weekend arts preview begins at SIFF (concluding on Sunday), for a cheerful dose of Japanese S&M. Plus murder! Those being just some of the themes in Inju, the Beast in the Shadow:

    Barbet Schroeder delivers a delicious genre movie rooted in Japanese crime fiction. The first 10 minutes are a stand-alone distillation of such books--rich in blood, revenge, and vile villains committing unspeakable acts. After that gruesome treat, we meet smug French crime writer Alex (Benoît Magimel), who fancies himself an expert on the Japanese authors who've influenced him. Traveling to Japan with his new bestseller, he tries to meet a reclusive demon author who's never appeared in public. Naturally the mysterious master resents the usurper, who falls for a lovely tea house girl (Lika Minamoto) with a mysterious scar on her back and a taste for kinky sex. (Conveniently, she speaks French; though some dialogue's in English, too.) To better understand the sensei's twisted mix of pleasure and pain, Tamao tells Alex, "you need first-hand experience." And this being a film by Barbet Schroeder (Single White Female, Reversal of Fortune), that means S&M, which only draws Alex deeper into his obsessions. This is the kind of movie that openly and enjoyably winks at its conventions, where the know-it-all Alex can declare that his rival has "blurred the line between fiction and reality!" Oh really? By the time Alex reconsiders whose story he's in--well, let's just say that the pen can be a fatal instrument. Cinerama, 2100 Fourth Ave., 324-9996, $8-$11. 4:15 p.m. BRIAN MILLER

    Keep reading for more arts picks after the jump...

    FRIDAY (cont.)

    Pride and Prejudice and Zombies

    In his surprise bestseller Pride and Prejudice and Zombies (Quirk, $12.95), Seth Grahame-Smith's gory modification of the Jane Austen original, both men and women are judged as much by their social propriety as their skill in the martial arts. With a wink and a skillfully wielded red pen, Grahame-Smith weaves B-movie horror camp into the source text, making the Bennett sisters not only the comeliest set of damsels in the countryside, but the deadliest as well. Studies with a Shaolin master in China help the sisters stay alive and vanquish their undead foes, who routinely stampede into the balls and social gatherings where Mrs. Bennett so hopes her daughters will find husbands. (Girls, wouldn't you like to put down your weapons and practice wifely submission?) But Elizabeth Bennett, the best warrior of the lot, isn't having any of that. Because surely as Mr. Darcy advances, so, too, do the zombies. Elliott Bay Book Co., 101 S. Main St., 624-6600, Free. 7:30 p.m. (Also: University Book Store, 4 p.m. Sat.) SARA BRICKNER


    Seth Kinmont

    Even during a recession, Bellevue is full of expensive cars--Porsches, Mercedes-Benzes, the occasional Ferrari. But nothing you'll see on the street resembles the jalopy New York artist Seth Kinmont is assembling as part of his residency (through July 3) at Open Satellite. Two exist only as models and sketches on the walls. The third is called Vis a Vis, and it's an electric-powered, self-propelled wooden buggy riding on cartwheels built by an Amish craftsman. (Passengers will sit facing one another, eye to eye, hence the name.) The trim is decorated with monetary and stock-table symbols--the kind your grandfather might've read during the '20s, before the Great Depression. Vehicle is the name of Kinmont's show, a term that can be understood in more than one sense: transport, certainly; but also as a means of financial exchange, conveyance, or investment; and also the container of a body headed to the grave. During a walk-through with the friendly, California-raised artist, he cites influences ranging from The Wall Street Journal's financial pages to SoCal go-kart culture to the hot-rodders of Tom Wolfe. The unbuilt 100mp two-seater he calls "open casket. It's such a death trap--it's perfect." He also calls Vis a Vis "hearse," and hopes to get a city permit to drive the vehicle around the block when it's completed, the interior to be lavishly upholstered in vintage materials. And unlike a Maserati, he explains, this electric car got him a $3,500 tax credit back in New York. See--good art pays dividentds. Open Satellite, 989 112th Ave. N.E., 425-454-7355, Free. Noon-6 p.m. BRIAN MILLER

    Alan J. Stein and Paula Becker

    Before Amazon, Microsoft, Starbucks, or even Boeing, there was the Klondike Gold Rush that began in 1897. And Seattle's port-town provisioning of the miners basically established this city. Alaska, in a sense, put us on the map. Thus the 1909 extravaganza documented in the photo-history Alaska-Yukon-Pacific Exposition: Washington's First World's Fair (HistoryLink, $29.95) by Alan J. Stein and Paula Becker. Today they'll show and discuss images from extensive local archives at MoHaI and the UW--which incorporated much of the Olmsted Brothers' AYP design into today's campus. The tourist rides, pseudo-educational displays, and international pavilions are all gone, of course. (My favorite: The Upside Down House.) But their spirit lives on in SeaFair each year and in the Seattle Center remnants of the 1962 World's Fair. Before it was cool to scoff at growth (or worry about economic busts), Seattle was proud of its sudden boomtown prominence. Seattle Central Library, 1000 Fourth Ave., 386-4636, Free. 2-4p.m. BRIAN MILLER

    The Renaissance Singers

    Several years ago, I auditioned for a local choir that performs English choral music from the time of Henry VIII. (My jaw dropped when the first season of The Tudors featured Thomas Tallis, one of the most talented composers from that era, as a recurring character.) The audition included a little sight-reading--specifically Arvo Pärt's Woman With the Alabaster Box. For measures on end, the score requires you to hold the same note, then switch to a new one and hold that. Sight reading isn't my strong suit, but my first thought on seeing the Pärt, rather than some trilling Handel piece, was "Cake!" It wasn't. Pärt, a living and active Estonian composer, uses the human voice in a style reminiscent of the Renaissance, but with a distinctly modern feel. The Renaissance Singers, conducted by countertenor Markdavin Obenza, are young enough and talented enough to pull off an entire evening of Part's work, which requires incredible vocal stamina. No warbling sopranos here; just pure tones that build to unexpected and wrenching climaxes. But the human voice won't be this evening's only instrument; the program also includes the Berliner Messe, with Matthew Piel playing Trinity's All Souls Memorial Organ. Trinity Episcopal Church, 609 Eighth Ave., 973-7528, $12-$17. 7:30 p.m. LAURA ONSTOT


    Northwest Pinball and Gameroom Show

    In an age where more people are content to sit in isolation and wait for Gamefly to deliver the latest edition of Resident Evil or Mario Kart, it's comforting to know that there still remain loyal fans for old-school pinball and arcade games--and the social interaction that accompanies them. For the Northwest Pinball and Gameroom Show (Fri.-Sun.), thousands will revel in the opportunity to play more than 250 arcade games and pinball machines. According to the festival's Dan Halligan, choices will vary from "'60s museum-worthy pieces to the newer games and classic arcade they probably haven't seen in 10 or 20 years and have fond memories of playing at their local pizza joint, 7-Eleven, or arcade." In addition to boundless, quarter-free gaming, gamers will have the opportunity to meet game designers, attend the first-ever Galaxies Hall of Fame Awards Ceremony, and watch erstwhile Donkey Kong world record holder Steve Weibe (subject of the much revered King of Kong documentary) attempt to reclaim his crown. Seattle Center (Northwest Rooms), 305 Harrison St., $15-20 (daily), $40-50 (weekend). 9 a.m.-3 p.m. HANNAH LEVIN

    Protective Custody

    Cheryl Hanna-Truscott spent over six years photographing women in the Washington Corrections Center's prison nursery program, near Shelton, Wash. These women--most in their 20s and 30s--maintain custody of their children while completing sentences for crimes like auto theft and burglary. Hanna-Truscott sheds light on their unique circumstances in her intimate portrait series "Protective Custody." Here we see a woman gazing in awe at her newborn son, his yellow blanket the only hint of color in the otherwise dreary room. In another frame, a mother pushes a stroller through the minimum security campus. Hanna-Truscott explains that her biggest concern was for her subjects to trust her. "These women are often incredibly vulnerable," she says. "They're willing to share their stories, but ... the last thing they want is to have someone come in and give their situation a sensational spin like 'Babies Behind Bars!.'" Hanna-Truscott deals tenderly with both mothers and children, focusing on maternal bonds, not the felonies behind them. Her work is part of the PCNW Thesis Exhibition (through July 10), featuring six other artists in the program. Photographic Center Northwest, 900 12th Ave., 720-7222, Free. 11 a.m.-5 p.m. ERIKA HOBART

    0SS 117: Lost in Rio

    Considered as a film alone, this sequel to the delightful French 2006 retro-spy romp now wears its premise rather thin. But add in the closing-night gala party at the nearby Pan Pacific Hotel...well, it's just barely a pick. Agent 0SS 117 (Jean Dujardin) is back, but he's stumbled forward from the early Cold War espionage period (James Bond) to the late '60s (perilously close to Austin Powers). Dispatched to Brazil to retrieve some damning microfilm from Nazis, our blithely arrogant dimwit hero encounters hippies, Jews (including a sexy Mossad agent played by Louise Monot), Chinese assassins, and loud-mouthed CIA bullies. And, yes, Hubert manages to offend them all with his oblivious, De Gaullist notions of patriarchal French superiority. But we got that joke the first time. After a ski-lodge dance party intro, Hubert's antics--and all the split-screen Thomas Crown Affair montages--become progressively less hilarious, allowing you to study the perfect period costumes and background décor. Hubert's lapels are wider, the ladies' skirts are shorter, men's hair is longer, and strange new polyester fabrics now come in burnt oranges, bright mustards, and startling mauves. Much to his chagrin, the world is changing around Hubert. Still, he clings to the old ways. When the Mossad hottie lists his many imperfections--"You're old, full of yourself, borderline racist..."--he hears only one criticism, and sounds genuinely hurt by it: "A tacky dresser?" Cinerama, 2100 Fourth Ave., 324-9996, $40-$80. 6:30 p.m. (NR) BRIAN MILLER

    comments powered by Disqus

    Friends to Follow