Reflection on Authority, Power, Gods, Teaching, Mothers, Sons, and Acceptance

Before you read: In this teacher's journal I do a quick reflection on my old friend who once told me he tells his students: "You may call me sir, or God."

"You may call me sir, or God."

I had an older teacher friend who said he would tell his students, "You may call me sir, or God." I thought it was funny. I get the either/or. Either you respect me or you respect me. You get it? Disregarding the tautology, all this talk about divine authority makes me think about my mother. I have been prone to talking to my mother on the phone a lot lately. She likes it because it is uncharacteristic of our relationship. We have gotten closer over the years but it has been the last few years that our mother/son relationship has gone to new levels. We are both adults and even though I am still her son we parlay at the level of related adults. You hear me? It is gratifying to reach that level of intimacy with a parent. Not that I let it all hang out. Mind you. I am civil. But I am more honest and less afraid of reprisal. When you are a kid you are rather incompetent compared to your parents who lord it over you. It is the way of the familial structure. But as you grow older you either do three things. You drift away. You stay at the level of infantile / parent  — where mom and dad are always in charge — or you coalesce into something new and different. So. This is why I am more open — and — I think why I am more confident in general. It probably helped that I came out to my mom a few years ago. That helped to even the playing field. And that openness has made me more pliable to the cascading nature of power. It comes in waves — and like a wave — it plunges you into the deep with a secret; but, once the secret is revealed the power of the secret is lost and I am able to be made new again. Do you see the connection? So that is the way of mortals — neither animals or gods. Something in between. But you may call me sir, or God.

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Teaching Eleven and Twelve Year Olds How to Conduct Online Research is Fun

Working Every Day With Kids

I'm a teacher. I don't have a classroom of seventy kids. My largest class has twenty-three students. I work at a small school. There is a lot of interaction between teachers and students and I'm often in the middle of things every day. Because of my schedule, I get to teach several different subjects to different age groups. I teach two different groups of Sixth graders once a week. We've had this schedule since September. 

Teaching Kids How to Research Online

I teach a class called Research. We do activities in the computer lab. I make them create customized Google Maps. We use Google Earth. For one lesson the kids created their own Encyclopedia Britannica online account. I teach them how to find good resources online. I make them take notes on Google Docs. I talk about Internet safety. Sometimes we play silly HTML games online. It's an easy class to teach because we’re doing stuff I like. Give me an encyclopedia or an atlas and I'm lost in it for hours. I'll forget to eat or take a shower. So I'm in my element twice a week on Mondays and Wednesdays. It's the closest I get to feeling like a librarian. Also, I get a kick out doing Internet-related stuff with kids. It's interesting finding out how much they know. Eleven and Twelve-year-olds are also really hilarious and curious. 

Creating Surveys to Teach Qualitative and Quantitative Questioning

Leveraging my students' insatiable curiosity, I made them create their own Google Forms. We did a unit on qualitative and quantitative questions. How many hours do you spend online? That's a quantitative question. How do you feel about going to the dentist? That’s a qualitative question. And I talked about the differences between open and close-ended questions. Using those two concepts we created surveys. A large percentage of the kids wrote survey questions about video gaming habits. Elliot wrote a survey collecting information about eating-out habits. And another kid named Amber wrote a survey that used Google Form’s redirect feature to make the survey different based on answers respondents gave to questions. It was the first time I had ever made kids make their own Google Form. So I was happy. Sending out the Forms to others took some work, though. Kids had fun emailing the persistent link to friends, teachers, and family - but, to be honest, the kids who had their parents post the link to other adults via social media garnered the most results. I was impressed that one savvy researcher amassed 70+ results. Most of us managed only to get twenty. But the goal of the lesson was in designing and creating the survey - not in its popularity. So I praised kids’ design efforts over popularity. 

Creating Google Forms With Students

If you want to do a similar lesson with kids keep these things in mind:

• The first question should be required:
• Set the Google Form to not collect respondents’ emails. And disable required Google login to take the survey.
• Turn off quiz mode. There are no right or wrong answers.
• Make a snazzy visual header.
• Brainstorm lots of ideas. Look up and model good examples.
• A survey on BBQ versus Hot Pot is a better survey than just FOOD.
• Use lots of relevant images!!!! 
• Divide your survey into sections.
• Use the grid question type in Google Forms.
• Make your kids use all the question-types.
• There is a difference between a checklist question and a multiple-choice question.
• Make your kids create at least one linear scale question.
• Don't make all questions open-ended.
• Have kids explain their questions. Not everyone understands what Fortnite and dap mean.

Other Things to Consider: 

Explain to your students that they're conducting research using qualitative and quantitative data and exploring general interests and preferences. They're not collecting personal information. Don't collect first and last names, addresses, emails, or birthdates with month, day, and year. 

If your school is not set up to use Google Apps don't worry. If kids are thirteen and older they can create their own Google accounts. If kids are under thirteen, they'll need parental permission to make a Google Account for kids. 

Proofread your kids’ work before allowing them to send it out to the world. Once you decide a survey meets your standards make the student draft a Researcher’s Letter and save it to Google Docs. That way they can be like real data scientists. 

An Example of Student Work

Dear Friends, Etc.,
I’ve created a qualitative and quantitative survey to represent students in Middle School and their favorite things (this survey only applies to students in 4th, 5th and 6th grade.). I’m conducting this research for a school project. I am not collecting personal information. Thank you for taking this survey!

Best Regards, Lilly Here is the URL:  https://forms.gle/43JVcWDe3rjPn9666

What Has Been Your Experience Teaching Kids Online Research Skills?
Thank you for reading my blog. I write a lot of stuff about different topics; so, I hope you enjoyed this one about using Google Apps in the classroom. Let me know in the comments if you've ever experimented with Google Forms in a classroom setting.

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Cinema as Portraiture in Dovzhenko's Zvenigora and the Ukraine Trilogy

Anthology Film Archives in New York City is a fabulous place to watch movies. I try to go to their ongoing "Essential Film" screenings — of movies that have been curated from their vault and deemed important to the history of cinema. Just the other day I went to see Alexander Dovzhenko's Ukraine Trilogy — well, at least two films from that set: Zvenigora and Arsenal.
The movies are haunting, disturbing, and beautiful. They're also hard to follow if Russian is not your native language — so I recommend you snag a copy of the synopsis before watching it. The opening scene of the trilogy, Zvenigora, is a hallucinatory, slow-motion shot of men on horseback moving across the screen. Perhaps today it is not a significant effect that a filmmaker would use slow-motion — it is easy enough to do on an iPhone! But seeing it on the silver screen — and in such a glorious presentation — I fell in love with cinema's basic ability to simulate motion. Movies simulate motion by projecting a series of individual images on the screen at a rapid rate. If you take a look at a movie reel you can see each individual frame. Each frame is essentially a photographic image. Now, of course, movies made today, for the most part, are filmed on digital cameras so looking at a movie reel is not possible — but the idea is similar. Thousands of images strung together in a line. Each one is slightly different from the next. Have you ever played with a flipbook — that is what it is like. Most movies are intended to make you forget that what you are seeing on the screen is a series of spliced together individual photographs. But Alexander Dovzhenko's movies, particularly his Ukraine Trilogy, made me aware of the cinema as a series of individual photos. Dovzhenko was a Soviet filmmaker. He made Zvenigora in 1928 — and on the surface, it tells a story about the relationship between Ukraine and Russia, and between technology and nature, superstition and belief, protest and allegiance, father and son. It's a propaganda film. But Dovzhenko was able to use those limitations to make something really incredible. I am not going to dwell too much on the narrative aspects of the film; rather, I want to focus on one aspect of the movie that struck me. The movie has a series of long shots that feature figures of people. Not exactly close-ups but more like photographs — but in a movie.

Creating the On-Screen Cinematic Portrait
Not all of the movies' shots are slow and extended — actually, the movie combines lots of different cinematic effects, close editing, shots looking up at a person from below, to give the effect of being dominated — images layered on another to create dream sequences and quite a few action shots.

Also, the movie plays with parallel images — a mother beating her son contrasted with scenes from war. And there are quite a few close-ups — in one sequence a man is gassed, reminiscent of the trench warfare that plagued the first World War (which is the movie's thematic launching point). For several takes, we see his garish expression, his horror, and his elongated response to the visceral horror of biological warfare. Dovzhenko’s faces reminded me of Carl Dreyer's faces of Joan in the movie The Passion of Joan of Arc — but not as intense a close-up. What I call portraits shots in the Ukraine Trilogy last about five to six seconds — so they are long enough to notice the figure in the frame. And in these shots the figures do not move much, but rather, they stand as if posing for a portrait. I don't think I have ever seen a movie capture portraiture in a moving image quite as Dovzhenko does in Zvenigora.

Nor has a movie made me stop and reflect on the photographic nature of cinema — especially in its early days. By definition, a portrait is a still image. Portraits were done by painters, often of important people, or commissioned by patrons — such as the portraits one can see in a place like The National Portrait Gallery in Washington, D.C. Or if you were to look through a family's photo album. The characters in Dovshenko's movie are portraits of peasants. They are portraits of soldiers. Of villagers. Of the proletariat. Of a mother and child. Of father and son. I am not sure how Dvoshenko arranged for his casting; but, I would not be surprised if he just took people off the street and filmed them — the movie, despite its flights of fantastic fantasy - has an air of the documentary to it. As if I were perusing the photographs of an anthropologist's field study. The figures in the film are costumed in folk dress; often mustached or bearded, for the men, and dressed in traditional thick woven garments for the women. Some of the facial expressions are exaggerated — for effect. The horror of war. The anger and jeer of a crowd. A startled glance. A loving look. A man without a nose.  It's all there. But the more striking portraits are the ones of just looking on, of reflection. I imagine in the age of the GIF I could take any one of Dvoshenko's portraits, pluck it out of the film and make a five-second animated photograph. Or, I could pluck out some of the portraits (in the few I selected for this post one can hopefully see what I mean).

Aesthetic Thursday: Marta Minujín Reloaded at the New Museum

La Menesunda (on view at the New Museum) has several interactive features.

La Menesunda - So, Marta Minujín created an installation in the 60s in Buenos Aires - it’s been reloaded in New York at the New Museum. Of course, I shamelessly inserted myself into the television screen. The installation has several interactive features — one notable one being the recreation of a nail salon from the period — replete with a performance artist who will do your nails. I felt curious while within the experience — fully jiving with the work's conceit that I was living inside the mind of the artist.

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#newmuseum #modernart #artist #gallery #artreview #performanceart #newmuseum #installation #gelatin #lamenesunda #art #halcyongallery #gelitin #artmuseums #contemporaryart #photography #travel #museum #modern #design via Instagram.

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Aesthetic Thursday: Design Art from the Krewe of Proteus from the 1892 Mardi Gras in New Orleans

"A Dream of the Vegetable Kingdom" — Proteus Pageant of 1892
I have a wonderful postcard of a fairy man that my mother sent me. I'm guessing he is the king of Proteus. He holds a scepter with what appears to be a butterfly at the end. In fact, he's more butterfly than fairy — as can be seen by the gorgeous decal of a butterfly pinned to his chest, and the butterfly adorned on his crown and the sheer fact that he's wearing butterfly wings. His boots are also butterfly-decorated and he is wearing a cape and white leggings. He has a turn-of-the-century mustache that was popular for men at the turn-of-the-century and he seems ready for a magical evening.  

"Proteus, No. 1"

New Orleans Mardi Gras Krewes Are Part of the City's History
The image is of a costume watercolor design for select members of the Mystic Krewe of Proteus — a now-defunct Mardi Gras men's pleasure group. The watercolor has been preserved by the folks at Tulane University's Special Collections Library. The university has amassed a wide assortment of what they call their "Carnival Holdings". This costume, which is in the collection, was designed for the pageant that year — in 1892. Mardi Gras krewes are typically famous for their public parades that entertain citizens of the city with illustrious floats that traverse the city at night and garner people with "throws" — but lesser-known is the glamourous pageants that krewe-members organized every year. They were often masked balls for the upper crust of the city — I say past tense as if they do not occur anymore. In fact, one of the hottest tickets for any socialite in New Orleans is one of these balls or pageants. I have a fabulous picture of my mother and great grandmother at one of these balls. They are truly a feature of New Orleans history — and this winged fairy man, part of Proteus's theme for that year — "A Dream of the Vegetable Kingdom" is highly inspired. I'd wear it!
source: Carlotta Bonnecaze, "Proteus, No. 1," water-color costume design for Proteus pageant, 1892: "Dream of the Vegetable Kingdom" / Schindler, Henri. Mardi Gras Treasures: Costume Designs of the Golden Age. Gretna, La: Pelican Pub. Co, 2002. Print.

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Travel Diary: On a Recent Trip to Rouses Point, New York

Getting Off at Rouses Point, New York

     Taking the Adirondack train line from Montréal on Amtrak, the first stop in the United States is a town called Rouses Point in New York state. Since it is a border crossing, Amtrak has scheduled the train to stop for at least an hour, so agents from the U.S. Immigration and Customs Enforcement (I.C.E.) can board the train to check every individual on board. For this journey, I happened to be seated in the front of the car. I looked out the window, and I could see two white vans pull up to the train station. Five or six uniformed agents dressed got out and boarded the train. I was the first person to be checked. I gave the agent, a middle-aged man with a scruffy beard, my passport. "Where are you going?" he asked. I told him I was getting off at Rouses Point, and this was my stop. "Why are you going to Rouses Point?" he asked incredulously. "For pleasure, mostly." "What kind of pleasure?" he asked, still incredulous. 

      I had expected a quick interview, the kind received at the airport customs desk when the agent asks if you are entering the country for work or pleasure. My answer did not mollify this agent, however. He asked me to point to my luggage, how long I was staying in Rouses Point, where I was staying, what I planned to do in the town, what I did for a job — and through it all, I was a bit nervous because I had never been asked so many questions at a border crossing. The questions were easy to answer. I gave him the address of my motel and told him I was taking a short vacation before school was to open up again in September. 

       I was anxious about finding my motel and getting settled in for the afternoon. I looked at the agent and told him if I could get off after he inspected me. He looked at me for a moment and then explained that agents had to check the entire train for any suspicious activity. "What if someone on board were carrying contraband," he told me. "Then everyone on the train would have to be checked to make sure there was no cross-involvement." It made me think that the necessary act of boarding the train made me somehow connected to all the passengers on board this train — just an hour or so ago, I had been in Montréal boarding this train, and it felt effortless. The train leaves the city, crosses the St. Lawrence River, and then it's farm and rural countryside. At Rouses Point, the landscape opens into the United States in a quite unceremonial way. 

        At that moment, I felt self-conscious because I thought everyone on the train was listening in on my conversation with the I.C.E. agent. He told me to go to the café car and ask his boss for clearance. If the head agent OK'd it, I could get off the train. I hurried through the Amtrak cars to the café car, which is usually occupied by travelers who want to eat a snack, look out at the scenery, or talk to the train crew who tend to sit in the cafe car to take notes and to prepare for the next stops on the route. Four agents were seated at the tables, looking serious, and doing their job. "Excuse me, sir. I have just been checked by an agent, and I would like to disembark here, at Rouses Point. 
       The conversation was simple — "Sure. The agent said. You can get off the train." I was so ecstatic. I rushed back to the agent who had interviewed me and said, "I can get off the train!" He looked at me like I had missed a step or did something wrong in the Byzantine procedure of being checked in at the border. "Are you sure you spoke to my supervisor?" Yes. I told the agent his supervisor's name and gathered my things. I was nervous, so in a moment of excitement, I exclaimed, "Have a nice day. Thank you for protecting our country!" I think I said it in such a heightened tone that it made everyone on the car chuckle. I got off that train in a hurry.

A View of Lake Champlain Through an Open Door

Visiting Rouses Point

       The town of Rouse Point is a nondescript postage-stamp kind of a place, replete with a singular lake-style beauty. Lake Champlain is its main attraction — and while I was there in Summer, it was August, so few people were milling about. The town is very close to the French-speaking Canadian province of Quebec — so I imagined I was in a unique mashup of anglo-francophone heaven. Sitting in a café on the first day I arrived, I noticed a francophone couple seated next to me — and I marveled at how I often do not think of the United States as sharing a border with French-speaking folks. The Family Dollar, where I picked up some supplies, had a sign on the door that warned folks "No Canadian Dollars Accepted Here. Card Only. Or American Cash." I started to fantasize about teaching in a rural country schoolhouse in French-speaking Canada, close to the border, and I would spend my weekend hiking through the woods, going back and forth across the border. How my students would love me, and I would become immersed in French and truly make it my second language. Would I live on Lake Champlain? I felt like I was in a different yet familiar America.

A Ratty Motel On Lake Champlain 

    So. I was staying at this ratty dump of a motel on Lake Champlain. I woke up in the middle of the night. A red light was emanating from the window — thus, I took my phone and captured a grainy photograph of the dot.

     I stayed in Rouses Point for the weekend, then I planned to hop back on the train back to New York City. I thought, will I see the I.C.E. agent again? I walked to the station from the motel earlier than I needed to —  the Amtrak station is handsome. There is a museum inside dedicated to the area's train history — Rouses Point at one time in history was a bustling spot for train travel — especially freight — than it is now. It just so happened that as I was waiting for my train, a man arrived, spraying the station grounds with what looked like weed killer. He saw me waiting — I was the only person at the station. I asked him if the train museum was open. He said, "No. But if you give me a couple of minutes, I will open it for you." And sure enough, he did. He showed me the museum, and I learned that the station had been in somewhat disrepair for years. Still, when President Obama had opened up Federal dollars to bolster the country's transit infrastructure, the Rouses Point station was given money to renovate their station. The town had been in an economic slump ever since the Pfizer pharmaceutical plant had closed down, and 1,200 people lost their jobs. Also — the guy with the weed killer turned out to be not only a local but was at one time the mayor of Rouses Point. He told me about his several train trips to New York City — on routes that I had never heard of — and he ended the conversation with an announcement that he had to get back home and cook for his wife. "It's my turn today — I am making gyros."

Going Home — Waiting Again at the Train Station 

     

The train station at Rouses Point

     Finally — the train arrived — and the I.C.E. agents boarded the train. I had been joined at the platform by this very loquacious guy who was waiting for a friend whom he hadn't seen in a decade or more. No one could board or get off until they did their job. The I.C.E. agent did notice me, however, and he said to me, "You know why I asked you so many questions a couple of days ago?" No. I said. I did not know. "Well. I saw that you were staying at that ratty motel on Lake Champlain, and I wanted to tell you how much of a dump that place is." I laughed to be polite, but I resented his friendliness that seemed after-the-fact. He told me he lived in Rouses Point and apparently, his house was very close to the motel where I was staying.

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Short Film Review: Broke (2017)

The Short Film "Broke" - 2017 (35 minutes, in Norwegian with English subtitles)
Norwegian Filmmakers Make Another Short Film About Something Not Quite Right in Norway’s Affluent Suburbs

Filmmaker Bjørn Erik Pihlmann Sørensen and screenwriter Einar Sverdrup have teamed up and made a new short that serves as another installment in what looks to be a series of movies about the hidden underbelly of Norwegian suburban society. I reviewed the duo’s short film Reckless in June. It’s a troubling film about responsibility, desire, and sexual exploration gone awry. You can read my review here. I don’t want to play a game of compare and contrast. I will write about Broke using a more or less reader-response approach to interpreting a work of art. What I will do is look at the film as it stands, first, and what I think it is trying to say. Then — if I am so inclined I can make stray observations that lend itself more to how it opens a dialogue with its predecessor Reckless.
Here is my review of Broke:
Broke is a story of how a rather well-to-do upper-middle-class family deals with the prospect of going bankrupt. That is how the movie has been packaged — and it is the expectation I had going into watching it. Full disclosure: I was able to view the film by way of the filmmakers (since the movie has not yet been made available for full release). Mr. Philman sent me a screener (for which I am very grateful). Broke is still making its presence known at festivals and in special screenings around the world; It will debut in New York at Cinema Village and run from August 16-22. As many independently funded projects go — the movie is hoping to get picked up for a wider release.

The Anticipation that Something Bad is Going to Happen
Sometimes a movie wants desperately for you to think something awful is about to happen. And Broke is a movie just like that. Someone puts a weapon in a backpack. But it is not revealed who. A married couple fight in their bedroom thinly keeping their row secret from the kids who are supposedly sleeping down the hall. I expected violence to ensue in just the first few minutes of watching this movie. It begins taut and on edge. And I must say the movie freaked me out because for the majority of its storytelling it hugs close to a school shooting narrative (a horrifying series of hells Americans have been facing since Columbine).I had this sense of foreboding since a large chunk of the story follows young adolescent Pia (Sofie Albertine Foss) as she goes about her school day — a little uneasily. In fact, everyone in this movie seems very much ill at ease. No one is enjoying their current dispensation. Pia is enormously bright but chooses to hide her gifts and gives off the appearance of a wallflower. She is an observer, watching Daniel (Marcus Rix), a hunky boy, a bully who taunts a smaller boy, Jonas (Arthur Hakalahti). Daniel belittles Jonas with impunity, and in one unsettling moment physically harasses him in the school swimming pool. The film presents us with long shots of Pia, Daniel, and Jonas — and other kids and adults who inhabit this school. I did not pick up much joy; the blasé nature of adolescent Je ne sais quoi seemed grossly disproportionate here. The kids in this film are candidates for something very bad about to happen. But we don’t know what. Or how. The film teases us a bit; the Checkhov gun is literally a gun but we don’t know how it will turn up and what character will possess it or use it or whether someone will cause harm with it.

    We do eventually get the answers to these question (sort of) — what work the film does before it reveals its hands is to get us to know these three disparate teenagers a little better. Pia shows a need to withdraw (as, for example, when she tells her teacher she does not have her swimming suit with her). She sits in the bleachers instead and watches events transpire. Jonah is the picked-on kid. The pariah. Pia shows concern for Jonas; Daniel is all masculine bravado and “I don’t give a f***.” However, Pia is drawn to Daniel like a moth to a flame. And here is where the film pivots.

An Aggressive Sexual Encounter Holds the Middle of the Film
Pia joins Daniel after school; first, berating him for being a bully, and actively standing up for Jonas. But Pia takes the bait and follows Daniel to his house, and we and the camera are made witness to an awkward sexual detente between the two characters. But is it really? When Pia tries to put a stop to Daniel’s advances, he turns on her. And Pia leaves, angry and frustrated. Daniel cannot stand to be rebuffed; his retaliation is to call Pia “a slut.” Watching this interaction between the two characters I was taken aback. Where is the story taking me (us)? Daniel is aggressive and he outrightly makes a move on Pia; he is physical and rough and he exposes his body to Pia and to the camera, wanting her to perform oral sex on him. The camera does not turn away. I was relieved when Pia, deciding not to have sex, leaves Daniel’s bedroom. She makes a choice — and then the movie changes directions again. Hints are dropped throughout the movie that it is Pia’s family who has been hit with a financial blow. Her father has lost a significant amount of money (presumably through bad investments) and is forced to have to shed his assets and move his family to a different city to survive. Pia is shattered by this revelation and she is processing what this means for her. I do not want to reveal the ending because I think this is a film that deserves to be watched from beginning to end. I will tell you that I found the climax to be teeth-grinding; I had to turn my head away from the camera. Something awful does happen in this movie, but something is also restored. But it takes a lot of pain and pent-up frustration to get there. Checkhov’s gun is revealed in the end — but the gun does not end up being quite what one thought it would be. The movie ends with deep sadness.

What is Broke Trying to Say?
A key to the movie’s inner logic, I will say this as a closing, comes earlier in the film — when the kids are in class and the teacher is proceeding to dole out an ostensibly boring lesson on the fall of the Roman Empire. The teacher asks his class, “What would you do if you had no money?”. His question falls on deaf ears because the kids in his class do not know what it means to be truly broke. They are blithe in their privilege and I get the sense, watching the film, there is a lost ability to deeply care. I am a teacher so I get bored high school students. And suffice it to say — the teacher doe not try hard to entertain his classroom. But that is the point. He plays the part of the Cassandra of the film; he lays bare what happens when a society has a fiscal collapse. It turns in on itself. And it is then, watching the movie a second time, I realized what the final scene is meant to explore. What happens when society itself “runs out”?

Stray Observations

• Pia’s relationship with her little sister is similar to Mads’s relationship with his sister in Reckless.
• I leave out considerable plot points in my review because I feel like it is best to let the reader make the narrative connections. The movie has a twist and I do not want to reveal it. 
• Both Broke and Reckless are beautifully shot works of art. I liked the aesthetics of Reckless better - because I noticed the use of bright color was effective against the backdrop of the dram. The color scheme in Broke is much more muted and somber. 
• Both short films serve as a kind of “Public Service Announcement”; and that is not necessarily a bad thing. 
• The classroom scene was notable for me. As I mentioned in the review the students are incredibly bored. However, I don’t think the lack of affect in the teenagers is a direct criticism of Norway’s educational system; I think it is a conceit drawn up by the filmmakers to heighten the sense of dread the film is meant to evoke. 
• One of Pia’s classmates, Mikkel, reads like the most emotionally distant character in the film; his performance in Pia’s history class is very characteristic of teenager crying out for help.
• Guns are a controversial topic; unchecked violence in society has attempted to unmoor the stability of our cities and people are on edge. This movie plays on that uncertainty and looks at it from a unique perspective.

“Broke” is screening at Cinema Village from Friday, August 16 to Thursday, August 22.

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