Written by DCist contributor Genevieve Smith.

In a city better known for press conferences than literary readings, Take That Hill is a refreshing addition to the D.C. local arts scene. Friday night’s program at the Warehouse Theater merged short films from local filmmakers with a selection of readings from D.C.-based literary magazine, Barrelhouse. Works ranged in content from a comparative analysis of Godzilla versus samurai movies to a short film about competing lemonade stands.

Though a few of the pieces failed to rise above mid-twenty-something tropes, the best of the works provided insightful, funny and occasionally even touching perspectives. Stand-outs included Rachel Max’s animated ode to a dead pet cat and Tom Williams’ story about a man who finds literary inspiration in a fried chicken combo special at a local chain.

The centerpiece of the program was a documentary on D.C.’s legendary Dischord Records. An Impression: Dischord Records, which premiered last month at the D.C. Independent Film Festival, concentrates on the label itself, its inception and ethos, more so than its roster of legendary bands. Featuring some great interviews with Dischord founder Ian MacKaye, D.C.-punk biographer Mark Anderson, Q and Not U members John Davis and Harris Khlar as well as Dischord staff, the documentary manages to capture the DIY aesthetic and the activist overtones of Dischord, but falls short of a comprehensive picture of the iconic label. Perhaps limited by time or access, the live concert footage focuses mainly on more contemporary Dischord bands Q and Not U, Black Eyes and Beauty Pill, the former two of which have since disbanded. Though the documentary won’t present any new insights for Dischord aficionados, it will provide a taste of the influential label for those unfamiliar with it.