DCist’s highly subjective and hardly comprehensive guide to the most interesting movies playing around town in the coming week. F for Fake While I’ve already mentioned the AFI’s current Welles retrospective in this space, I couldn’t pass up the opportunity to highlight what is possibly my favorite film by the director, one that is essential viewing for anyone interested in how filmmakers get us to believe the unbelievable. To borrow a favorite metaphor from Welles,…

DCist’s highly subjective and hardly comprehensive guide to the most interesting movies playing around town in the coming week. Larger Than Life: Orson Welles A pair of two-part retrospectives on heavy-hitting directors get underway this weekend at the AFI, one a look back at the work of Italian cinema giant Federico Fellini, and the other on Orson Welles. The latter was by far the more prolific of the two, though not for lack of trying….

Christian McKay, left, as a young Orson Welles, upstages dreamboat movie star Zac Efron. Not long before seeing Me and Orson Welles, I had re-watched Welles’ exceptional film essay and final completed feature, 1974’s F for Fake, in which the director appears onscreen and on the soundtrack throughout the film. So as Richard Linklater’s new film began, Welles’ rich baritone, distinctive accent, and intense yet mischievous eyes were still lingering in my head. It…

DCist’s highly subjective and hardly comprehensive guide to the most interesting movies playing around town in the coming week. Repertory: The Third Man The AFI continues to please with yet another showing of an absolute must-see classic. Last week it was The 400 Blows, and this week it’s three showings of Carol Reed’s gripping British noir, The Third Man. Based on a story and a screenplay by Graham Greene, the movie is a study in…

Franz Kafka ordered his friend Max Brod to burn his incomplete novel The Trial after his death in 1924; Brod edited and published it instead. Although written more than 80 years ago, the book was so prescient in its portrayal of a idly malevolent bureaucracy that it feels timeless. Christopher Gallu has written a new adaptation for Catalyst Theatre Company (where he is Producing Artistic Director), and here he steps into some mammoth shoes:…

This review was written by contributor Chris Klimek The Director: The Third Act of Elia Kazan, now in its world premiere run at Round House Theatre in Silver Spring, takes a few more liberties with its subject than did Orson’s Shadow, another recent Round House production about titans of the stage and screen. The latter play imagined what Orson Welles and Laurence Olivier might have talked about during their real-life collaboration on Eugene Ionesco’s Rhinoceros,…

It’s that time of the year again, when people make resolutions they do not plan on keeping. Join DCist in resolving to see more art in 2007, but let’s mean it. You could get started this week. >> Studio Gallery will have an invitational show featuring artists from the greater D.C. metropolitan area (January 3 to 28). This will include Suzanne Quinlan, whose work is shown at right. Open Wednesdays to Sundays, 2108 R St….