Arts & Entertainment
‘When We Rise’ mini-series casts Guy Pierce, Mary-Louise Parker
show gets Guy Pierce, Mary-Louise Parker on board

“When We Rise,” an eight episode mini-series written by Dustin Lance Black and executive produced by Gus Van Sant, has been cast.
The show will follow the personal and political lives of prominent LGBT activists beginning with the Stonewall Riots in 1969. It’s the second time Black and Van Sant will collaborate together after 2008’s “Milk.”
According to Variety, the ABC miniseries will star Guy Pearce asĀ LGBT activist Cleve Jones, fellow activist to Harvey Milk, founder ofĀ Names Project AIDS Memorial Quilt and leader of the 2009 National March for Equality. Mary-Louise Parker, former star of “Weeds,” is set to play women’s rights leader Roma Guy, co-founder of the Womenās Building in San Francisco. RachelĀ Griffiths will play social justice activist Diane, Guy’s wife, who also co-founded the Women’s Building and was an HIV/AIDS nurse at theĀ San Francisco General Hospital.
Other roles cast are Austin McKenzie as a young Jones,Ā Emily Skeggs as a young Guy,Ā Fiona Dourif as a young Diane andĀ Jonathan Majors as a young Ken Jones.
Black released a statement saying how pleased he is with the casting.
āItās been the honor of my life to research and craft these stories of family, diversity and equality over the past three years,ā Black said in a statement. āTo have collaborators of this caliber sign on to help bring these stories to life is a tremendous vote of confidence, and I hope a testament to the relevancy and necessity of our continued march toward justice for all.ā

“Fuenteovejuna”
Through March 2
GALA Hispanic Theatre
3333 14th St., N.W.
$27-$50
Galatheatre.org
Inventively staged and strongly acted, GALA Hispanic Theatreās production of Lope de Vegaās classic āFuenteovejuna,ā vividly brings to life an old but timely tale of injustice and power. A lot of theatergoers will find this work (first published in Madrid in 1619) painfully relevant.
Possibly Lope de Vegaās most produced play, this version of āFuenteovejuna,ā penned by renowned contemporary Spanish playwright Juan Mayorga, is markedly shorter than others you might have seen. While purists may not concur, itās generally agreed that Mayorga has effectively condensed the plot and modernized the verse.
The action kicks off with cast members jovially sharing jokes that are mostly lost on those of us relying on the productionās English surtitles, but no matter, it creates a happy mood of a contented townsfolk whose lives are soon to be horribly disrupted. (From there on, all translation is clear and presents no difficulties.)
Lope de Vega based the play on a true incident. In 1476 in Southern Spain, village residents, unwilling to accept ongoing abuse, banded together and overthrew a brutish commander.
Here, the Commander/Comendador (played menacingly by Iker Lasker) sets upon the town and specifically the mayorās daughter Laurencia (Julia Adun in her GALA debut). In short, the all-powerful bully makes the brave young womanās life miserable, and as he grows increasingly insistent the situation becomes perilous.
Initially she relies on the protection of her male friends. But itās not enough.
As Laurentia is further harassed and ultimately assaulted, she somehow becomes stronger, and emboldened. Disappointed by the townās men, she calls on the women to rebel: āSisters, take your places, and letās do something that will shake the whole world.ā
Like all the classics, the workās themes are enduring. Justice, decency, and collective identity are among the pressing topics explored.
Also, integral to the playās story is the love between Laurencia and her fiancĆ© who becomes a target of the Comendadorās savagery. Additionally, there are fine examples of familial love and genuine friendship.
Thereās a lot to love about out director Juan Luis Arellanoās glowing production. It moves swiftly and excitingly. Heās assembled a large cast of talented, experienced actors (including Luz NicolĆ”s, who plays Flores, the Commanderās right-hand man) and an outstanding design team.
Arellano has thoughtfully imbued the piece with exceptional modes of storytelling.
For instance, off to the side but still clearly seen, DJ (Aldo Ortega) provides both mediaeval and rock music. Occasionally characters step away from the other players to narrate from a standing mic beneath a dramatic spotlight.
Scenic designer Giorgos Tsappasās set is both a thing of beauty and unexpected functionality. Comprised of different elements that include a huge silver pendulum, a sandy floor, a curved wooden bench backed by a concrete-esque curved backdrop. All of its parts are smartly and organically integrated into the staging.
At the top of the second act, a door rather surprisingly opens, allowing the Commander surrounded by actors costumed in dark sheep masks, passage to the stage. Itās a striking image.
The set is compellingly lit by stalwart designer JesĆŗs DĆaz CortĆ©s. Heās also responsible for the captivating visuals shot from overhead and projected on the imposing back wall. All the visual design work looks subtly expensive.
āFuenteovejunaā is Lope de Vega at his best, and GALAās production is the perfect means of introduction or a revisit.
Movies
A cat and its comrades ride to adventure in breathtaking ‘Flow’
Latvian filmmaker Gints Zilbalodis directs animated fantasy adventure

Sometimes, life changes overnight, and thereās nothing to do but be swept away by it, trying to navigate its currents with nothing to help you but sheer instinct and the will to survive.
Sound familiar? It should; most lives are at some point met with the challenge of facing a new personal reality when the old one unexpectedly ceases to exist. Losing a job, a home, a relationship: any of these experiences require us to adapt, often on the fly; well-laid plans fall by the wayside and the only thing that matters is surviving to meet a new challenge tomorrow.
When such catastrophes are communal, national, or even global, the stability of existence can be erased so completely that adaptation feels nearly impossible; the āhitsā just keep on coming, and weāre left reeling in a constant state of panicked uncertainty. That might sound familiar, too.
If so, you likely realize that thereās little comfort to be found in most of the entertainments we seek for distraction, outside of the temporary respite provided by thinking about something else for a while ā but there are some entertainments that can work on us in a deeper way, too, and perhaps provide us with something that feels like hope, even when we know there is no chance of returning to the world we once knew.
āFlowā is just such an entertainment.
Directed by Latvian filmmaker Gints Zilbalodis from a screenplay co-written with MatÄ«ss Kaža, this independently-produced, five-and-a-half-year-in-the-making animated fantasy adventure has become one of the most acclaimed films of 2024; debuting at Cannes in the non-competitive “Un Certain Regard” section, it won raves from international reviewers and went on to claim yearly ābest ofā honors from numerous criticsā organizations and film award bodies, including the Golden Globes and the National Board of Review. Now nominated not only for the Academyās Best Animated Feature award but as Best International Feature (only the third animated movie to accomplish that feat) as well, it stands as the odds-on favorite to take home at least one of those Oscars, and possibly even both ā and once seen, itās hard to dissent from that assessment.
Set in an unspecified time and an unknown, richly forested place, it centers its narrative ā which begins with breathtaking quickness, almost from the opening frames of the film ā on a small-ish charcoal grey cat, who wakes from its slumber to find its home rapidly disappearing under a rising tide of water. Trying to stay ahead of the flood, it finds a lifeline when it discovers an abandoned sailboat, adrift on the waves, and seeks safety on board; but the cat is not the only refugee here, and with an unlikely group of other animals ā a dog, a capybara, a lemur, and a secretary bird ā sharing the ride, the plucky feline must forge alliances with (and between) each of its shipmates if any of them are to avoid a seemingly apocalyptic fate. Faced with setbacks and challenges at every turn, the crew of unlikely comrades learns to cooperate out of shared necessity ā but will it be enough to keep the uncontrollable waters that surround them from becoming their final oblivion?
With no human presence in the movie ā though the implication that it once existed, accompanied by the inevitable suspicion that climate change is behind the mysterious flood, is ominously delivered through the monumental ruined structures and broken relics it has seemingly left behind ā the story unfolds without a word of dialogue, a narrative chain of events that keeps us ever-focused on the ānow.ā The non-verbal vocalizations of its characters (each provided by authentic animal sounds rather than human impersonation) help to convey their relationships with clarity, but itās the visual evocation of their sensory experiences ā of being trapped and at the mercy of the elements, of making an unexpected connection with another being, of enjoying a simple pleasure like a soft place to sleep ā that fuels this remarkable exploration of physical existence at its most raw and vulnerable. We have no way of knowing what has happened, no way of imagining what is yet to come, but such questions fade quickly into irrelevance as the story carries our attention from the immediacy of one moment into the next.
Accentuating this in-the-moment flow of āFlowāā for if ever a film title could be said to summarize its style, it is surely this one ā is its eye-absorbing visual beauty, rendered via the open-sourced software Blender to provide an aesthetic which matches the material. These realistically-drawn animals come vividly to life against a backdrop that captures a deep connection to nature, accented with the surreal intrusions of human influence and a certain appreciation for the colorful beauty of the world around us, even at its most untamed, which hints at an indefinable mysticism; and when the story begins to transcend the expected borders of its meticulously-crafted realism, the animation takes us there so easily that we scarcely notice it has happened.
Yet transcend it does, and in so doing becomes something greater than a humble adventure tale. As the animal companions progress in their journey toward hoped-for safety, the remnants of human existence become more weathered, more ancient, and less recognizable; the natural landscape through which they are carried begins to be transformed, rendered in a more mythic light by the clash of elemental forces swirling around them and the strange encounters with other creatures that occur along their way. Whatever world this may have been, it seems rapidly to be dissolving into a cosmos where the forms of the past are being reconfigured into something new ā and the band of travelers, both witness to and participants in this process, cannot help but be reconfigured, too.
We canāt explain that further without spoilers, but we can tell you that it includes the catās ability to ignore its solitary instincts and natural mistrust of its comrades in order to form a diverse (yes, we said it) and cooperative team. It also involves learning to let go of things that can no longer help, to be open to new possibilities that might, and perhaps most importantly, to surrender without fear to the āflowā and trust that it will eventually take you where you need to go, as long as you can manage to stay afloat until you get there.
Zilbalodisās film is an immersive ride, full of visceral and frequently harrowing moments that may produce some anxiety (especially for those who hate seeing animals in peril) and conceptual shifts that may challenge your expectations ā but it is a ride well worth taking. More than merely a fantastical āNoahās Arkā fable reimagined for an environmentally conscious age, it just might offer the timely catharsis many of us need to confront our unknowable future with a renewed sense of possibility.
āFlowā begins streaming on Max on Feb. 14.

SADBrunch will host āDrag Brunchā on Sunday, Feb. 16 at 12 p.m. at Throw Social.
Grab your friends & family, your mimosa, a plate full of food, and join us for Drag Brunch. Five flocking fabulous queens take to the stage to perform in this sassy, extravagant, fantabulous event. Tickets start at $25 and are available on Eventbrite.Ā
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