Cinema Series FAQ

  • Click on the blue tabs below to see information about the cinema series.
  • Movie dates, times, and trailers are below the FAQ box.
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  • MAGPS sponsors a cinema series, open to clinicians, spouses, & anyone interested in the application of psychological principles to our lives.
  • The mission of the series is to promote connection for MAGPS members between conferences, get the word out about our conferences, provide stimulating learning experiences on issues including, but not limited to, group, diversity, and ethics.
  • Each cinema series event includes a light dinner, a movie, and a lively discussion with a moderator.
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  • Light dinner: 5:45 PM - prepared by our own cinema series food committee (in context with the theme of the movie -- you will be surprised!)
  • Movie: 6:30 PM
Upcoming Presentations:  
  • 04/29/2017: Black Swan - Presenter: David Heilman, M.Psy.
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white-squareA $10 donation to cover the cost of food and drink is requested.

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white-square2.5 CEs (Continuing Education Credits) available for Professional Counselors, Clinical Social Workers, Marriage and Family Therapists, and Psychologists for $25.white-square
white-squarePlease email cinema@magps.org and let us know how many will be attending white-square
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  • The home of Lorraine and Dan Wodiska
  • 6014 28th Street North, Arlington, VA 22207
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white-squareDisclosure of Commercial Support and the Unlabeled use of a commercial product. No member of the planning committee and no member of the faculty for this event have a financial interest or other relationship with any commercial product(s) discussed in this educational presentation.white-square

Cinema Series Presentations

Cinema Series Interview: “The Lunchbox”

Lenore Pomerance interviews Navmoon Mann on presenting “The Lunchbox” for the MAGPS Cinema Series October 6, 2018 movie.

Dr. Navmoon Mann and I had a chat about the Indian movie, “The Lunchbox” that we are presenting Saturday, October 6, at Lorraine Wodiska’s house.  Navmoon said this movie is very reflective of middle-class Indian life.  He thought it would not be amusing, maybe even boring, to Indians because it is too much like real life.  He feels Indians respond more to dancing movies with happy endings.  This brings to mind “Bollywood” movies which typically are love stories with a lot of men and women dancing and singing.  However, when I checked The “Lunchbox” on Wikipedia it appears that it was very popular in India, and was the highest grossing Hindi movie for the male lead, Irrfan Khan up to that time.

In fact, according to an interview in The Guardian the director, Ritesh Batra, was surprised that “The Lunchbox” had become a box office phenomenon at home.  He said, “It’s a good sign that home audiences are changing – people want to see their stories on screen.  My parents were worried for me when I showed it to them.  My mum couldn’t understand why I hadn’t included any songs.” Or, much in the way of action or escapism. But not only was “The Lunchbox” successful in India it won many prizes abroad and grossed millions of dollars over its budget.

Navmoon and I talked about social class and social roles depicted in the film: women, the infirm, the elderly, and even those without family.  For example, women’s roles as caretakers, and even as unhappy wives are poignantly portrayed.  Again from The Guardian’s interview with the director: when Batra was asked if he consciously highlighted women’s issues, he indicated that not being a woman he was not overtly conscious of doing that, but as a new father to a daughter he hoped conditions would be different for her.  He stated,  “Last year, I was driving in Mumbai when this review show came on the radio and they were talking about my film. I had to stop the car. People were phoning in with these stories – ‘My mother watched it three times when she was dying of cancer, because it made her happy’ – or about how the film tapped into women’s issues.”

On another topic, Navmoon didn’t think this movie could be made in the U.S. because he feels it is more reflective of a restricted, orthodox society where social and family roles are fixed: the young wife spending most of her day preparing her husband’s lunch and dinner and taking care of their child; the aging, widowed  office worker expected to go to live in a senior community, aging wives taking care of terminally ill husbands. I wasn’t sure that is true.  Perhaps a stereotype portrayal in American movies of social disintegration and rootless nuclear families is just that, a stereotype that can be disproved by examples in everyday life.  A great topic for our group discussion.

Another richly portrayed “character” in the movie is the lunch delivery system in Mumbai which has been in existence for 125 years. In it, 5,000 or so lunchbox delivery men, the dabbawallahs transport hundreds of thousands of tiffin lunches back and forth from home kitchens and restaurants to office workers in the world’s fourth most densely populated city. Harvard Business School commissioned a six-month study into the service in 2010 that worked out that only one in a million deliveries go awry. Batra’s film hones in on that one.

So join Navmoon and me in watching and discussing this delightful film.

 

                           CINEMA SERIES presents CABARET
         Hosts:  Lorraine and Dan Wodiska            Dinner and visiting: 5:30
                     6014 28th St., North                        Film viewing:  6:15
                     Arlington, VA 22207                       Discussion & Dessert
                               A $10 contribution to cost of the food is requested
Please RSVP here if interested in attending.

 

Cinema Series Archive

Cinema Series Interview: “The Lunchbox”

Lenore Pomerance interviews Navmoon Mann on presenting “The Lunchbox” for the MAGPS Cinema Series October 6, 2018 movie.

Dr. Navmoon Mann and I had a chat about the Indian movie, “The Lunchbox” that we are presenting Saturday, October 6, at Lorraine Wodiska’s house.  Navmoon said this movie is very reflective of middle-class Indian life.  He thought it would not be amusing, maybe even boring, to Indians because it is too much like real life.  He feels Indians respond more to dancing movies with happy endings.  This brings to mind “Bollywood” movies which typically are love stories with a lot of men and women dancing and singing.  However, when I checked The “Lunchbox” on Wikipedia it appears that it was very popular in India, and was the highest grossing Hindi movie for the male lead, Irrfan Khan up to that time.

In fact, according to an interview in The Guardian the director, Ritesh Batra, was surprised that “The Lunchbox” had become a box office phenomenon at home.  He said, “It’s a good sign that home audiences are changing – people want to see their stories on screen.  My parents were worried for me when I showed it to them.  My mum couldn’t understand why I hadn’t included any songs.” Or, much in the way of action or escapism. But not only was “The Lunchbox” successful in India it won many prizes abroad and grossed millions of dollars over its budget.

Navmoon and I talked about social class and social roles depicted in the film: women, the infirm, the elderly, and even those without family.  For example, women’s roles as caretakers, and even as unhappy wives are poignantly portrayed.  Again from The Guardian’s interview with the director: when Batra was asked if he consciously highlighted women’s issues, he indicated that not being a woman he was not overtly conscious of doing that, but as a new father to a daughter he hoped conditions would be different for her.  He stated,  “Last year, I was driving in Mumbai when this review show came on the radio and they were talking about my film. I had to stop the car. People were phoning in with these stories – ‘My mother watched it three times when she was dying of cancer, because it made her happy’ – or about how the film tapped into women’s issues.”

On another topic, Navmoon didn’t think this movie could be made in the U.S. because he feels it is more reflective of a restricted, orthodox society where social and family roles are fixed: the young wife spending most of her day preparing her husband’s lunch and dinner and taking care of their child; the aging, widowed  office worker expected to go to live in a senior community, aging wives taking care of terminally ill husbands. I wasn’t sure that is true.  Perhaps a stereotype portrayal in American movies of social disintegration and rootless nuclear families is just that, a stereotype that can be disproved by examples in everyday life.  A great topic for our group discussion.

Another richly portrayed “character” in the movie is the lunch delivery system in Mumbai which has been in existence for 125 years. In it, 5,000 or so lunchbox delivery men, the dabbawallahs transport hundreds of thousands of tiffin lunches back and forth from home kitchens and restaurants to office workers in the world’s fourth most densely populated city. Harvard Business School commissioned a six-month study into the service in 2010 that worked out that only one in a million deliveries go awry. Batra’s film hones in on that one.

So join Navmoon and me in watching and discussing this delightful film.

 

                           CINEMA SERIES presents CABARET
         Hosts:  Lorraine and Dan Wodiska            Dinner and visiting: 5:30
                     6014 28th St., North                        Film viewing:  6:15
                     Arlington, VA 22207                       Discussion & Dessert
                               A $10 contribution to cost of the food is requested
Please RSVP here if interested in attending.

2018-2019 Cinema Series Season

Mark your calendars now for the Cinema Series Season! Our movie dates are:

Saturday, October 6, 2018 – “The Lunchbox”

Discussants: Navmoon Mann, MD, & Lenore Pomerance, LICSW, CGP


Saturday, December 8, 2018 – “Moonlight”

Discussant: Reginald Nettles, PhD, CGP


Saturday, February 2, 2019 – “Call Me By Your Name”

Discussant: Sonia Kahn, PsyD


Saturday, April 13, 2019 – TBD

Discussant: Katherine Thorn, LPC, LCPC, BCN

 


 

Cinema Series Preview and Interview: Force Majeure

 

Saturday, April 7, 2018 – “Force Majeure”

 

Discussant: Brian Cross, PhD

 

 

Brian Cross, PhD will be presenting “Force Majeure” on Saturday April 7, 2018, at Lorraine and Dan Wodiska’s house. The New York Times described it as a “dark Swedish comedy. …Just under the surface of a seemingly blissful marriage run fissures that a sudden jolt can tear open to reveal a crumbling edifice. That’s the unsettling reality explored with a merciless lens in the Swedish director Ruben Ostlund ‘s fourth feature film.” Be sure to bring your long distance glasses for those subtitles. 
 
Where: Lorraine and Dan Wodiska’s house
            6014 N 28th St.
            Arlington, VA 22207
 
When: Dinner: 5:45 PM

                Movie:  6:30 PM

And now, please enjoy the Cinema Series Interview with Brian Cross, PhD, and Judy Tyson, PhD.

JUDY: Brian, I’m so glad to have the opportunity to get to know you and talk with you about, Force Majeure. Before we get to the film, tell us a bit about your clinical work and your choice to become a clinician in private practice.

BRIAN: As a therapist, early on, my focus was treating very disturbed children and teens and their family systems. I had been working with seriously emotionally disturbed children when a critical incident moved me to change the focus of my clinical work from school settings to private practice. While restraining a psychotic young boy, a teenager much larger than I hovered over me, threatening me with a small knife. With no staff present, my best intervention was limited to telling this teen that if he cut me he was going to end up in jail. And, he would be fresh meat in jail!

JUDY: A really frightening moment. Stunning. With your clinician’s responsibility and no option to “flee,” this moment truly was a “force majeure” for you. It reminds me of the family in our film. With light hearts they begin a ski vacation and an avalanche disrupts an idyllic moment. Now they have no choice but to face the aftermath of their own “force majeure.” But we can talk about that later.

BRIAN: Yes, for me, that moment with the teen was one of the “avalanches,” of my professional career. Soon after that incident I retreated to what seemed at the time would be a safer clinical environment, private practice. And I’ve been there since.

JUDY: Our backgrounds are somewhat similar. In my early years as a clinician I also worked with emotionally disturbed children and their families. Working with these children was a challenge that defies the imagination. It was truly tough work. So, after some intense experiences, I also, chose to re-tool and continue my clinical work in private practice.

BRIAN: When I began my private practice I evaluated children. Over the years, however, I found working with adults, couples, and group work deeply satisfying and have continued that to the present.

JUDY: Before we focus on the film, what moved you to volunteer to present at a Cinema Series event?

BRIAN: A while ago I went to a Cinema Series evening. A couple presented the film and it looked like it would be fun for me to present a film also.

JUDY: I’m glad to hear that what you saw inspired you to present a film as well. That’s what I hope the Cinema Series events offer us all: opportunities to enjoy one another, learn from one another, and, if we are open to it, be inspired by one another to try out something new, whether it is an activity or an idea.

JUDY: How did you discover Force Majeure?

BRIAN: Well, as a rule I prefer “fantasy entertainment.” I avoid films depicting anything that could remind me of my clinical work. I don’t watch films of struggling couples. Years ago, my lovely wife, Elizabeth, introduced me to this movie. She was watching the film, and I sat down to see a bit of it. I never finished the film then because the premise of the movie…an avalanche….running in fear…the emotional turmoil that ensues, suggested it wouldn’t be a story to promote restful sleep. But it did interest me.

JUDY: And, you did eventually watch the entire film? And found it to have redeeming value?

BRIAN: Yes, The bit I had first seen did interest me. So, later, I watched all of it. And I liked it! “Force Majeure,” starts out slowly. A family is beginning a ski vacation. Then we see their reaction to an avalanche.

JUDY: And, the energy shifts.

BRIAN: Yes. At first the film appears to be a bland story of a family on a ski vacation. But, it shifts. I found Force Majeure to be a very edgy, dark, existential movie.

JUDY: And what drew you to choose it as the film to present to us?

BRIAN: The film’s theme gradually emerges as a study about the limits of our humanity, stereotypic gender roles, the frame of marriage, the pretense of control, and the myriad of circumstances puncturing our lives and providing us ground for evolving. (Wearing my clinician hat, I immediately thought that the star couple in the film would soon be entering therapy).

JUDY: That does sound heavy. And the way you put it, pretty bleak.

BRIAN: But, on the other hand, I also found it to be a seriously funny movie. There were so many comedic moments. I laughed a lot watching it.

JUDY: That was my experience also. Maybe the unexpected comedy helps make the move successful. I agree, the film is “seriously” funny. The funny bits truly are funny; laugh out loud funny; “seriously” funny. For me, there is a serious aspect of some of those funny moments because the comedic moments are about “serious” concerns we can all have of the ego: self-esteem, trust, emotional safety. The director of Force Majeore, Ruben Ostlund, was quoted as saying, “All my films are about people trying to avoid losing face.” This film has numerous vignettes of men and women in their struggle with self-esteem; trying not to lose face. Many of the moments are poignant, troublesome or sad. And many others, while funny, point to issues that can keep us vulnerable, embarrassed, and sometimes ashamed.

BRIAN: In Force Majeure the dichotomy carried by the husband and wife, comes to light once they experience the avalanche and seems to stimulate their divisiveness, secrecy, and shame. The husband carries shame; the wife assumes the vindictive victim; both husband and wife are reluctant to acknowledge self-doubt.

JUDY: To shift a bit; you might be aware that The Cinema Series committee has a commitment to support our MAGPS mission statement. To that end, we’ll have the opportunity in our discussion after the film to connect issues presented in the film with how these issues relate to the personal challenges in today’s socio/political climate. Can you relate any of the film’s themes to present day concerns?

BRIAN: It is challenging to not let our differences separate us. We have all, at times, been tempted to take the road more traveled by separating ourselves from each other. We see in this film that, once jarred by a force majeure, the husband and wife find themselves doing just that with one another.

JUDY: The characters in the film struggle to cope with the after-shock of a force majeure. The struggle to maintain their equilibrium and “save face” polarizes them. In our discussion after the film, we will have an opportunity to consider whether any of the themes and concerns in the film remind us of challenges and struggles in our social and political life today. We’ll have a conversation about times we have been triggered by what may have been an unrecognized “force majeure,” that moved us to reactivity and projections; when we realize we could not tap into our wisdom. We can talk about the challenges currently facing our society politically and how those challenges also touch us socially, at times even in our inner circle. We can reflect on what appears as chaos caused by the disequilibrium of our times. I look forward to facilitating what I hope will be a meaningful conversation for all of us.

Cinema Series Preview and Interview: Get Out

 

Saturday, February 10, 2018 – “Get Out”

 

Discussant: Raquel Willerman, PhD, LCSW & Warren Levy

 

The Movie ‘Get Out’ Is a Strong Antidote to the Myth of ‘Postracial’ America (NYT)

 

“Get Out” speaks in several voices on several themes. It subverts the horror genre itself — which has the well-documented habit of killing off black characters first. It comments on the re-emergence of white supremacy at the highest levels of American politics. It lampoons the easy listening racism that so often lies behind the liberal smile in the “postracial” United States. And it probes the systematic devaluation of black life that killed people like Trayvon Martin, Walter Scott, Tamir Rice and Eric Garner (New York Times, March 27, 2017). Join us on February 10, 2018Click here for more information.

 

 

And now, our cinema series interview with Judy Tyson, PhD, CGP, Raquel Willerman, PhD, LCSW, and Warren Levy:

 

JUDY: Raquel and Warren, I am glad to have an opportunity to talk with you about the film you chose to present at our next Cinema Series. Jordan Peele, the writer and director of “Get Out” has received accolades from the film industry for his film. And by the time this interview is read, many will already know that “Get Out” was nominated for a Golden Globe award and has been recognized as ground breaking in the film industry.

 

I saw “Get Out” to prepare for this interview. And when mentioning the film to friends and colleagues, their “push back” reactions surprised me. To some, its “horror” label telegraphs “ominous,” “foreboding,” “scary,” and is a reason to avoid the film altogether. Would you give speak to this issue, first off?

 

RAQUEL: The first thing I will say about me is that I don’t like horror movies.  My body gets disregulated just at the sound of eerie music!  There are suspenseful and unsettling moments in this film. However, clearly, Peele does not want to scare his audience away. He wants his audience to connect with the film; to identify with the African American protagonist. The well timed comedic moments give us opportunities to catch our breath, self-regulate, and metabolize the intensity of the subject matter he presents. And that helps us take away a viewing experience we can learn from.

 

It’s ironic that the category “Get Out” was nominated for at the 2018 Golden Globes was actually comedy, not horror.  It was also nominated for best screenplay and best actor. It has won best film for many smaller film awardsas well.  From a cinematographic perspective, it’s gorgeous. There are numerous reasons to see this film in addition to its “message”.

 

JUDY: I agree. Peele says that the film’s label is irrelevant. It has been labeled comedy, documentary, horror, and I would consider adding satire to that list. What is significant is that it is a Black man’s statement of racism as it exists presently in our society.

 

RAQUEL: Peele’s statement absolutely resonates with me. I think it’s so important for White people to realize that even if they work hard to “be safe” for people of color, or believe themselves to harbor no racism at all, that there’s an entire US history, from slavery, to lynching’s, to Jim Crow, to present-time uses of incarceration and police brutality, that make it impossible for a Black person to “turn off” his or her alarm system in White spaces. It is an act of courage to be in a predominately White space.

 

In fact, I think it is a brilliant aspect of the film that most of the film takes place in an upper class White suburb. For many of us, including me and Warren, such a magnificently appointed suburb says, “safety.” But for Peele’s main Back protagonist, we learn that our White safety is not safe for him.

 

JUDY: That challenges the assumptions of so many. Even those never having lived in an upper class White suburb may hold those assumptions. Peele reminds us that those who are invited into an “inner circle” are “outsiders”. Being considered “the other” may mean never being safe from assumptions or acts of others that jar or are hurtful. And, as Peele suggests, in some circumstances, can annihilate.

 

To shift the focus, would you each please share a bit about your personal selves? What could you tell us that would give us an understanding of your choice to present this challenging film?

 

RAQUEL:  I have participated in various anti-racism efforts over the years as a White person. I’ve learned about the pervasiveness of racism and that there are conscious and unconscious aspects to it. In fact, I have come to realize that racism is so pervasive it can be said to be in the air we breathe. Like breathing polluted air, no one escapes it; not even those of us who work hard to end racism.

 

I also have found from my experience that much of the work to recognize our own racism involves being able to pendulate between self-regulation and moving towards the discomfort.  For example, if we are White we need to increase our windows of tolerance of what we can see, hear and feel about the African American experience. And we need to expand our understanding of the ways we are complicit in or benefit from racism.

 

JUDY: It seems that bringing this film to our attention is a way you will have helped us expand our awareness of how we may be complicit that we may be unaware of.

 

And, Warren, what would you like to share about yourself? How does your interest in this film reflect your interests and concerns?

 

WARREN: As a physician, I try to be sensitive to the stresses in patients’ lives both personal and societal.   But it is all too easy for me, a White man of privilege, to forget about the traumas that African-Americans experience every day. This film presented the trauma and allowed me to feel some of that fear through Peele’s protagonist and his experiences with his White upper middle class girlfriend and her family.

 

When watching the film I got pulled in by the plot.  After it ended, and Raquel and I talked about it, I could reflect on the symbolism and the overarching themes.

 

JUDY: Your discussion with Raquel enabled you to gain insight as to what the film has to offer. That’s great validation for the group discussion we’ll have after viewing the film on Cinema Series night. Our group discussion, facilitated by a few of us, will be a time to share our perspectives and develop learnings and gain insights.

 

WARREN: I certainly hope so.

 

JUDY: It seems to me Peele wants more from his audience than recognizing the racism in others. It seems to me that he wants his audience to realize each of us, unwittingly, has made assumptions based on unconscious projections which have been grounded in racism. It could be “horrifying” to realize this. Could we, informed by our own unconscious attitudes, be perpetuating racism?

 

There are moments in the film when Peele’s characters express attitudes or behave in ways we would reject. Again, their attitudes “horrify” us. Peele suggests it is “horrifying” that some of use may be operating from our unconscious assumptions of the “other”.

 

RAQUEL: Judy, this is a very astute observation and one that leads to the crux of anti-racism work in my opinion.  It would be easy for me, a White person, to look at the White characters and say, “That’s not me!”  And of course in most of the details it isn’t.  But the dream-like quality of the movie encourages us to look deeper into ourselves, into our unconscious processes to ask these questions.

 

JUDY:  Raquel, what would you hope our colleagues and friends “takeaway” from reading this interview, viewing the film, and participating in the discussion?

 

RAQUEL: I would hope that people feel their perspective about race and racism is enlarged.  I would hope they feel curious about looking into all the symbolism of the movie, because one night of discussion won’t cover it all.  And I would also hope that it spurs participation at some level, personal, clinical, political, and societal in the efforts to end racism.

 

JUDY: Well spoken, Raquel. Those of us who organize the Cinema Series support those goals as well. The next Cinema Series evening, February 10, we’ll visit over dinner and then I’ll invite you to introduce the film. Perhaps, you could suggest what we might think about, or notice, or wonder about while viewing the film. After the film, we’ll all get some dessert and sit down together for a group discussion.

 

I’m looking forward to the opportunity we will have to explore how this film speaks to us. We can share our reactions to the film. We will have the opportunity to take on Peele’s invitation to consider how our unconscious projections have influenced our decisions and actions in our day to day lives.

Cinema Series Interview: “Cabaret”

Judy Tyson interviews Liz Marsh on presenting “Cabaret” for the MAGPS Cinema Series December 9, 2017 movie.

 

CINEMA SERIES INTERVIEW Judy Tyson and Liz Marsh    
JUDY: Liz, I’d like to begin by asking you to say a bit about your choice to present a film for the Cinema Series.
 
LIZ:   I co-chair the MAGPS membership committee. At a meeting we were discussing what movies could stimulate a discussion regarding the MAGPS mission statement for this year.  I suggested Cabaret. I want to support MAGPS and its mission so I volunteered to present the film.
 
JUDY: Yes. Over the years I’ve seen Mid-Atlantic “grow” with the times. I am so pleased that we have this commitment. The first film in the Cinema Series, The Great Dictator, was a success in that regard.
 
LIZ:   Our Mission statement reflects MAGPS’ commitment as an organization to address the intense, conflictual political climate. The Board’s intention is to develop professional activities that will constructively respond to its impact on ourselves and our clients.
We have been developing plans to a-tune our future Conferences and other offerings to do that. We want our MAGPS activities to raise our awareness as to how the political climate affects us both personally and professionally. As clinicians we have a professional obligation to explore how this climate of divisiveness challenges us personally and as clinicians. The Board wants to promote activities that help us as group psychotherapists to attend to the pressures and tensions of the political climate.
 
JUDY: Liz, would you tell us briefly how MAGPS’s mission has personal meaning for you?
 
LIZ: I am disheartened by the stance our government and our world seems to be taking towards those who are different or need support. I am excited to be a part of MAGPS at a time when our understanding as clinicians of group dynamics may be able to make a difference; even if the difference is only with our clients and ourselves. I feel personally that we have a duty to be active in the conversation. Perhaps those we touch may respond more inclusively and compassionately to those needing our support.
 
JUDY:  It seems to me that when people are scared or unable to make sense of a situation, a default perspective can be to  blame the “other,” or stand on the sidelines as a bystander, perhaps  in a state of fear of the “other” or feeling overwhelmed.
 
LIZ: As therapists we are aware of a pervasive undercurrent of “othering,” in our society. We see it in our groups and have noticed “othering” has prevailed in our society’s history. But we have seldom seen it so publically reinforced as we have since the 2016 presidential election cycle began.
 
JUDY: In your opinion why is Cabaret a good fit for this Cinema Series season?
 
LIZ: Cabaret is an interesting choice because it takes place at a tipping point in history. The film, Cabaret, is a musical based on a story by Christopher Isherwood. Isherwood’s autobiographical story takes place in Berlin in the 1930’s, the critical years when the Nazis were coming into power. The musical is about a community of “others.” We see how they choose to respond to a rising threat. This is a threat that may or may not impact them directly.
 
JUDY: What will be your focus that evening?
 
LIZ: My intention is to talk about that historical political situation and lead a discussion about choosing to be a bystander, a witness, rather than, when we see things amiss in our communities, choosing to get involved. 
 
JUDY: In Cabaret Bob Fosse, the director, shows us what happens when insidious, amoral, dark political forces are not addressed and people ignore them or behave as “bystanders.”
What can our membership do to support MAGPS’ mission to explore the tough issues we now face as citizens and that Cabaret dramatically illustrates?
 
LIZ: My personal comment, “Call your representatives every day!”
In regards what an MAGPS member do?  Our organization is always looking for volunteers to do things. For example, opportunities to present a film at a Cinema Series; join a conference committee; contact a Board member to say you want to help and learn what you can do. The Board wants to focus our upcoming conference on topics that address the divides in our communities and would love members’ ideas, feedback, and help with tasks to make it happen.
 
JUDY: Yes, early on, when joining MAGPS (more years ago than I can remember) I found that all I had to do was to “show up” and get involved. Mid-Atlantic has no “glass ceiling” to stop anyone from participating. Over the years I  have found MAGPS to consistently welcome new members. And all members are encouraged to find ways to participate. The payoff has been that our organization has become a professional community that nurtures our members’ professional as well as personal growth. 
 
LIZ: I believe one of the most important things we can do is to dialog with people that are different from us. Events like the Cinema Series provide a platform for dialoging. The opportunity to is important now more than ever. Come and put your two cents in!
 
JUDY:  In my opinion, your choice of Cabaret is spot on.  Most of the scenes are of people extremely happy, with little to no evidence suggesting there is much to be happy about. The signs that their lives will be soon be impacted by a Nazi world view are ignored.  With the dancing, singing, and smiling, there is a sinister undertone. Something is amiss, to use your words, and nobody seems to notice. Or, if they do notice, they don’t seem to know enough to care.
Thank you, Liz, for giving us your thoughts and thank you, in advance, for presenting Cabaret and what I am sure will be an enlightening group discussion. I’m looking forward to viewing Cabaret with our members and their guests.
For those who will be coming for the first time, the evening begins with visiting and a delicious dinner. This is an opportunity to meet those you know, interesting people you may not have yet met, and those who might be looking forward to an opportunity to get to know you! We’ll watch a great film, and afterward Liz will help us have a lively discussion. Of course the discussion will be accompanied with dessert.
                           CINEMA SERIES presents CABARET
         Hosts:  Lorraine and Dan Wodiska            Dinner and visiting: 5:30
                     6014 28th St., North                        Film viewing:  6:15
                     Arlington, VA 22207                       Discussion & Dessert
                               A $10 contribution to cost of the food is requested
Please RSVP here if interested in attending.