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    Under Siege

    Voices Breaking Boundaries' "Living Room Production" focuses on war againstwomen

    Tyler Rudick
    Apr 27, 2012 | 11:01 am
    • Poster for "Women Under Siege" event, detailing a metal detector from PlannedParenthood Gulf Coast and a 5,000-year-old statuette from the Indus Valleycivilization.
    • Still from Protecting Space, 6 min. video interview, with guards at AbdullahShah Ghazi Shrine, Karachi; filmed by Sehba Sarwar.
    • Still from Still from Conversation with Miriam Kass, with Sehba Sarwar; filmedand produced by Yuneun Perez Vertti.

    There's nothing quite like a Living Room Art production, the free house-party-meets-art-installation event staged twice a year by the Houston grassroots arts organization Voices Breaking Boundaries.

    Resembling a small-scale version of a 1960s San Francisco Be-In, Living Room Art (LRA) fuses music, dance, film, performance and visual art into a politically-engaged exploration of Houston's connection to cultures across the globe . . . all arranged inside a private home whose doors have been opened to the public for a single evening.

    Saturday marks the first installment of a two-part production entitled "Women Under Siege," which juxtaposes freedoms often taken for granted in both Texas and Pakistan. Part two takes place on May 12.

    "The way we work is always pretty varied," smiled Voices Breaking Boundaries founder Sehba Sarwar. "Some of its planned and some of it . . . we just see what happens."

    Voices Breaking Boundaries founder Sehba Sarwar explained to CultureMap that the upcoming LRA was inspired by a pair of metal detectors in two unlikely places frequented regularly by women — Planned Parenthood Gulf Coast in Houston and a Sufi shrine to Abdullah Shah Ghazi in Karachi.

    "Essentially the show is sponsored by a grant from the National Endowment of the Arts to explore these waves of religious extremism seen around the world," she said, noting ongoing issues with conservative activists at Planned Parenthood as well as a 2010 suicide bombing at the Karachi shrine that killed eight people. "Unfortunately, the group most often affected by this extremism is women."

    In planning this weekend's event, Sarwar felt she received more hesitation from her cadre of artists and supporters, particularly as issues over reproductive rights and women's access to healthcare began to percolate in Austin and Washington, D.C. Nevertheless, the organization remains wholly optimistic about the living room production and hopes to create a healthy, open environment for participants to speak freely.

    "The way we work is always pretty varied," she smiled. "Some of its planned and some of it . . . we just see what happens."

    unspecified
    news/entertainment

    Movie Review

    28 Years Later: The Bone Temple enhances the zombie franchise

    Alex Bentley
    Jan 15, 2026 | 4:30 pm
    Ralph Fiennes in 28 Years Later: The Bone Temple
    Photo by Miya Mizuno
    Ralph Fiennes in 28 Years Later: The Bone Temple.

    It’s not often that a return to a franchise after years of no activity results in an actual good movie, but 2025’s 28 Years Later proved successful by reuniting director Danny Boyle and writer Alex Garland, who made the original 28 Days Later. Another sequel, The Bone Temple, was filmed back-to-back with last year’s film, with Nia DaCosta taking over for Boyle in the directing chair.

    The movie picks up soon after the end of the first film, with the young Spike (Alfie Williams) now an unwilling member of a group called the Jimmies, which are led by a man who calls himself Sir Jimmy Crystal (Jack O’Connell). Unlike the main group in the first film that was just looking to survive the zombie apocalypse, the Jimmies are a bloodthirsty bunch who gleefully attack any zombies they find and brutalize other survivors they come across.

    The story also returns to Dr. Kelson (Ralph Fiennes), whose solitary time at his self-built bone temple is interrupted by a massive zombie he has dubbed Samson (Chi Lewis-Parry). Against the odds — and with the help of some morphine — Kelson is able to bond with Samson, giving Kelson some strange but welcome companionship. But with the Jimmies lurking nearby, any peace he’s found may soon be shattered.

    DaCosta, working from a script by Garland, ably steps into Boyle’s shoes, putting the emphasis on the story rather than trying for lots of stylistic flourishes. That’s not to say that she doesn’t do great work, however. The creepiness and sadistic nature of the Jimmies comes through loud and clear under her direction, and she brings out the campy comedy that comes from the unexpected pairing of Kelson and Samson.

    Like the first 28 Years Later, the story is somewhat of a slow burn. The film doesn’t have many plot developments over its 109 minutes, and so DaCosta must get by on mood rather than action for the most part. But when things do get ramped up, they can get very uncomfortable as the film does not shy away from extreme gore. The damage inflicted by Samson and other zombies is one thing, but when it’s sentient humans going savage, it becomes even more difficult to look at the screen.

    The juxtaposition between the chaos of the Jimmies and the quiet existence of Dr. Kelson works well for the film. Their separation for the bulk of the story gives them plenty of time to have the characters come into their own. Sir Jimmy Crystal is the ringleader, but Jimmy Ink (Erin Kellyman) gets her own showcase. Samson was already a (literally) big presence from the first film, but this film gives him a degree of humanity that gives the story more depth.

    O’Connell made a big impression as the lead vampire in Sinners, and he’s just as interesting/intimidating here. Fiennes plays a character where being over-the-top is the natural reaction, and yet he keeps Kelson grounded in a number of ways that make him much more than one-note. Lewis-Parry was likely cast for his physique, but he brings out more from a zombie than you’d ever expect. Williams fades into the background a bit after his starring role in the first film, but he’s still strong.

    Releasing The Bone Temple in January was not a great sign given the month’s reputation as a dumping ground for bad movies, but it actually proves to be a great choice. With most other releases being Oscar hopefuls or truly awful films, it stands out for being another compelling entry for the franchise, one that will make anticipation high for whenever the third film in the 28 Years Later series comes out.

    ---

    28 Years Later: The Bone Temple opens in theaters on January 16.

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