Pascal Georges Dusapin (born 29 May 1955) is a French composer. His music is marked by its microtonality, tension, and energy.

A pupil of Iannis Xenakis and Franco Donatoni and an admirer of Varèse, Dusapin studied at the University of Paris I and Paris VIII during the 1970s. His music is full of "romantic constraint". Despite being a pianist, he refused to compose for the piano until 1997. His melodies have a vocal quality, even in purely instrumental works.

Dusapin has composed solo, chamber, orchestral, vocal, and choral works, as well as several operas, and has been honored with numerous prizes and awards.

Education and influences
Dusapin, born in Nancy, studied musicology, plastic arts, and art sciences at the University of Paris I and Paris VIII in the early 1970s. He felt a certain "shock" upon hearing Edgard Varèse's Arcana (1927), and a similar shock when he attended Iannis Xenakis's multimedia performance Polytope de Cluny in 1972, yet he felt "une proximité plus grande" ("a greater closeness") to the latter composer. Because of his attraction to Xenakis's music, Dusapin studied with the composer at the Sorbonne in Paris, where he remained a student from 1974 to 1978. His classes with Xenakis included such subjects as aesthetics and science. Dusapin also studied with Italian composer Franco Donatoni, who was invited to the University of Vincennes (Paris VIII) in 1976.

While Dusapin's studies with these composers formed a foundation for his compositional studies—particularly for his understanding of sound masses—he developed his own musical language. According to I. Stoïnova, "Though attached to ... Varèse, Xenakis, Donatoni, Dusapin is nevertheless completely solitary because he is not only aware of his legacy, but also of the distance which separates him from his mentors: a creative distance of an aesthetic order and sensibility, a way of existing in sounds". He absorbed styles and ideas from these composers, then transformed them to fit his own musical needs.

Besides being influenced by composers such as Varèse and Xenakis who dealt with sound masses, Dusapin's music also shows the influence of other musical traditions, including jazz. In fact, he was once a jazz pianist, though up until 1997 he refused to include piano in his compositions. Beginning in the late 1980s with his piece Aks (1987) and continuing into the 1990s, Dusapin incorporated French folk music into his musical language. In Aks, commissioned by the Société des Amis du Musé des Arts et Traditions Populaires, Dusapin immediately quotes a folk-melody, but the rest of the piece is composed independently from the folk song. Dusapin's work from the 1990s further illustrates the influence of folk music through its frequent use of drones and use of restricted modes, though most often without obvious tonal centers. Other sources of inspiration include graphic arts and poetry.

Musical style

Instrumentation
One way in which Dusapin stands out from other contemporary composers is through his selection of certain instruments and rejection of others. Unlike even Xenakis, he avoids the use of electronics and technology in his music. Likewise, he has removed the use of percussion other than timpani from his works. Until recently, Dusapin also rejected the use of keyboard instruments, despite the fact that he plays the organ and jazz piano. As a possible reason for Dusapin's rejection of these instruments, Stoïnova suggests, "The scale and static timbre of the piano, as well as the noisy, uniform textures of percussion are incorporated with difficulty by Dusapin into his microtonal perspective which seems to define the very essence of his dynamic melodism." Stoïnova, however, wrote this article four years before Dusapin completed the Trio Rombach (1997), for piano, violin or clarinet, and cello. This piano trio was the first work in which Dusapin incorporated piano, and not until 2001 did he complete a piece for solo piano, Sept Études (1999–2001).

Microtonality
Dusapin's music is also marked by its microtonality, which is often achieved through the integration of micro-glissandi and micro-intervals (intervals of less than one semitone). Dusapin combines both micro-intervals and regular intervals into melodic lines so that the listener never knows what to expect next. Even so, Dusapin manages to make his use of microtonality feel completely natural. As Stoïnova explains, "The micro-intervals and the micro-glissandi ... in such instrumental works as Inside (1980) for viola, Incisa (1982) for cello, and many other pieces are, in effect, completely integrated as different by entirely 'natural' components in extremely supple melodic progressions". The listener is already familiar with the uniform division of the octave in equal intervals; Dusapin merely divides the octave by a less traditional number.

Musical form
Dusapin rejects the hierarchical, binary forms of most European music, but neither is his music aleatory. Dusapin characterizes the European "hierarchical" form as thinking in terms of variations, so that certain parts are always of more importance than others. Instead of composing in this way, Dusapin seems to compose measure by measure, deciding what he wants to happen next when he gets there. This process slightly alludes to the chance-like aspect of aleatory music, but Dusapin's music is so precisely composed that it cannot truly be aleatoric. Stoïnova writes, "With regard to Dusapin's music we can observe a principle of auto-organization and complexity in the compositional system through the integration or assimilation of aleatory disturbances." In other words, Dusapin lets the music go where it will, often evoking aleatory idioms, while still notating everything and maintaining control of his music. He avoids repetition and rejects stability and redundancy in music, which is yet another distinguishing feature of his music.

Tension, energy, and movement
Perhaps the most prominent and unique element of Dusapin's music is its built-in tension, energy, and sense of movement. Indeed, in his article on Dusapin, Julian Anderson cites the "enclosing tensions" and "explosive flight" as the two extremes of Dusapin's early music and claims that these idioms are what make the composer's music so highly individual. Stoïnova also emphasizes the energy that is present in Dusapin's earlier compositions, giving credit to Dusapin's use of extreme registers, flutter tongue, trills, micro-intervals, glissandi, multiphonics, rapid articulations, drastic dynamics, and continuous breathing. These unique features make Dusapin's music incredibly intense and demanding on its performers. In fact, the intensity is such that Dusapin consciously makes pieces like Musique captive (1980) have short durations (in this case, three minutes), for by their ends the musicians and listeners alike are completely exhausted.

Later characteristics
Many of the characteristics discussed above are especially prevalent in Dusapin's earlier works, especially those from the 1980s. Beginning in the next decade, Dusapin's work moved more and more toward greater harmonic and melodic simplicity. Paul Griffiths notes that Dusapin's works from the 1990s are more harmonically conceived than his previous music, and that they incorporate more folk traditions, including the use of drones and modes. He further suggests that Dusapin continued to simplify his music as he moved into the twenty-first century, and that while the composer still avoids diatonicism, he uses techniques like oscillating between two notes and constantly varying small patterns, which involve more repetition than his past music.

Collaboration with Accroche Note
The instrumentation of Dusapin's music is often based upon available players, and during the 1980s and 1990s, he often wrote for the Ensemble Accroche Note, a Strasbourg-based new music group founded by a singer and clarinetist. Ian Pace proposes that the influence of the group's clarinetist Armand Angster might be a reason for the prominence of the clarinet in much of Dusapin's music from this time period. Griffiths, too, makes note of the important role of the clarinet in the series of shorter pieces that Dusapin wrote after the completion of his first opera, Roméo et Juliette (1985–89). Dusapin's tendency to write for specific instrumentalists (in this case, clarinetist Angster) reveal a practical and realistic side of the composer.

Notable works

Musique captive (1980) and Musique fugitive (1980)
Two of Dusapin's earlier works composed in the same year, Musique captive (1980) and Musique fugitive (1980), might be studied together in that they are both unstable and aim to avoid any sort of repetition. At the same time, however, the pieces go about achieving these goals in two very different ways. Musique captive is written for nine wind instruments (piccolo, oboe, soprano saxophone, bass clarinet, contrabass clarinet, contrabassoon, two trumpets, and bass trombone) and lasts just three minutes, for, as Stoïnova suggests, the tension and high demands on the performers are such that the piece could not last any longer. Stoïnova further describes the piece as internally destroying itself, writing, "The musical ideas of this piece—tremolo textures, a rising chromatic figure, violent crescendi, an expanding mass of detail etc.—destroy each other or to be more exact annihilate each other." Dusapin thus throws many musical ideas together, a concept that Pace relates to free jazz. The resulting music is highly unstable and simply cannot endure longer than its three-minute duration. The piece was first performed in July 1981 in La Rochelle, France.

Musique fugitive, on the other hand, achieves its instability through musical "ruptures." Written for string trio, the piece avoids the traditional process of statement and variation, thus breaking away from any sense of unity and continuity. Dusapin achieves this effect by stating one idea, then abruptly changing course through either sudden silence or the introduction of a new musical progression. Premiered in Aix-en-Provence, France, in June 1980, Musique fugitive, Pugin claims, has become "virtually a repertoire piece in France." The Arditti String Quartet recording of the piece can be heard on Spotify.

La Rivière (1979) and L'Aven (1980–81)
La Rivière (1979) and L'Aven (1980–81) are two orchestral pieces based on ideas of nature that, according to Julian Anderson, show off the "more exuberant, violent side of Dusapin's style." Both pieces focus on characteristics of water and symbolize its fluidity and strength through music. The first piece opens with solo cello, which "spreads through" and "absorbs" the whole orchestra, as water would do. Indeed, in this piece Dusapin aims to realize the "movement of changing speeds, of the strength of flow." L'Aven, on the other hand, captures the image of water slowly dripping and opening a hollow in stone. A concerto for flute and orchestra, the work begins with the flute being just barely audible over the orchestra, but it gradually pushes its way through the orchestral texture until it is the prominent voice of the work. Thus, the flute represents the dripping water, and the orchestra represents the stone. The flute plays without stop for ten minutes, always pushing against the orchestra and ultimately coming out on top. Both pieces received their premiere in Metz, France: La Rivière in November 1979, and L'Aven in November 1983.

Niobé ou le Rocher de Sypile (1982)
Niobé ou le Rocher de Sypile (1982) is a thirty-eight-minute work for twelve mixed voices, solo soprano (Niobé), and eight instruments (oboe doubling English horn, two clarinets [the second doubling bass clarinet], two bassoons [the second doubling contrabassoon],trumpet and two tenor trombones), with a neo-Latin text by Martine Irzenski. Irzenski's text is taken from fragments of Latin literary works and does not necessarily follow the chronology of the Greek myth of Niobe. Dusapin himself classifies the work as a "staged oratorio", rather than an opera or piece of musical theatre, and in it he once again avoids repetition and continuity and seeks to freely make textural connections. The solo soprano voice is pitted against the twelve voices of the mixed chorus, who serve a number of different purposes throughout the course of the work, sometimes extending the timbre of Niobé's voice, sometimes moving in relation to the text. In his article on Dusapin, Anderson also highlights the variety of vocal techniques and textures used in the oratorio, including microtonal chords for the chorus and the monodic soprano line at the end of the work. Through its non-linear text and multiple textural layers, 'Niobé ou le Rocher de Sypile' maintains the same sense of discontinuity as Dusapin's earlier chamber works. The work was first performed in Paris on 16 June 1984.

Roméo et Juliette (1985–88)
According to Ian Pace, Dusapin's first opera, Roméo et Juliette (1985–88) is the "pivotal work" in the composer's career, for it is in this work that he first "properly" combines his ideas of narrative to the theatrical realm. Pugin views Dusapin's opera as a return to the "more fruitful" style of Niobé, and cites Dusapin's vocal pieces Mimi (1986–87), Il-Li-Ko (1987), and Anacoluthe (1987) as study pieces for the creation of his first opera, particularly for the setting of the French language. Anderson, meanwhile, notes the greater amount of lyricism that exists in Dusapin's opera as compared to his earlier works. All three authors seem to agree that the opera is a noteworthy point in Dusapin's compositional career.

The libretto, written by Olivier Cadiot, is divided into nine numbers: the first four dealing with events before the revolution, the final four involving events after the revolution, and the fifth and central number being the revolution itself. This central movement is the only one played purely by the orchestra. The opera focuses not only on Roméo and Juliette, but also on their doubles, Roméo 2 and Juliette 2, who appear before the revolution and seem to symbolize "an expansion of their personalities." The opera also involves a chorus that comments on the action and a vocal quartet that serves as an intermediary and teaches Roméo and Juliette revolutionary concepts. Finally, there is the character of Bill, who teaches Roméo and Juliette to sing, but who himself only speaks until the eighth number, when he at last sings as well. In the latter half of the work, the characters discuss the possibility of creating a real opera, only to discover the "impossibility of opera, the story and even language itself", and the music breaks down into microtonality and fragmentation. The opera was premiered on 10 June 1989 in Montpellier, France.

Seven Solos for Orchestra (1992–2009)
His next major project was the large-scale orchestral cycle Seven Solos for Orchestra composed between 1992 and 2009. It consists of seven works that can be played independently but were from the start conceived as a whole.

In the composer's own words:

The cycle treats the orchestra as a large solo instrument and is the closest Dusapin has come to traditional symphonic thinking.

Current projects

In May 2016, Alisa Weilerstein and the Chicago Symphony Orchestra premièred Outscape, Dusapin's second cello concerto, to positive critical reception.

His most recent opera, Macbeth Underworld, premièred at La Monnaie in Brussels in September 2019.

Complete list of works

Solo instrumental
Inside, for viola (1980)
Incisa, for cello (1982)
If, for clarinet (1984)
Item, for cello (1985)
Itou, for bass clarinet (1985)
Ici, for flute (1986)
Iti, for violin (1987)
Indeed, for trombone (1987)
I Pesci, for flute (1989)
In et Out, for double bass (1989)
Invece, for cello (1991)
Ipso, for clarinet (1994)
Immer, for cello (1996)
In nomine, for viola (2000)
Sept études, for piano (1999–2001)
Imago, for cello (2001)
Memory, hommage crypté et monomodal à Ray Manzarek for organ (2008)
Ictus, for bass clarinet (2008–2009)
In Vivo, for solo violin (2015)

Chamber
Musique fugitive, for string trio (1980)
Trois Instantanés, for 2 clarinets and 3 cellos (1980)
Poco a poco (1986)
Sly, for trombone quartet (1987)
Laps, for clarinet and double bass (1988)
Neuf Musiques pour «Le Fusil de chasse», for clarinet, trombone and cello (1989)
String quartet n°2 Time Zones (1989)
Attacca, pour 2 trumpets and timpani (1991)
Stanze, for brass quintet (1991)
Ohimé, for violin and viola, hommage for Besty Jolas (1992)
String quartet n°1 (1982–1996)
String quartet n°3 (1993)
Ohé, for clarinet and cello (1996)
String quartet n°4 (1997)
Trio Rombach, for piano, violin or clarinet and cello (1997)
String quartet n°5 (2004–2005)
String quartet n°6 (2009), with orchestra
String quartet n°7 (2009)
 Microgrammes, 7 pieces for string trio (2011)
By the way, for clarinet and piano (2014)
Slackline, for cello and piano (2015)
Forma fluens, for violin and piano (2018)

Orchestra and ensemble
Souvenir du silence (1976)
Le Bal (1978)
Timée (1978)
La Rivière, for orchestra (1979)
Musique captive, for 9 wind instruments (1980)
Tre Scalini, for orchestra (1981–1982)
Fist (1982)
Hop' (1983–1984)
La Conversation (1984)
Treize Pièces pour Flaubert (1985)
Assaï, for orchestra (1985)
Haro (1987)
Coda (1992)
Seven Solos for Orchestra (1992–2009)
Go, solo n°1 for orchestra (1992)
Extenso, solo n°2 for orchestra (1993–1994)
Apex, solo n° 3 for orchestra (1995)
Clam, solo n° 4 for orchestra (1997–1998)
Exeo, solo n° 5 for orchestra (2002)
Reverso, solo n°6 for orchestra (2005–2006)
Uncut, solo n°7 for orchestre (2009)
Khôra, for string orchestra (1993)
Loop, for 2 cello quartets (1996)
Cascando (1997)
Perelà Suite, for orchestra (2004)
Morning in Long Island (2010)

Concertante
Flute
L'Aven, flute concerto (1980–1981)
Galim, 'Requies plena oblectationis', for flute and string orchestra (1998)
Cello
Celo, cello concerto (1996)
Outscape, cello concerto (2016)
Violin
Quad, 'In memoriam Gilles Deleuze', for violin and 15 musicians (1996)
Aufgang, violin concerto (2011–2012)
Piano
A Quia, piano concerto (2002)
Jetzt Genau! concertino for piano and 6 instruments (2012)
Other
Aria, clarinet concerto (1991)
Watt, trombone concerto (1994)
At Swim-Two-Birds, double concerto for violin and cello (2017)
Waves, for organ and orchestra (2019)

Vocal
Igitur (1977)
Lumen (1977)
L'Homme aux liens, for 2 sopranos and 3 violins (1978)
Shin'gyo, for soprano and piccolo flute (1981)
Niobé ou le rocher de Sypile (1982)
To God, for soprano and clarinet (or saxophone soprano) (1985)
Mimi for 2 women's voices and ensemble (1986–1987)
Aks (1987)
Red Rock, from «Roméo et Juliette» (1987)
Anacoluthe (1987)
For O., for 2 women's voices and 2 clarinets (1988)
So Full of Shapes is Fancy, for soprano and bass clarinet (1990)
Comoedia (1993)
Canto, for soprano, clarinet and cello (1994)
Two Walking, five pieces for two women's voices (1994)
Dona Eis (1998)
Momo (2002)
Ô Berio, for soprano and 13 instruments (2006)
O Mensch! (Inventaire raisonné de quelques passions Nietzschéennes), for baritone and piano (2008–2009)
Beckett's Bones for soprano, clarinet and piano (2013)
Wenn du dem Wind... (3 scènes de l'opéra Penthesilea) for mezzo-soprano and orchestra (2014)
Wolken, for female voice and piano (2014)

Operas
Roméo et Juliette (1985–1988)
Medeamaterial (1990–1991)
La Melancholia (1991)
To Be Sung (1992–1993)
Perelà, uomo di fumo (2001)
Faustus, the Last Night (2003–2004)
Passion (2009)
Penthesilea (2015)
 Macbeth Underworld (2019)

Choral
Semino (1985)
Il-Li-Ko (1987)
Granum sinapis (1992–1997)
Umbrae mortis, for mixed choir (1997)
Disputatio, for children's chorus, mixed choir, string orchestra, percussion and glass harmonica (2014)

Recognition
Dusapin has won the following prizes and awards:

1979 – Hervé Dugardin Prize (SACEM)
1981–83 – Scholarship holder at the Villa Medici in Rome
1993–94 – Composer-in-residence with the Orchestre National de Lyon
1993 – Prize of the Académie des Beaux-Arts
1993 – Prix du Syndicat de la Critique (Critics' Circle Award)
1994 – SACEM Prize for Symphonic Music
1995 – French Ministry of Culture awarded him the Grand Prix National de Musique
1998 – Victoire de la Musique in 1998 for a CD recorded by the Orchestre National de Lyon, and 'Composer of the Year' in 2002.
2007 – Dan David Prize (shared with Zubin Mehta)

In 2019, writers of The Guardian ranked Passion (2008) the 14th greatest work of art music since 2000, with Tim Ashley writing, "The score subtly alludes to Monteverdi and French baroque, but the sound world it creates is uniquely Dusapin's own: tense, quietly mesmerising and austerely beautiful."

References

Notes

Sources
Amblard, Jacques. Pascal Dusapin, l'intonation ou le secret. Paris: Musica falsa Société de Presse, 2002.
Anderson, Julian. "Dusapin, Pascal." In Contemporary Composers, edited by Brian Morton and Pamela Collins, 250–52. Chicago: St. James Press, 1992.

Cazé, Antoine. "'Pas de Deux:' Dusapin Sings/Stein to Be Sung." In Sound as Sense: Contemporary US Poetry &/In Music, edited by Michel Delville and Christine Pagnoulle, 141–53. New Comparative Poetics 11. Brussels, Belgium: Presses Interuniversitaires Européenes – Peter Lang, 2003.
Cohen-Levinas, Danielle. "Composer n'est pas la musique." In Causeries sur la musique: Entretiens avec des compositeurs, edited by Danielle Cohen-Levinas, 203–50. Paris: L'Itinéraire, 1999.
Grabócz, Márta. "Archetypes of Initiaion and Static Temporality in Contemporary Opera: Works of François-Bernard Mâche, Pascal Dusapin, and Gualtiero Dazzi." In Music and Narrative since 1900, edited by Michael L. Klein and Nicholas Reyland, 101–24. Bloomington, IN: Indiana University Press, 2013.
Stoïanova, I. "Pascal Dusapin: Febrile Music." Contemporary Music Review 8, no. 1 (1993): 183–96.

External links
Dusapin's page at Durand-Salabert-Eschig, composer's publisher
Concert and CD reviews at classicalsource.com
Short biography, the ensemble Sospeso
Biography and list of works, the Living Composers Project
Dan David Prize laureate 2007

1955 births
Living people
University of Paris alumni
21st-century classical composers
20th-century classical composers
Microtonal composers
French classical composers
French male classical composers
Academic staff of the Collège de France
Musicians from Nancy, France
Pupils of Iannis Xenakis
International Rostrum of Composers prize-winners
20th-century French composers
21st-century French composers
20th-century French male musicians
21st-century French male musicians

Pascal Dusapin


The urban area of Póvoa de Varzim in northern Portugal is divided into eleven districts (partes, lit. "parts"), each with distinctive zones (zonas), which are significant areas of the city and have population and topological differences. The vernacular terminology and 19th century subdivisions for the town is Bairro (neighbourhood or quarter).

While most of the assigned boundaries match with traditional local designations, some others differ from common traditional use, for instance the northern area of Giesteira is understood as part of Barreiros. This is a result of the City Planning Commission's wish to divide the city with a population of about 3 to 4 thousand in each district. Although, the idea of a neighbourhood equal to a district was aimed, sometimes it was not possible, given the fact that some are excessively small. While most of the districts have been in common use by locals for generations, some designated names are rarely heard outside of the Planning Commission usage, such as "Parque da Cidade" or "Agro-Velho". Some districts are formed by more than one quarter, such as the Matriz/Mariadeira formed by Matriz, Mariadeira, Regufe, Penalves, and Coelheiro or the Barreiros/Moninhas District formed by Barreiros and Moninhas.

City districts
A Ver-o-Mar:  Santo André, Aldeia Nova, Boucinha, Caramuja, Fontes Novas, Fragosa, Mourincheira, Paço, Paranho, Paranho de Areia, Palmeiro, Perlinha, Finisterra, Paralheira, Refojos.
Agro-Velho: Agro-Velho, Nova Póvoa, Carota
Bairro Norte: Salgueira, Desterro, Carvalhido, Vila Velha (old town)
Centro: Junqueira, Praça do Almada, Av. Mouzinho de Albuquerque, Ribeira, Castelo
Bairro Sul: Lapa, Bairro dos Pescadores, Póvoa 7
Parque da Cidade: Montgeron, Sencadas, Sesins
Barreiros/Moninhas: Barreiros, Moninhas, Portela
Matriz/Mariadeira: Matriz (Cidral), Mariadeira, Regufe, Penalves, Nova Sintra, Coelheiro, Mourões
Giesteira: Belém, Giesteira de Cima, Arroteias, Barreiros Nascente
Gândara: Gândara, Penalves Nascente, Calves
Argivai: Aguieira, Bom Sucesso, Casal do Monte, Cassapos, Igreja, Fiéis de Deus, Oliveira, Padrão, Pedreira, Quintela.

Traditional quarters
Póvoa de Varzim has six relevant cultural quarters (bairro), all of which located in Póvoa de Varzim City Centre: Bairro Norte, Bairro Sul, Bairro da Matriz, Bairro de Belém, and Bairro de Regufe. These have greater importance for the inhabitants during the Rusgas during Póvoa de Varzim Holiday on June 28 and 29.

Electoral civil parishes

Póvoa de Varzim has seven civil parishes (freguesia), which are formal administrative subdivisions of the municipality, including the urban area and the city outskirts. These civil parishes are derived from ecclesiastical parishes located in medieval farmsteads, most of which have records dating to the 11th century.

References

External links
Plano de Urbanização da Póvoa de Varzim

Districts of Póvoa de Varzim


Infestation is a 2009 horror-comedy film  by American writer/director Kyle Rankin. It was produced by Mel Gibson's Icon Entertainment and starring Chris Marquette, E. Quincy Sloan, Brooke Nevin, Kinsey Packard, Deborah Geffner and Ray Wise. It was filmed in Bulgaria.

Plot
Cooper (Chris Marquette) is a slacker who works as a telemarketer. On a Friday, he turns up late for work and is promptly fired by his boss, Maureen (Deborah Geffner). He is fired for coming late, driving customers away, and fooling around in the office. Shortly after, an extremely loud sound is heard and Cooper faints with pained expressions on his face.

Cooper wakes up a few days later, only to find himself nauseous, weak and covered in webbing (cocooned) in his office. As Cooper struggles out of the cocoon, he is attacked by a big, beetle-like, bug. He fights the bug away and helps Maureen out of a cocoon. Maureen regains consciousness and realizes that her daughter, Sara (Brooke Nevin) was waiting for her outside the office. Cooper and Maureen go outside to check on Sara, who is unconscious and trapped inside a cocoon in her car. As Cooper is helping Sara out of the cocoon, Maureen is attacked and captured by a large, wasp-like creature. Other bugs surround them and they use Sara's car alarm to distract the bugs and escape to a restaurant.

There they revive Cindy (Kinsey Packard), Hugo (E. Quincy Sloan), Hugo's father Albert (Wesley Thompson), Leechee (Linda Park), Roger (Bru Muller), PJ (Vlado Mihailov) and a Cop (Todd Jenson). PJ and Roger decide to escape in Roger's truck against the advice of others. They are attacked by the bugs and in the chaos PJ, Roger and the cop are killed. Albert is stung by a bug, while Cooper saves Cindy from being crushed by Roger's runaway truck, with the rest of the group deciding to stay indoors.

Leechee and the group make their way to roof of a building and see a group of the wasps flying toward them. The group then realize that the bugs are blind and they use sound to track their victims, as the wasps did not attack them. They use a radio to lure a bug in a storage closet and milk it to identify the contents of its venom. Leechee analyses the venom and realizes that it contains sedatives and some proteins. They decide to go to the nearest military airbase at Gibson the next day and decide to camp for the night in the same building. They also see the bug hive, which is emitting red colored gas. The next day, the group leave the building to make their way to Cooper's dad, while Leechee decides to stay behind to help revive more people and to study the bugs.

The rest of the group sets off and goes to Hugo's and Albert's house first. Albert's wife seems to have died of natural causes. They next go to Cindy's brother, Chad's (Mike Straub) house. Cindy finds her sister-in-law Susan (Daniela Tonova) cocooned and she revives her. They also find Chad, who has mutated into a large spider-like creature because of a giant wasp sting. Chad is collecting cocooned humans and he attacks the group, killing Susan, knocking out Sara, impaling Cooper when he tries to save Cindy and is finally killed by Hugo and Albert.

They camp for the night at Chad's house and Sara patches up Cooper. Cindy wants Cooper to ditch the group and come with her but Cooper is in love with Sara and he turns down the offer. The next day they decide to go to Cooper's dad, Ethan's (Ray Wise) house. Ethan is a former military personnel who has weapons and a bunker at his house. Sara informs Cooper that she intends to go to the bug hive to find her mother. Cooper tries to convince her to come with him to a military airbase but she doesn't agree. They come across a few flying bugs and hide under a bridge. Cindy sees Cooper and Sara holding hands, becomes furious, and shouts to attract the bugs towards the group. Albert shoots Cindy to save the group but Sara is captured by the bugs. Finally the group reaches Ethan's house and Albert turns into a mutant, similar to Chad. Hugo shoots his father to save himself, Ethan, and Cooper.

Cooper tries to convince Ethan to help him save Sara but when he fails he leaves Ethan and Hugo behind. Cooper is captured by another group and they lock him up in a prison cell in an abandoned police station. There he meets a Puerto Rican man, who tells him that he was part of Leechee's group and that he thinks the others died in the explosion caused by the flammable red colored gas released by the bugs and the nest. Hugo and Ethan are captured by the same group. It is revealed that Ethan has been stung by a wasp and the Puerto Rican man turns into a mutant. Ethan uses the distraction to kill the members of the enemy group and save Cooper and Hugo.

Meanwhile, Sara wakes up in the bug hive and comes across the queen consuming cocooned humans. Ethan, Hugo and Cooper reach the hive. Ethan hand-cuffs Cooper to a tree and hits Hugo in the head. He leaves the keys so that Cooper and Hugo can escape. Ethan enters the hive alone to destroy it and he comes across Sara. Sara offers to take Ethan to the queen. Ethan and Sara are then attacked by the queen. Hugo and Cooper enter the bug hive, arriving in time to help Sara and Ethan. The group begin to attack the queen with their weapons. This only angers the queen, who begins to wail loudly. As the group cower in pain at the volume of the wail, Hugo, who was unable to hear the wail as he had lost his hearing, throws the explosives into queens mouth. Ethan asks Sara, Cooper and Hugo to escape from the bug hive while he triggers the explosive. But soon after, Ethan turns into a mutant. Cooper takes the remote from his father and triggers the explosive, obliterating the nest and the insects inside.

The film ends with Cooper, Sara and Hugo turning toward the sound of a large rumbling. The source of this rumbling is not specified as the film then turns to black in a cliffhanger.

Cast

Possible sequel
Director Kyle Rankin and lead actor Chris Marquette, signed 3-picture contracts with Icon Films for a potential trilogy of this storyline.

References

External links

American comedy horror films
2009 films
2009 horror films
2009 comedy-drama films
American comedy-drama films
Films about insects
Films produced by Bruce Davey
Films shot in Bulgaria
Icon Productions films
Syfy original films
Films directed by Kyle Rankin
Films with screenplays by Kyle Rankin
American drama television films
2000s English-language films
2000s American films
Films set in bunkers

Infestation (film)


The Mary Pickford Theater, named in honor of silent film star Mary Pickford, is the "motion picture and television reading room" of the United States' Library of Congress in Washington, D.C.  It is on the third floor of the Library of Congress Madison building in downtown Washington.  The theater screens classic and contemporary movies and television shows, often organized by theme.  All screenings are free, though reservations must be made, as the theater accommodates only 64 people.

In 2020, showings were postponed due to the COVID-19 pandemic.

References

External links

Cinemas and movie theaters in Washington, D.C.
Library of Congress
Mary Pickford

Mary Pickford Theater


Damian Walshe-Howling (born 22 January 1971 in Melbourne, Victoria) is an Australian actor, well known for his role as Andrew "Benji" Veniamin in the Australian underworld drama, Underbelly, for which he won the Best Supporting or Guest Actor in a Drama Series at the 2008 AFI Awards.

Career
He also starred on Blue Heelers as Constable Adam Cooper from 1994 to 1998, and returned for the series finale in 2006. He has also had guest starring roles on Neighbours in 1993, The Secret Life of Us (2001) as Mac, Marshall Law (2002), Stingers (2003), Wilfred (2007), All Saints (2007) and Terra Nova (2011).

His film work includes Halifax f.p. (2000), He Died with a Felafel in His Hand (2001), Ned Kelly (2003) and Macbeth (2006).

In 2008, he hosted the Seven Network's factual series Crash Investigation Unit and appeared in the Bell Shakespeare production of Pericles, Prince of Tyre. He also went back to his theatre roots with a B Sharp production of A View of Concrete.

In 2009, Walshe-Howling was nominated for Cleo Bachelor of the Year. He was set to star in Point Break 2, however due to the global financial crisis the movie did not go ahead. Walshe-Howling hosted Flickerfest 2009, then started filming The Reef with ex-Underbelly co-star Gyton Grantley. The movie was released in Australian cinemas in March 2011.

In 2010, Walshe-Howling hosted the Nine Network's reality show Customs; and in 2012, he appeared in Australian TV drama series, Bikie Wars: Brothers in Arms as Bandidos Vice President Mario "Chopper" Cianter, and also appeared in Play School. In 2013, he had a supporting role in Mystery Road and in 2014 he appeared in a supporting role in the ABC TV comedy drama series, Old School. He also had a supporting role as Owen Mitchell in all 24 episodes of the ABC's Janet King.

He is in the 2020 Australian sci-fi thriller 2067.

Filmography

Film
Actor

Other

Television

References

External links

1971 births
Living people
AACTA Award winners
Australian male film actors
Australian male television actors
Male actors from Melbourne
20th-century Australian male actors
21st-century Australian male actors

Damian Walshe-Howling


The Sir John A. Macdonald Building is a former bank building in Ottawa now owned by the federal government of Canada.  It is located at 144 Wellington Street, at the corner of O'Connor Street, with a third frontage on Sparks Street, just in front of West Block of Parliament. Its façade indicates its former heritage as a Bank of Montreal branch location.

It is an example of Beaux-Arts architecture. Designed by E.I. Barott, it was built in 1930. It reflects the integration of several styles including classical elements that had long been used to design Canadian banks. The Doric columns or the classical structure are flattened. Rather than classical figures the exterior of the building is carved with scenes depicting Canadian industry and architecture. As the building is on a slope the Sparks Street entrance is a storey below the Wellington Street one. This below grade section is made of granite, while the upper level is of limestone.

The Government of Canada ordered the Bank of Montreal to vacate the building before May 2005. The Bank of Montreal was the last commercial building on this downtown street, just in front of the Parliament buildings.  Now all buildings on Wellington Street between Elgin Street and the Ottawa River Parkway are Federal Government property.

On 11 Jan 2012, the building was renamed the Sir John A. Macdonald Building.

As of 2015, the building is used for parliamentary business and reception functions.

References

Kalman, Harold D. A History of Canadian Architecture. Toronto: Oxford University Press, 1994.

Bank of Montreal
Beaux-Arts architecture in Canada
Art Deco architecture in Canada
Commercial buildings completed in 1930
Historic bank buildings in Canada
Parliament of Canada buildings
John A. Macdonald

Sir John A. Macdonald Building


South Dakota Public Universities and Research Center, also known as University Center, is a cooperative higher education delivery system in Sioux Falls, South Dakota. Six universities offer classes at this site: University of South Dakota, Dakota State University, South Dakota State University, Black Hills State University, South Dakota School of Mines and Technology, and Northern State University. The site, until recently known as "USDSU," has become popular with non-traditional students living in or around Sioux Falls.

In 2006, the South Dakota Board of Regents received authorization to obtain a large area in Sioux Falls to construct a new campus for its Sioux Falls offerings.

University Center will become a college of the University of South Dakota named "The Community College for Sioux Falls, a branch of USD", a change approved by the Board of Regents in April 2019.

References

External links

Education in Sioux Falls, South Dakota