DC Punk Archive’s Summer Shows Return and Armana Khan’s Residency Begins: City Lights for Aug. 6–12 17%
By Serena Zets7% Pat Padua Allison R. Shely Stephanie Rudig6%
8/5/2026, 12:44:21 PM
BS Summary: This article contains 10 faulty reasoning types, including Halo Effect, Attempt to Sell a Product or Service, and Hasty Generalization, with Biased Writer Voice as the most egregious example at 31.5% saturation with 380 hits. Analysis detected 933 faulty-reasoning hits from 1,206 analyzed words, generating a BS Score of 25% and a BS Rank of 17% (25,250 of 30,190 articles). This article is better (less manipulative) than 83.60% of the article peer group.
Friday: Armana Khan at Transmission
New York-based DJ Armana Khan has made a name for herself here in D.C.—she’s already played Transmission three times since the venue opened last fall .
This Friday brings her back for a residency.
Her packed support lineup features Franxx , Phunatic the Madam , Maiya , Saba , and Yaya spinning across two floors.
Khan’s sets are high-energy, eclectic, and fun, blending Indian musical influences like tabla and bhangra with techno and Afrobeats.
Seeing the powerhouse that is Khan perform—dancing nonstop through her set—feels like being given permission to let loose and dance like no one’s watching.
They’re not.
They’re already fully hypnotized by her.
Armana Khan Residency 001 starts at 10 p.m. on Aug. 7 at Transmission, 1353 H St.
NE. transmission.com .
$30. —Serena Zets
Saturday: Odd Obsession at AFI Silver Theatre
Even with the increasingly gory nature of 21st-century body horror, few directors have dared tackle the anxieties that Kon Ichikawa faced with this surprisingly frank 1959 domestic drama.
Middle-aged husband Kenji ( Ganjirō Nakamura ) is undergoing treatment for a condition that plagues his marriage to the younger Ikuko ( Machiko Kyō ): he’s impotent.
Ikuko is so unsatisfied that she drinks a lot —enough to regularly pass out in the bathtub.
During one such blackout Kenji enlists the help of his daughter’s fiance, a dashing young doctor played by Tatsuya Nakadai .
While Kenji is jealous that his young wife seems taken with their daughter’s beloved, he feeds that jealousy by contriving to place the young man in increasingly compromising situations with his wife.
It’s a twisted, cringeworthy situation photographed in a mostly drab palette—the brightest color is a red canister of poison that proves to be a pivotal plot device—call it Chekhov’s insecticide.
Ichikawa’s most acclaimed film may be the celebration of human prowess that is Tokyo Olympiad , which makes Odd Obsession , based on a short novel by Jun’ichirō Tanizaki , that much more unnerving—but it’s darkly funny as well.
The film screens as part of both the CinemaScope series and a memorial for Nakadai, whose roles included the doomed patriarch in Akira Kurosawa ’s late masterpiece Ran (screening at the AFI from Sept. 4–9), and who died in 2025 at the ripe age of 92 years old.
Odd Obsession screens at 3 p.m. on Aug. 8, 2 p.m. on Aug. 10, and 9:15 p.m. on Aug. 13 at AFI Silver Theatre, 8633 Colesville Rd., Silver Spring. silver.afi.com .
$14. — Pat Padua
Sunday: Face/Off at the Asian Art Museum
Return to the height of 1990s action movie excess this weekend with the National Museum of Asian Art, which is hosting the summer-long film series John Woo: Hong Kong’s Action Maestro .
Sunday’s matinee is the penultimate entry in John Woo ’s retrospective: 1997’s Face/Off , starring Nicolas Cage and John Travolta .
Readers are likely familiar with the ridiculous premise even if they’ve never seen the film: Travolta plays Sean Archer , FBI agent and family man, locked in a years-long struggle with Cage’s Castor Troy , a conscienceless terrorist for hire.
When Archer finally has a comatose Troy in his grasp, pioneering (and presumably highly unethical) medical technology allows the agent to undergo a seamless face transplant, assuming his rival’s identity to bring down the rest of the gang.
When Troy wakes up, faceless and angry, he coerces the surgeon into giving him the face that’s just lying around.
So, the film proceeds with Travolta playing a law-abiding citizen playing a motiveless terrorist played by Nick Cage; and, by reverse, Cage playing a terrorist stuck behind the face of the FBI’s finest.
As the Museum’s event description puts it best: “Once you accept this perfectly ludicrous premise, Face/Off is a truly fun ride.
Cage is the most Cage he can be, and both actors clearly have a ball playing one another.”
Case (Cage?)
in point: Troy’s gleeful invitation to his rival: “Try terrorism-for-hire, we can blow shit up, it’s more fun!”
Face/Off screens at 2 p.m. on Aug. 9 at the Asian Art Museum’s West Building, 1050 Independence Ave.
SW. asia.si.edu .
Free, but advance registration recommended. — Allison R.
Shely
Wednesday: DC Punk Archive 2026: Girls on Toast, RenRiot, and Abacot
One of the few things that makes D.C. summers bearable is the promise of hearing live music outdoors.
It doesn’t matter if it’s Jazz in the Garden, Fort Reno’s summer concert series, or bands playing in the Mount Pleasant Plaza, I’ll be there with bug spray and sunglasses.
My favorite seasonal concert offering though is the DC Punk Archive shows on the rooftop of the MLK Jr.
Memorial Library.
It’s D.C. summer realized: Neighbors of all ages and corners of the city gather to hear local bands for free on the rooftop of a library.
It’s a beautiful display of all of the best parts of this city’s many scenes thriving in harmony.
The next show features local acts Abacot , Girls on Toast , and RenRiot .
Grab an ice cream cone on the way home and it’s the perfect August night.
DC Punk Archive 2026 Summer Rooftop Shows featuring Abacot, Girls on Toast, and RenRiot starts at 6:30 p.m. at the MLK Jr.
Memorial Library, 901 G St.
NW. dclibrary.libnet .
Free. —Serena Zets
Ongoing: Perhaps, All of Us at the Korean Cultural Center
Capital cities tend to be thought of as sites of lawmaking, memorializing, and citizenship rather than art, and that doesn’t just go for D.C.
Perhaps, All of Us , a traveling exhibit at the Korean Cultural Center, is organized by the Seoul Museum of Art and loosely explores ideas around national identity and memory.
(The exhibit will later travel to Ottawa, Canada, completing a circuit of three nation’s capitals.)
The selected works skew heavily toward film and digital animation, perhaps not surprising coming from one of the global centers for technology manufacturing, but both the physical works and the video pieces contain an immediate tactility or corporeal feeling.
Eunu Lee ’s “Rusty Bronze” appears to be just that, but the ancient-looking totem is actually a painted styrofoam replica.
In Young-jun Tak ’s “Love Your Clean Feet on Thursday,” scenes of Spanish soldiers practicing an Easter ritual that involves carrying a statue of a crucified Jesus are contrasted with shirtless male dancers hoisting each other up.
Immigrant communities and globalized culture collide in Jung Yeondoo ’s “Six Points,” which features digital photomontages of urban streets plastered in multiple languages in a fantastical world with seemingly porous national boundaries.
A two-channel video by Ayoung Kim features reenactments or imaginings of events in colonial history, with a bevy of British men dressed in historical garb discussing the economic benefits of controlling a Korean territory.
You’d probably have to spend most of the day in the gallery to see the full run time of all the video works, but even in glimpses, many of the short films will draw the viewer in with their hypnotic and enigmatic qualities.
Perhaps, All of Us runs through Aug. 11 at the Korean Cultural Center, 2370 Massachusetts Ave.
NW. washingtondc.korean-culture.org .
Free. —Stephanie Rudig
Speakers
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