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News

The Kondo effect: Donations surge as people purge

Local Goodwill stores collected 13,800 donations in the month of January —an 18.5 percent increase from those gathered this time last year. And they’re attributing it to a Netflix special about a now world-famous Japanese decluttering expert named Marie Kondo.

Perhaps you’ve heard of her. Before starring in “Tidying Up With Marie Kondo,” she made a name for herself with a bestselling book, The Life-Changing Magic of Tidying Up, in 2011. She has perfected what she calls the KonMari method, which encourages tidiers to only keep items that “spark joy,” after sorting through all of their possessions in five categories: clothing, books, papers, komono (miscellaneous things), and sentimental items.

“She’s clearly having an effect on donations,” says Lisa Sexton, the district manager of the five Goodwill thrift stores in the Charlottesville area, which includes Lake Monticello and Ruckersville.

On the show, Kondo teaches a unique way of folding clothing, including tucking shirts and pants into neat, tight rectangles that stand upright, and Sexton says some recent Goodwill donations have come in folded like that.

And people mostly seem to be ditching their old wardrobe and household items, she adds.

Says Sexton, “I guess a lot of clothes don’t spark joy.”

That’s the exact conclusion Sarah D’Louhy reached as she started decluttering her home. She competed in a local Facebook competition hosted by Goodwill, which encouraged folks to post a picture of their post-tidying donations for a chance to win a $25 gift card to the thrift store. Entries closed last week, and the winner will be announced February 7.

D’Louhy donated seven 13-gallon trash bags—mostly full of clothes—and says she also took two bags of nicer clothing to a consignment store.

“I never realized how much was in the closet until we took it all out,” she says. “There were things we hadn’t touched in two or three years.”

She and her husband actually forced themselves to keep some of their wardrobe. “It might not spark joy, but we’re running out of options,” says D’Louhy. “I can’t be naked!”

Lauren Jaminet, who read Kondo’s book in 2016 as she was preparing to move to Charlottesville, and who started watching the Netflix special when it debuted on New Year’s Day, describes that moment of calm after decluttering and re-organizing.

“It’s the moment I look at the new space, step back, and take a deep breath,” she says. “It feels like turning a page in my life. Like I’ve made space for new things to happen.”

She says the show inspired her to empty out items she had been avoiding, which led to redecorating her bedroom.

Over the past two years, Jaminet guesses that she’s purged at least three carloads of stuff, often donating her miscellaneous and sentimental items to a thrift shop or her local Buy Nothing Facebook group, where city and county residents share and receive free items, and where people enjoy making a connection with the recipient of their old stuff.

“I’m very happy to give items out on Buy Nothing in hopes of them finding a happy home,” she says. “You never know who has a shared experience and might treasure an item that I no longer need.”

Rebecca Coleman, who participates in Jaminet’s Buy Nothing community, actually hired a KonMari-certified consultant to help her family ditch their excess belongings.

“We have a toddler, two careers, and a house that had filled up with stuff that had no real place to live,” she says. “Our to-do list was growing and we couldn’t get it under control.”

Consultant and “stuff therapist” Jeannine Woods, whose website features a portrait of herself with Kondo, helped Coleman tidy her entire living space—including every closet and drawer—in five four-hour sessions, which Woods’ website prices around $1,400. A kickstart package that includes a consultation and one session is $350.

“I know that there is a lot of privilege in being able to declutter, and even more in being able to hire a consultant to help you do it,” Coleman says. “For us, this has been an investment in our mental health, and it is paying off.”

Coleman says it has made her family feel more competent and relaxed.

“Our counters aren’t covered with mail and preschool artwork anymore—there’s a place for those to go,” she adds. “My necklaces aren’t all tangled anymore, they have specified pockets in a hanging organizer. We even have an empty shelf in our linen closet. How is that a thing?”

She’s listed some of her items on Buy Nothing, consigned some, donated or recycled others, and threw the rest in the trash, though she says they’re not keen on the landfill effects of the KonMari method.

Goodwill’s Sexton ensures that none of their donations go to waste.

“Just about everything we can’t sell in the stores, we have a place to be able to recycle,” she says, noting varying after-markets in which clothes are sold by the pound, then sent to third-world countries. Recycled books can be made into new paper, and recycled shoes can be ground up into shingles. So don’t let it deter you from giving, she says.

Adds Sexton, “We need all donations. We are willing to take just about anything.”

Categories
Arts

Critic’s cut: Orson Welles’ last film is no afterthought

Viewed purely on its own, Orson Welles’ The Other Side of the Wind is a masterpiece by one of the world’s greatest filmmakers, proving to us that even long after death, he is not out of new ideas. It joins the ranks of Federico Fellini’s 8 ½ and Bob Fosse’s All That Jazz as a semi-autobiographical work that is a grand statement of artistic vision and a personal indictment at the same time.

But there is no way to view The Other Side of the Wind purely on its own. Like other Welles films, the version that can be seen today is not his final cut, as that does not exist.

Welles spent years filming and editing, only to have key footage locked away from him due to unrelated geopolitical events. This is the film the world never expected to see, at least in any completed form. Now, a cut that was screened at festivals (including this year’s Virginia Film Festival) has a home on Netflix, and the disorienting effect of seeing the Netflix logo right before An Orson Welles Picture is testament to its long journey to the screen.

The film tells the story of Jake Hannaford (John Huston) on the last day of his life. He is hosting a party for friends, colleagues, and press to view reels from his uncompleted film that has lost its leading man as well as studio support. What we’re seeing, we’re told, is spliced together from all the cameras and recording devices present at the party, interwoven with Hannaford’s film, making it among the first mockumentaries.

On one hand, The Other Side of the Wind is far removed from the original context in which it was made. The film is full of references to early- and mid-1970s characters, both the performers themselves as well as facsimiles. Astute viewers from that era will recognize characters based on Pauline Kael, John Milius, Robert Evans, and critic-cum-filmmaker Peter Bogdanovich, who stars as a version of himself. On the other, Welles has more in mind than settling scores with industry foes or kidding around with friends. Everything was in upheaval at this time—the film industry, media, politics, the world at large—and no one quite knows how to adjust, or if it is worth doing. Hannaford knows he’s done—his film is unfinishable, he’s lost out on millions of dollars, and his inner circle is at each other’s throats. Whether or not he knows he’s about to die (not a spoiler, this is in the opening of the movie a la Citizen Kane), he can feel the detachment of an artist who no longer belongs in the industry he once dominated.

Hannaford is not a sympathetic character. In fact, no one is. At first Huston portrays Hannaford as an amiable, quick-witted elder statesman, but gradually a kind of directionless hatred emerges within him. He is creepy toward younger women, exploitative of his admirers, and hostile toward those who made him famous. The party at his house is a circus with no ringleader, and his film is gorgeous yet meandering and pointless (with a strong condemnation of the masculine embodiment of “pursuit,” culminating in a woman stabbing a phallic edifice into full collapse).

The first 20 minutes may be tough to follow due to the unconventional approach to exposition—rapid-fire names, industry jargon, fast edits—but stick with it. The commentary on the voyeuristic food chain that is the film industry—directors gawking at actors, press hounding artists, insatiable public consumption of both—is palpable, while never condemning. A member of Hannaford’s inner circle comments that a “machine cannot produce more than it consumes.”

The Other Side of the Wind is best watched with its two documentary supplements (check out the Trailers section in Netflix). It is funny, adventurous, structurally bold, and engaging from front to back. One of the year’s must-see films.


The Other Side of the Wind 

R, 122 minutes; netflix.com


Opening this week

Check theater websites for complete listings.

Alamo Drafthouse Cinema 377 Merchant Walk Sq., 326-5056

Fantastic Beasts: The Crimes of Grindelwald, Ralph Breaks the Internet

Regal Stonefield 14 and IMAX The Shops at Stonefield, 244-3213

Bandstand: The Broadway Musical, Burn the Stage: The Movie, Coldplay: A Head Full of Dreams, Fantastic Beasts: The Crimes of Grindelwald, Instant Family, Ralph Breaks the Internet, Robin Hood, Widows

Violet Crown Cinema 200 W. Main St., Downtown Mall, 529-3000

Boy Erased, Fantastic Beasts: The Crimes of Grindelwald, The Front Runner, The Mystery of Picasso, Widows 

See it again

A Serious Man. R, 106 minutes. Violet Crown Cinema, November 20