Sure, the Capital City Film Festival has movies. But it also includes a full day of speakers, courtesy of TedX Lansing and the Media Sandbox Capstone Series, as well as the dramatic poetry of Kinetic Affect and the retro rhythms of Lansing Unionized Vaudeville Spectacle.

Part of the fun of a film festival is having the chance to make discoveries. The Capital City Film Festival is no exception. Here are a couple of the notable documentaries screening this weekend.

Another man came up to MacGregor and his friend and said, “I’m a single. Can I join you?” MacGregor’s friend waved the guy away, telling him that they were in the midst of a “private talk.” In fact, they weren’t, but MacGregor’s friend knew the presence of a stranger would mean that the friends would have to tone down their conversation and censor themselves.

Wednesday, April 4 -- "Good evening, everyone, and thanks for coming down to the Olympus Lounge tonight. Our special cocktail tonight is the Saganaki Sour, made with ouzo, bitters and the finest flaming cheese that money can buy. And this next little number is for lovers only, and it's called 'Ode on a Grecian Error.' It goes a little something like this: "I went to 'Wrath of the Titans'/But it was so lame/I had to laugh at the Titans/Ain't that a shame/Everyone was attackin'/But there was no Kraken to blame …"

Some shows are like wines: They need to be opened at just the right time. When "Chicago" debuted on Broadway in 1975, even the star power of Gwen Verdon and co-author and choreographer Bob Fosse could only do so much to sell a project that was completely out of tune with America's attitude. In the wake of Watergate and the resignation of president Richard M. Nixon, audiences were resistant to the John Kander/Fred Ebb musical that celebrates the glory of doing the crime without doing the time, of bamboozling the public into believing ridiculous, manufactured melodrama instead of looking for the truth.

Friday, March 30 — While there was Happy, Sneezy, Bashful and Dopey, the retinue of dwarfs in Disney’s “Snow White” did not include Snarky. Screenwriters Marc Klein and Jason Keller remedy that in “Mirror Mirror,” an attempt to rewrite Snow’s tale from the perspective of her tormenter, the power-mad queen, played with admirable comic zest by a hammily haughty Julia Roberts. Despite the title, the movie has no relation to Gregory Maguire’s compelling 2003 novel, which also tweaked and twisted the Brothers Grimm story; this “Mirror” seems to reflect the influences of “Shrek,” Drew Barrymore’s “Ever After” and, particularly when Roberts is around, “The Carol Burnett Show.”

Now through April 22 Williamston Theatre 122 S. Putnam St., Williamston Preview 8 p.m. Thursday, March 29; all seats $15 Friday, March 30 through April 22: 8 p.m. Thursdays, Fridays and Saturdays; 2 p.m. Sundays; 3 p.m.

Back in the late 1980s, Hollywood couldn’t get enough of those body-switching comedies, in which boys and men changed places. Ten years later, we had a rash of end-of-the-world flicks, in which tidal waves obliterated New York in "Deep Impact" and unlikely astronauts Bruce Willis and Ben Affleck had to avert a cataclysmic collision between our precious planet and a gigantic space rock in "Armageddon."

What if they held a Hunger Games pageant and nobody watched? That's the question posed by Gale Hawthorne (Liam Hemsworth), a young man who stands a strong chance of being recruited for the annual ritual held in the futuristic republic of Panem. His friend, Katniss Everdeen (Jennifer Lawrence), laughs at the thought of people tuning out on the Hunger Games because if you're a citizen of Panem, you're expected to be glued to your TV.

When she was cast in "Memphis," the Tony-winning musical about the dawn of rock 'n' roll and the Civil Rights movement, Felicia Boswell insists she didn’t have to do much in the way of research. It was literally in her blood.