Go prowling international festivals (Berlin, Sundance) Exit thorugh the gift shop, a documentary focused on the artistic subculture street, graffiti artists like Banksy. A Banksy interview appearing in the documentary, but (as always) with hood and distorted voice. Because, if only for safety, graffiti Banksy (whose paint has come to be considered works of art) lives in a constant state of anonymity. The documentary, which chronicles the search for Banksy by a French amateur director, reflects very well the way they work, their thinking and work. Sounds good.
Banksy has become a kind of symbol of the counterculture, fueled by their need anonymity. A strange character, fascinating, almost like a superhero, who is not afraid to go to the wall of shame Israel to do this:
I leave five minutejos (Youtube possibly consider you a prepubertal easily from violence, and to be registered to view)
Although, curiously, the trailer is not so pernicious:
Comparing the English and Irish films, both have managed to reflect the dramatic moments terrorist past, with greater or lesser degree (is less). But so far Spain has been unable or has managed to make fiction of the victims or forgiveness, at least not for the big screen (there was a TV movie called Futuro: 48 horas the murder of Miguel Angel Blanco). In the documentary The Basque Ball also spoke of casualties was not the key issue. Of course have to say that Basque pelota not received much less praise the affected (The AVT requested, unsuccessfully, to withdraw from the Festival de Cine de San Sebastian in that edition, 2003). Perhaps the closest to the Irish case at hand was a film that was also in San Sebastian in 2009, perfect happiness, but in him the victims were a secondary issue.
Why must this emptiness? Maybe it's because in Spain we have not understood the plight of the victims, perhaps it is the fear of falling into frivolity, or perhaps because it awakens little interest. But these assumptions seem disposable. And in case you make a film about victims, "who shoot, the AVT? At this point it would be advisable to highlight the words in that Xabier Arzalluz Basque pelota, distinguish one thing, victims and victims' associations . Or do not go to extremes of nationalism, affirming Iñaki Gabilondo in the same documentary: is a threatened species officers. Are near threatened professionals, and others are just as threatened and do not say much. Vale, the AVT and their surroundings arouses admiration excessive.
short, seems clear that the AVT and its acolytes still can not be subject. probably not your fault, but have struggled. Surely terrorism and its consequences are too manipulated for political power (which has done little to fix it) to address these issues without anguish. In this situation, that Spain continues to own (The Basque Ball of Medem walk in a drawer, for those who want to see it without prejudice.) Meanwhile, in Ireland, the film has already taken the side of normal and repair the damage .
Few films in the international films that portray vision for victims of terrorism about what has happened to them. The figure terrorist, their motivations and the context surrounding it, always been dedicated further analysis, possibly because it is a character that wakes a fascination difficult to measure, even dangerous. Thus we find many films dedicated to terrorist Hunger, kick in the head, Munich , Yoyes or Paradise Now. There are also many dedicated to acts of terrorism as Omagh or Operation Ogre. State terrorism; GAL and In father's name. Or at terrorism as a phenomenon as The Basque Ball by Julio Medem . Even Cinemascope35 have a section in this regard "terrorism Film" but in it there are many " victims" rather responsible. So Five minutes of glory , which premiered in Spain on April 9 (although its distribution, to my knowledge, it is rather anecdotal) is a breath of fresh air for the genre , actors, these themselves are victims faced his executioners.
In Five minutes of glory (Five Minutes of Heaven) we have two characters whose lives were transformed following an attack in 1975 paramilitary group in Northern Ireland UVF (Force Ulster Volunteers) in which a young Irish Catholic is killed in the presence of his younger brother by a Protestant gunman. In the film, one is the shooter, the other is the victim. Twenty years later are faces a television p rogram trying to close old wounds the Irish conflict. Those five minutes of fame is the time it is the murderer Alistair Little (Liam Nesson) to beg forgiveness from his victim , Joe Griffen (James Nesbbit).
The film starts in an old mansion that served as a filming location of the program. In one room, the victim , Joe Griffen, walks to and fro like a mouse locked up, nervous about the reunion with Alistair Little, the murderer . It is this initial part of the film certainly has more power which. James Nebbit transmitirte get all the anguish in his heart throbbing, the language is loaded with violence, tension breathe, though not really know where it comes from that feeling. The mastery of director Oliver Hirschbiegel ( Downfall) is shown here because of the confrontation between two characters. While the victim is crazy, exhausting one cigarette after another. Liam Nesson set is presented in quiet, pristine suit, to say the bastard smells of fable. Le makeup quietly and waits for his opponent , like a boxing ring bastard in question. the end, the fight fails. But the live broadcast get the drama of the encounter without this actually occur , every gesture, every glance vacuum is a statement of intent. The viewer then breathe panic.
In the second act, the lives of our two heroes, Alistair Little it is to repent and seek forgiveness, the other by chance develop normally, their families, their aspirations . But find no sense that normality , its existence is already traumatized. Nebbit's character, Joe Griffen , warned that his life is rubbish, which is incapable to be happy about that ghost that leads him to pursue twenty-five years. is a living dead need redemption. For his part, Nesson character has gained some public importance, is quite successful and apparently, a life made. But lso t is an unfortunate, an unfortunate , paradoxes of life. That meeting porstergado always occurs, but in vain, p erdonarse will not improve their lives. Griffen still a wreck, clinging to what little limp worth of its existence, Little, will always be a teen slut.
said at the beginning that few films that deal with the psychology of the victim. In this case I think five minutes of fame he has achieved. director has built a beautiful film, with lots of internal stress. A movie characters, unpredictable and great . I hope that the viewer, at least to me hit me, l and heating this film without a message, without courage or exceedances, a film of humans against humans, so pathetic that is.
" Shutter Island ": The duality of a disturbing movie awards
is hard not to go to see "Shutter Island " with poor body, either by explicit morbidity, the atmosphere stifling and Goya or the lack of a script not yet solved. The mind just upset. It is true that the merits as director Martin Scorsese and post-production work make this a very beautifully crafted film. It is also true that it is the Scorsese who ridicules his work so bizarre limits.
Because the new Scorsese project of fiction very different paths wanders and sometimes dangerous . On one side is a dramatic and calculated black cinema movie, with gender archetypes: the alcoholic detective a dark past, with a visionary mind and sharp language. On the other hand, is a dip in the power of the mind, madness and paranoia . Not only in the paranoia of the characters, also in the group, one that led the U.S. to McCarthyism and the persecution and repression of communism in the context of the Cold War . Meanwhile, s and recreates an oppressive atmosphere, as their own "prison" in which the action unfolds. Even Scorsese is able to move the smell of medicines, putrefaction, death. Cinema hall turns into a dirty cell stifling.
That first part that I mentioned starts with research carried out by Leonardo DiCaprio and assistant to the escape of a prisoner in a maximum security mental hospital. With this argument Scorsese makes a great story, with glorious moments of pure cinema black. The dialogues are great, the plot is fluid research is intelligent, stimulating . Little by little they are tying ropes at all times we only know what one will see DiCaprio, as a reprint of "Chinatown " in question. Promises.
Tucked in the outcome and the narrative splits in some strabismus two ways: the psychological (the crazy) and that of the police, comfluyen badly but with marked skill. Thank God and n never gives you a direction to follow, it's your intuition that you should mark what is real or unreal. Or even, everything is a lie. But although this part of the film is well built, is much more awkward in its execution, the less credible . To make matters worse, allowed a moment of absolute pathos (not say much, but it is scene of three children and the lake) that detract from the end of the work and leave a bad taste in my mouth. It seems that c on such a good starting material, the closure has been rather sloppy .
Alberto Arce was awarded Best Director for his film Elephant To shoot an in Film Festival Movies that Matter . The award also takes on greater significance to be accorded in this festival which is held in the Netherlands with the support of Amnesty International. The film's director Asturian (in collaboration with your guide Rujailah Palestinian Mohammad) has highlighted the narrated of the Cast Lead the Israeli army deployed in the Gaza Strip between December 2008 and January 2009, causing over 1,200 casualties, mostly civilians.
remember that this documentary was screened at numerous alternative venues around the world to commemorate the first anniversary of the operation. Not a bad excuse to enjoy now, which is available from Creative Commons license and is free to download.
Working Group To Shoot An Elephant is a collective project, assemblies, self and base. We have not received any government grants or support of any private enterprise. First we made a joint political reflection on the need for film. Then we draw a map to carry out the production and distribution, putting us in touch with other networks and individuals ... ( Web Extract To shoot an Elephant )
