Two of the most venerable figures on the American Left – Howard Zinn and Noam Chomsky – converse with Sasha Lilley about their lives and political philosophies, looking back at eight decades of struggle and theoretical debate.
Howard Zinn, interviewed shortly before his death, reflects on the genesis of his politics, from the Civil Rights and anti-Vietnam war movements to opposing empire today, as well as history, art and activism.
Noam Chomsky discusses the evolution of his libertarian socialist ideals since childhood, his vision for a future post-capitalist society, and his views on the state, science, the Enlightenment, and the future of the planet.
Noted Mexican filmmaker Arturo Ripstein (Deep Crimson) presents a highly stylized, almost stagebound, erotic melodrama about life in the 1940s in Mexico (filmed in the lush style of 1940s melodramas). It’s based on the story by Max Aub and penned by Alicia Paz Garciadiego. The narrative is in the form of a repetitious parable that is overlong, hitting many dull spots and at times insufferable to watch. It stays on message to show a series of themes (colonialism, class warfare, racial and idealogical divisions and revolutionary fervor in both Franco’s Spain and Mexico) based on real historical events and combines it with the fictional story of the willing enslavement to the upper-class of the peasant Indian Mexican named Nacho (Luis Felipe Tovar).
Much has been sad about this documentary, before it’s been shown. Europe outside Italy has its view clear. How is Berlusconi possible? You meet this agent with Mussolini songs in his cell phone. You meet the paparazzi king who with a considerable amount of self irony calls himself a Robin Hood, who takes from the poor and gives to himself. You also meet the 26-year-old worker, still living with his mother, who wants to be famous, combining Ricky Martin songs with karate tricks.
What we are supposed to think is obvious, but who is to blame? Is it the TV viewers who let this happened or someone else? The hen or the egg once again. That’s the discussion which really ought to start from this film. (Stensson, from IMDB)
A man has been living for thirty years as a recluse in a forest in France. Alone, he hews out deep underground tunnels and galleries, which he decorates with his own engravings. They must withstand the planetary disaster that has been announced, and they must explain things, through their perceptive messages, to future inhabitants. The film recounts this experience as lived on the sidelines of modern society, affected as it is by human wretchedness and the loss, once and for all, of a perfect world.
Four seasons in the life of an orphaned family: such is the topic of Nobody Knows, the new film by Kore-eda Hirokazu, who was already noticed in Cannes in 2001 with Distance, which was presented in the section “Certain Regard”. The interior universe of four children left to themselves after their mother abandons them. A film about the difficulties of childhood, drawn from a news story.Review
Four seasons in the life of an orphaned family: such is the topic of Nobody Knows, the new film by Kore-eda Hirokazu, who was already noticed in Cannes in 2001 with Distance, which was presented in the section “Certain Regard”. The interior universe of four children left to themselves after their mother abandons them. A film about the difficulties of childhood, drawn from a news story.
Marianne, some thirty years after divorcing Johan, decides to visit her ex-husband at his summer home. She arrives in the middle of a family drama between Johan’s son from another marriage and his granddaughter.
August 4, 2005
Ingmar Bergman is balancing his accounts and closing out his books. The great director is 85 years old, and announced in 1982 that “Fanny and Alexander” would be his last film. So it was, but he continued to work on the stage and for television, and then he wrote the screenplay for Liv Ullmann’s film “Faithless” (2000). Now comes his absolutely last work, “Saraband,” powerfully, painfully honest. Continue reading
A dejected beauty salon owner enters into a tenuous friendship with her shy, pre-operative transsexual neighbor in director Pernille Fischer Christensen’s simmering tale of affection and compassion. Thirty-two year old Charlotte (Trine Dyrholm) may own a successful beauty salon, but her failing relationship with increasingly unstable live-in boyfriend Kristian (Frank Thiel) has found her opting to strike out on her own for a change. As Charlotte embarks on a series of strictly sexual one-night stands upstairs, downstairs neighbor Veronica (David Dencik) – born Ulrick – earns her keep as a dominatrix while taking female hormones, awaiting approval for gender reassignment surgery, and occasionally accepting provisions from his doting mother (Elsebeth Steentoft). When Charlotte requests the help of her downstairs neighbor in moving some furniture and carelessly identifies Veronica as a male, the depressive pre-op laments her chances for surgery and attempts to overdose on pills. Her suicide-attempt unexpectedly announced to her neighbors thanks to her whimpering dog Miss Daisy, Veronica is subsequently saved when Charlotte hears the animal’s desperate cries and rushes her ailing neighbor to the hospital. Her selfless favor returned when Veronica defends her against a drunken Kristian shortly thereafter, lonely Charlotte eventually finds herself developing strong feelings for her neighbor despite her longstanding preference for the opposite sex.