philosophy in film

A wonderful thing about the best films being this: They can take you to places that you have never been. And even to places you had never even imagined existed. And then they can introduce you to people that live a life so far removed from your own, you come to recognize immediately how futile it might be to share with them, among other things, a philosophy of life.

Here we are taken to a remote farming village in Iceland. And the people here earn their living [by and large] tending to sheep. Only now the sheep are sick with scrapie. So sick in fact that their very livelihoods are on the line.

And two of the farmers in particular are brothers. And the one thing that they both share in common is this: neither has spoken to the other in 40 years. In fact, they communicate now through Somo. A dog. Literally. They write notes, put them in the dog’s mouth and the dog delivers them back and forth.

Why? Well that goes back quite a spell. And we just get a hint or two about it. One got the farm and the other didn’t.

Now, that is something new, right? And it’s not at all likely that you or I would be able to sit down between them and mediate their troubles. Especially given that the dispute revolves around the center of the universe. Their universe. Subsistence itself is on the line. And these folks truly do love their sheep.

But sometimes when everything that matters is on the line [and you literally have to stave off disaster] that can act as the impetus to bring a family feud crashing down.

Especially when it’s scripted.

And here’s the thing about Iceland: there are nearly 3 times as many sheep on the island as there are people. Sheep, in other words, are a really, really important part of the lives of these folks.

In a way that, for example, they are not to most of us.

As for the ending, I’m either buying it wholeheartedly or I’m not buying it at all. It’s just too close to call.

IMDb

The sheep are credited as actors.

at wiki: en.wikipedia.org/wiki/Rams_(film
trailer: youtu.be/PWVmUVAdi5Y

RAMS [Hrútar] 2015
Written and directed by Grímur Hákonarson

[b]Farmer: In this nation none has played a larger role and survived through ice and fire. Whatever happens, resistant and tough for thousands of years mankind’s savior and friend. All year around, in joy and disagreement, the sheep intertwines with the farmers’ work and being. Bright was the outlook when our sheep felt fine. Black were the nights with the flock in decline.

Judge: Second place goes to Gudmundur Bodvarsson with the ram Garpur. He got 86 points. I must point out it was a very close call between the top two rams. The result was determined by the thickness of the back muscle. The rams are both from the same renowned stock…
[cut to Gummi’s glum face – he knows that the winner is his detested brother, Kiddi]
Judge: And the winner is Kristinn Bodvarsson and his ram, Sproti.

Gummi: Come here, Sproti. Let me see your back muscle.
[he notices that the ram is acting oddly]
Gummi: What? Something wrong?[/b]

Yep: Srapie. And then the whole world [his, theirs] is turned upside down.

[b]Hildur: Is something wrong?
Gummi: I’m afraid something is wrong with Kiddi’s sheep.
Hildur: Oh, and what might that be?
Gummi: I’m afraid it might be scrapie.
Hildur: Scrapie? Oh, it could hardly be.
Gummi: I examined him yesterday. He has all the symptoms.
Hildur: My dear Gummi, don’t you think that Katrin would have noticed if the prize ram had scrapie? Do you want me to talk to Kiddi? Get someone to examine the ram?
Gummi: Would you do that?
Hildur: You haven’t spoken to each other in forty years. Why begin now?

Gummi: If it turns out to be scrapie, wouldn’t it be likely that both of our herds would have to be slaughtered?
Hildur: I don’t believe it’s scrapie. We’ve never had any cases of scrapie. How could it have been brought here. Aren’t you just still recovering from the ram competition?

Kiddi [after firing his rifle into the window of Gummi’s house]: Take that, you bastard! You won’t get away with this! Fucking ram murderer!! He doesn’t fucking have srapie! You’re just making that up![/b]

Cut to Kiddi’s face. We know that he knows it’s scrapie.

[b]Finnur: Dear friends. Results of the tests just arrived. Scrapie was found on two other farms, at Haugi and Seljatunga. It has therefore been decided that all of the sheep in the valley must be slaughtered.
Farmer: Is this the final decision?
Finnur: They say there’s been enough contact between them, and in order to eliminate the disease, they’ve got to take the entire valley.
Kiddi: Then why not just take us, too? Finish the job!

Finnur: We need to trust the veterinarians.
Kiddi: They don’t know anything. University-educated fools from down south.
Finnur: What would you do, Kiddi?
Kiddi: I want us to put a stop to this nonsense! We just refuse to slaughter our sheep!

A sign put up at the bridge to the valley: LINE OF DEFENSE Sheep Diseases—Virulence!

Gummi: I’m no expert on scrapie, Grimur. But when I examined the ram yesterday, that was the first thing that came to mind.
Grimur: Damn it. If we have scrapie in the valley we’re in deep shit.
Gummi: Nah, you over on the east-side have no need to worry if scrapie shows up here.
Grimur: We borrowed Kiddi’s ram last winter. The creature sired half our lambs.

Reporter [on television]: A case of scrapie has come up on the farm Bolstad in Bardardalur. This is the first occurence of the disease in this valley. According to Katrin Nielson, the district vet, the scrapie was diagnosed in an adult ram, and tests are being carried out to determine whether it is present on neighboring farms. No decision has been made concerning a slaughter. It is believed that scrapie came to Iceland with British sheep at the end of the 19th century, and has not been eliminated entirely. It is an infectious disease that attacks the brains and spinal cords of sheep, and is incurable.

Katrin [seeing that Gummi had shot all of his sheep dead]: Why did you do this, Gummi?
Gummi: I wanted to kill my sheep myself.
Katrin: Is this all of them?
Gummi: Yes, 147 sheep.[/b]

Give or take a few.

Government official [to Gummi]: We pay for every sheep that’s slaughtered and you’re also paid so-called “product loss compensation”, according to average production the past three years. Payments are distributed over a two year period and then you can apply to acquire new sheep.

Socialism!!

[b]Government official: Listen. Do you think you can help me get in touch with Kristinn?
Gummi: He lives next door.
Government official: Yes, I know. But he won’t talk to us. Could you talk to him? You’re brothers, right?

Katrin: You need to clean everything. The shit, the hay, everything on the floor. Also the wood.
Gummi: And the pens?
Katrin: Yes, those too. All wood. This pitchfork here. Everything that you’ve used in here. Tools, clothing, everything. You need to destroy it all. It’s best to burn it. You also need to clean out the barn and destroy all the hay. And absolutely don’t sell it. Scrapie can be transmitted by hay mites.
Gummi: Do I need to destroy all of the hay?
Katrin: Yes.

Kiddi [after attacking Gummi and throwing him to the ground]: Well, Gummi? What do you say now? Do you know what you have done? You’ve wiped out the Bolstader stock. This is going to be a hell of a winter! No sheep. Just the two of us.[/b]

Well, at least they’re talking again.

[b]Finnur: Have you finished cleaning?
Gummi: Yes.
Finnur [to another farmer]: How about you?
Villi: No. We decided to quit. We’re going bankrupt anyway. So we’re just going to take the opportunity and leave. We can’t see living here two more years with no sheep and a pile of loans. Nor is it certain the scrapie is going anywhere.
Finnur: It soesn’t need to come again, Villi.
Villi: Have you talked to the farmers in Svarfadalur? They’ve had to slaughter their sheep three times!

Government official [concerned about Kiddi]: It’s this matter of your brother. As you know he hasn’t been cooperative. He is the only one who has not cleaned. It is causing us great concern. Unfortunately, we can’t bring in new sheep until all of the sheep sheds have been disinfected.

Government official [as to why all of the land is in Gummi’s name]: What’s the reason?
Gummi: My father did not want Kiddi to own the land. I promised my mother before she died that Kiddi would get to stay at the old farm.
Government official: You know what means? It means that you are responsible for your brother. He lives on your land and if he doesn’t follow the rules it’s you that…
Gummi: That what?
Government official: If it comes to a legal fight, you’ll be the one that’s sued. [/b]

Time to send for Somo.

[b]Kiddi [to Gummi]: I know what you have in the basement.

Kiddi: Gummi. How many are there? Is there a ram?
Gummi: What does it matter to you?
Kiddi: Well, these are the only sheep left of the Bolsstadur stock. It matters to me.
Gummi: Fucking bullshit. Those are my sheep. Don’t you dare come near them!

Gummi: Kiddi, you have to help me. They’re coming.

Katrin: Gummi? Where are they? Where are the sheep?[/b]

As war increasingly becomes a calamity that we put on remote control, we can expect more films like this. In fact there have already been a number of them made. See for example Good Kill above.

Oh, and a few more: en.wikipedia.org/wiki/List_of_f … ing_drones

And now Eye In The Sky.

If nothing else, the ethicists among us can ponder the moral implications inherent in this new war technology. And, in particular, the part that revolves around “collateral damage”. To strike or not to strike. To kill or to capture. And, if to kill, how many innocent men, women and children who just happen to be within the impact radius of whatever particular explosive devise that is used.

One more rendition of “the fog of war”. And it doesn’t get much thicker than this. Even though when you think about it the casualties here are nothing at all like the casualties that accumulated in, for example, Hiroshima or Dresden.

Here of course [as with most things relating to the war on terror] there is a generally liberal narrative and a generally conservative narrative. In other words, regarding The Right Thing To Do. If, for example, a nine-year child enters the “kill zone”. Though, in there with her, are the terrorists fiercely committed to blowing themselves up. Along with [perhaps] even more children down the road.

Or: what if her death resulted in the destruction of a jihadi cell that, if not stopped, would result in the deaths of children considerably closer to us.

The targets here are in East Africa. Kenya. Which was in the news recently when Islamic jihadists, Al-Shabab, launced an attack at the Westgate shopping mall in Nairobi. About 70 people were killed.

We quickly learn here that everything revolves around the intelligence. If it is wrong, people who weren’t supposed to die, do. And the people who were, don’t.

One thing for sure: These fanatic Islamists and their sharia law is not something that I ever want to be around.

And then there’s the technology itself. Is this for real? Camera’s fitted into fake birds, into fake insects? It’s unbelievable what they can do. Images coming from a tiny camera in a fake beetle that is flown remotely into a house. The images are then seen by military operators and civilians around the globe. Literally thousands of miles apart.

There is one particularly surreal scene where the fake beetle is beaming back pictures of two suicide bombers being armed while the military folks are waiting for the British Foreign Secretary who is on the toilet taking a shit to give the go ahead to launch a Hellfire missile from a drone aircraft they call Reaper. It’s straight out of Dr. Strangelove.

IMDb

[b]According to director Gavin Hood, 30% of U.S. military drone operators are treated for post-traumatic stress disorder (PTSD).

When asked at a screening of Eye in the Sky (2015) about working with Alan Rickman in the actor’s final film role, Hood revealed that Rickman stayed on set for three or four days after shooting wrapped to attend the wrap party and individually thank the film crew for its dedication.

The main part of the plot unfolds in real time.

The Reaper - a Remotely Piloted Aircraft System (RPAS) which has been operated from RAF Waddington in Lincolnshire since April 2013. They are flown by serving RAF Officers that have undergone training with the Reaper Formal Training Unit (FTU) in the USA. The FTU is completed at Holloman Air Force Base, New Mexico, USA. RAF Officers can be serving Tornado pilots who have carried out similar missions in active service. They can be posted to either XIII Sqn RAF Waddington (UK) or 39 Sqn Creech Air Force Base (USA) and will most likely fly an aircraft on operations over hostile territory, providing persistent ISR and if required, armed overwatch.[/b]

at wiki: en.wikipedia.org/wiki/Eye_in_the_Sky_(2015_film
trailer: youtu.be/hOqeoj669xg

EYE IN THE SKY [2015]
Directed by Gavin Hood

[b]Title card: “In war, truth is the first casualty.” — Aeschylus

Col. Powell [to the mission crew]: Today, you will be flying a joint operation over Nairobi, Kenya, codename Operation Egret. Horn of Africa, Somalia, Kenya, Nairobi. We have intelligence of a meeting of key members of Al-Shabab in the suburb of Parklands in this house, here. It belongs to a man named Shahid Ahmed. He’s an Al-Shabab facilitator. Due to visit this house is this man, Abdullah Al-Hady. He’s a Somali, and his wife, Ayesha Al-Hady, formerly Susan Helen Danford, British national. Troubled childhood, converted at 15. She was radicalized in a West London mosque where she met and married Al-Hady…This is an operation to capture, not kill. Your job is to be their eye in the sky.

Col. Powell: So, how do we launch a ground assault if Danford’s going in there?
Moses: We can’t. Al-Shabab controls that neighborhood. It would trigger a massacre.

Col. Powell: We need an eye inside that house. I have to know if Danford is inside, and who is with her.
Moses: Ma’am, it would mean putting a man in the street, and you’d have to get close to control the beetle. It would easily raise suspicion.
Col. Powell: What, even if you use a Somali?
Moses: Every stranger is suspicious, even a Somali.
Col. Powell: Moses, we both believe that Danford is inside that house, do we not?
Moses: Yes, ma’am.
Col. Powell: And I cannot authorize a strike without a positive ID. I believe we have to accept the risk and send someone in. Moses, can you do it?
Moses: Yes, ma’am.

Man [watching Alia play with a hula hoop]: What is she doing?
Father: Alia! What are you doing?
Alia: Sorry, Papa.
Father: Never do that again!
Alia: Yes, Papa.
Father [to the man, an Islamic zealot]: I’m sorry. She’s just a child.
[the man leaves]
Father: Alia. What were you thinking? Listen to me. These people are fanatics. Don’t play in front of them.
Alia: Okay, Papa. But I can play in front of you, right.
Father; Yes, sweetheart, of course you can.

Levery: Oh, fuck, man. Fuck. Fuck.
Soldier: Matt, what’s happening?
Levery: We’re seeing suicide vests and a whole bunch of fucking explosives inside that house.
Lt. General Benson: Well, this changes things.

Lt. General Benson [on phone]: What’s the plan, Katherine?
Col. Powell: We need to put a Hellfire through that roof right now.
Lt. General Benson: I told you, they came to witness a capture, not a kill. Give me a capture option.
Col. Powell: We no longer have a capture option. Any action on the ground will lead to an armed confrontation, which we will not be able to contain.
Lt. General Benson: They’re watching. Even with the vests, we need their approval for a strike.
Col. Powell: Just tell them we’ve got Danford in our sights. I mean, that alone should justify using a Hellfire. The vests are just a bonus.
Lt. General Benson: Danford’s a British citizen. They want her alive.
Col. Powell: They cannot have her alive!

Col. Powell: So, the plan is to put a Hellfire through the roof of that house. I need legal clearance right now.
Harold: A missile from the Reaper?
Col. Powell: Yes.
Harold: So, this is no longer a capture situation.
Col. Powell: No. We have two suicide vests with explosives inside that house. So, can you clear me to a higher CDE?
Harold: Uh…
Col. Powell: Harold, this is a very time-sensitive target. Do I have authority to strike?
Harold: The rules of engagement you’re operating under only allow for a low collateral damage estimate.
Col. Powell: Yes, yes, and my weapons only invoke a low CDE. It’s the explosives inside that house that bring it to a potentially high CDE.
Harold: And since you know the explosives are there, it is incumbent upon you to take them into account.

Angela: Are we all right with launchiung the missle? I’m sure we are not. There are two British citizens and an American as targets.
British Minister: This mission has the full support of Kenya and the United States.
Angela: For a drone strike?
Minister: Yes, a missile fired from an RPA is part of an agreed contingency plan in circumstances like this.
Lt. General Benson: Do we have permission to proceed?
Angela: No. Such a plan should not have been signed off by the PM without the authority of Parliament.
General: Operational issues are not generally discussed at Cabinet, and certainly not at Parliament.[/b]

And on and on and on they go debating the legal [and the political] ramifications of blowing these people up.

[b]Col. Powell: Lieutenant. You are now our best option to take these HVIs out. Now, prepare to launch a single AGM-114 Hellfire on the target house.
Steve: Yes, ma’am.
Col. Powell: This is a friendly city, so collateral damage must be kept to a minimum.
Steve: Ma’am…I have an ROE question. Is my government aware that we are targeting a person with a US passport?
Col. Powell: Yes. Yes, it is, Lieutenant.
Steve: I didn’t see anything in the SPINS about that.
Col. Powell: Lieutenant, we have new rules of engagement. You are covered.

Sergeant Saddiq: If we target this corner room here, where the explosives are, we would expect 100% mortality rate in that room and an 80 to 90% rate within the rest of the house. The market should be safe, but this area here in the street… A 65 to 75% rate. That’s just the Hellfire. If we factor in the explosives in the vests, we’re looking at even more extensive damage way out to this area here. But I can’t accurately estimate that yield.
Col. Powell: But we would be containing that payload in the vests within those walls, right? Far less collateral damage than them going off in a crowded shopping mall.
Sergeant Saddiq: Yes. Of course.
Col. Powell: Thank you.

U.S. Secretary of State [on the phone]: No, his citizenship does not protect him. By joining Al-Shabab he has declared himself an enemy of the United States. Listen to me. Tell the British, if they really do have two, four, and five on the East Africa list in their sights, they have our full support to strike. All three are on the President’s list.

Col. Powell: Lieutenant, you have clearance to prosecute the target. Do it now.
Steve: Yes, ma’am.
[he turns to Carrie]
Steve: Prepare to launch Hellfire.[/b]

And that’s when Alia enters the kill zone.

[b]Steve [looking at the screen]: Is that a kid?

Col. Powell [on the phone]: Lieutenant, we have this one opportunity. Let’s not lose it.
Steve: Ma’am, uh, she’s selling bread.
Col. Powell: Jesus. Those men are about to disperse. Engage now.
Steve: Ma’am, I understand we have clearance. I will fire if I see the HVIs moving or when this girl’s out of the frag radius, but I want to give her a chance to get out of the way.
Col. Powell Lieutenant, you have clearance. There is a lot more at stake than you see here in this image.
Steve: Ma’am, I need you to run the collateral damage estimate again with this girl out front.
Col. Powell: The situation has not changed, Lieutenant. You are cleared to engage.
Carrie: What do we do?
Col. Powell: I repeat, you are cleared to engage.
Steve: Colonel Powell, ma’am… I’m the pilot in command responsible for releasing the weapon. I have the right to ask for the CDE to be run again. I will not release my weapon until that happens.
[long pause]
Col. Powell: We will rerun the CDE.

Carrie: Jesus, she’s going to sell them again.

Col. Powell: Are we in the clear?
Harold: Uh…Again, I would refer up.
Col. Powell: No. No. I’m asking you. We cannot hold up this operation any longer.
Harold: We need to take all reasonable steps to minimize collateral damage. If we’re buying her bread then…
Col. Powell: We’re not. We’re not buying her bread. That’s over. Many children’s lives are at risk. This is just one girl. Are we clear to engage, yes or no? Come on, make a decision.
Harold: With respect, ma’am, I don’t make those decisions. I’m here to advise you on the law! The law is not here to get in your way, it is here to protect you, and to protect your target.
Col. Powell: Don’t lecture me, Harold!
Harold: Ma’am, the legal questions of necessity and proportionality are almost certainly met. But for the protection of you, and for the protection of that girl, I would refer up to the Attorney General.[/b]

Here we go again…

Lt. General Benson: I hope the fact that she’s a sweet little girl is not clouding your judgment. Dozens of other little girls’ lives are at stake if these men leave.
Minister: I’m sorry, but we have a Miss Jillian Goldman from the White House asking to be patched in.
Lt. General Benson: Who?
Minister: Jillian Goldman. She’s a Senior Legal Adviser at the US National Security Council. She’s been briefed by the Secretary of State.
Lt. General Benson: Put her through.
Goldman: Good afternoon and thank you for allowing me to comment. As the military members of your committee know, we have a point system that takes into account collateral damage to deduce what is and what is not a legal strike. And let me tell you categorically that the existence of this new circumstance does not push us beyond a legitimate military action. We are way off what we would consider a dispute in this matter. British official: Miss Goldman, we have a somewhat different approach to the question of
collateral damage.
Goldman: Sir, you must act now. You have two men about to embark on a suicide mission. You have number two, four, and five on the President’s East Africa kill list in your sights, and you are putting the whole mission at risk because of one collateral damage issue?

Exactly: one child that will die for certain vs. other children that may die if the suicide bombers target them.

[b]James: George, do I understand this correctly? There’s a legal argument for waiting and giving this girl a chance to sell her bread?
George: Yes, there is. But, conversely, it does not mean that there is not also a legal argument for releasing the weapon now.
James: Forgive me, I’m not sure that helps me.
Lt. General Benson: Foreign Secretary, there is a military necessity for acting now. In our view, they’ll be making a move from that house at any moment.
James: Gentlemen, what action is being legally recommended to me?
Minister: James, the legal argument is that we could wait, but we need not wait. And the military argument is that we should not wait. It’s my recommendation that we should not delay in proceeding with this mission. If we don’t act now, we risk losing the lives of up to 80 people.
Angela: You can only assume those deaths. What is certain is that if we do act now, this one girl will suffer.
James: And you would save her and risk killing 80 others?
Angela: Yes, I would save her and take that risk. That is what I would do.
James: Angela, is it you or me who will be invited onto the Today program to explain why we knew of the attack on a shopping center that killed 80 people, but chose to do nothing to stop it?
Angela: You, James. But frankly, politically, I’d rather point to Al-Shabab as murderers of 80 people shopping than have to defend a drone attack by our forces that kills an innocent child.
George: James, Angela makes a compelling point. If Al-Shabab kill 80 people, we win the propaganda war. If we kill one child, they do.

Lt. General Benson: With respect, Foreign Secretary, are the lives of 80 people, including innocent children, really worth the price of winning the propaganda war?
James: General, if we go ahead, might footage of our attack be leaked?
Lt. General Benson: Sir, the footage from the Reaper is completely secure.
James: General, I would feel uncomfortable if we did not at least wait a little longer. If we go ahead and footage is leaked and this girl is killed, then, I think, the country would be most disturbed.
Lt. General Benson: Foreign Secretary, it is our task to make the right military decision. We cannot engage in an argument about possible future postings on YouTube.
James: With respect, General, revolutions are fueled by postings on YouTube.

Steve: Two loaves left. Come on…come on.

Lt. General Benson: Minister, we cannot have military decisions dictated by government committees. Nor can we put on hold a military operation at every stage for legal clarification. You tell us when to go to war, we conduct the war, you deal with the aftermath.
Minister: If only it were that simple!

Col. Powell: Adjusting the point of impact to here…
Sergeant: There is still a 45 to 65% possibility of fatality.
Col. Powell: 65%?
Sergeant: Yes.
Col. Powell: No, I need that calculation to be below 50%. Perhaps there could be an assessment of the impact of the damage right here.
Sergeant: That calculation is already at the lowest limit of what I believe is possible.
Col. Powell: What if you put the missile there?
Sergeant: I would still have to make that a 65% possibility on the upper limit.
Col. Powell: Sergeant, we need to make this work. Do you understand? We are locked into this kill chain. We have to make a decision. There are… There are many lives at risk.
[he caves]
Sergeant: Ma’am. I think…I think if I make this the point of impact, then…There I could predict a 45% possibility of fatality. That might be possible.
Col. Powell: 45%?
Sergeant: Possibly.
Col. Powell: Good man. Good man.

Steve: Three, two, one. Rifle, rifle, rifle. Weapon away. Time of flight, 50 seconds.
Carrie [gasping]: There’s a boy!
Col. Powell: Oh, shit!
Steve: Wait, he’s buy… He’s buying the bread.
Col. Powell: Forty seconds…

Angela: In my opinion, that was disgraceful. And all done from the safety of your chair.
Lt. General Benson: I have attended the immediate aftermath of five suicide bombings on the ground, with the bodies. What you witnessed today with your coffee and biscuits is terrible. What these men would’ve done would’ve been even more terrible. Never tell a soldier that he does not know the cost of war.[/b]

So, who won?

Few things seem grimmer than stumbling adventiously upon something horrific and then needing to be gotten rid of. In other words, the only thing you did was to be at the wrong place at the wrong time. And then being expendable.

But isn’t this is how it works from the perspective of, say, the sociopath. Or the zealot. The right thing to do is always whatever furthers your own interests. And nobody is allowed to get between them and that.

Stumbling into the the grip of Nazi skinheads [and a “diabolical club owner”] just makes it all that more horrific. Especially if you are a progressive punk band. Especially out in the boondocks of the spooky Pacific Northwest. This bar’s clientele is straight out of Romper Stomper.

Here we basically have a strange admixture of the personal and the political. In part it’s just thuggery and in part it swirls around the politics of White Power. Hitler and all that shit. And then there’s the part about the heroin.

It’s all about who to believe and about what. They tell you one thing. You ponder whether or not to believe them. And they you. Back and forth it all goes until one of you is able to outsmart the other. We in the audience merely choose sides. These are the good guys, those are the bad.

IMDb

[b]The paintball story Pat (Anton Yelchin) tells is a real experience director Jeremy Saulnier had. Rick Spears is a real person, who did as said in the story.

Patrick Stewart said in an interview that when he finished reading the script at his country home in England, it was so terrifying that he locked up his house, turned on the security system and poured himself a Scotch. He then knew that he wanted to play the Darcy Banker role because a character that horrifying would be an incredible challenge and make for a compelling film.

Anton Yelchin’s last feature film to be released before his death, on June 19th, 2016[/b]

at wiki: en.wikipedia.org/wiki/Green_Room_(film
trailer: youtu.be/VpJeAw2PvRc

GREEN ROOM [2015]
Written and directed by Jeremy Saulnier

The band is being interviewed…
Sam: Uh, and this is for seaside hcfm. Not for the zine?
Tad: I’ll do a print version for that, but this will run on our college station. Uh, if that’s cool.
Sam: Yeah.
Tad: So, you guys working on anything new?
Sam: Mm, yeah. A few songs. Maybe enough for, like, a seven inch.
Tad: Sweet. Will you actually press one?
Reece: Yeah, if we can afford it.
Tad: Yeah, no, I really dig the analog style. Uh, which brings me to the fact you guys are hard to find. Why no social media presence?
Reece: That’s because booking more shows, selling more records would blow. It’s not hard rock. No one wants to starve, but…when you take it all virtual you lose…the texture.
Tad: What do you mean “texture”?
Reece: Just… you gotta be there. The music is for effect. It’s time and aggression…and it’s shared live…and then it’s over. The energy can’t last.
Sam: Unless you’re Iggy Pop.
Reece: Yeah, well good for him, but I don’t think I wanna be in my 70’s still listening to Minor Threat.
Sam: But tiger does.
Tiger: I won’t live to be 70…

So, you know these guys are authentic…they have integrity.

Sam: Um, when is this gonna air? Like, maybe we should plug the show?
Tad: Yeah. Um…My last show at the muni center didn’t end well. Uh, lots of vomit, some fecal matter. County commissioner got wind and pulled my permit. You guys were already en route.
Sam: No, you gotta give us a kill fee. We went 90 miles out of our way.
Tad: I’ve got a backup lined up. Um, lunch, 50% cut on the door, and you guys would headline.
Sam: Is anyone else on the bill?
Tad: No.

How does that go?

[b]Tad: I gave you my cut. Uh, the house got theirs…split four ways…
Sam: …it’s six bucks each.
Tad: $6.87…88 if you just round up…

Tad: All right, so all set. Uh, matinee tomorrow. Door’s at 1:00, you guys are on at 3:00.
Sam: How much?
Tad: Uh, $350. Minus your tab. And, um, just so you know, it’s mostly boots and braces down there.
Reece: Skins? There’s some at every show.
Sam: What? D.M.S.? Sharp?
Tad: Uh, right-wing, or technically ultra-left, but not affiliated.
Sam: So they’re not, like, burning crosses or anything, right?

Sam: Are these guys not creeps?
Pat: They run a tight ship.
Reece: Except it’s a u-boat.
Pat: Hey, y’all…I got a dumb idea.
[Cut to the band performing the Dead Kennedys’ “Nazi Punks Fuck Off” to an audience of Nazi skinheads]

Sam: Aw, shit. My phone…
Pat: What?
Sam: My phone. I’ll catch up with…
Pat: I’ll get it.
Sam: Thanks.
[Pat walks into the dressing room. There’s a body on the floor with a knife in its head]
Pat [to the room]: Excuse me, y’all.
[He sees the body]
Pat: Oh shit.
Amber: Can you call the cops?
Werm: Fuck that.[/b]

And then just like that everything changes.

[b]Reece: You can’t keep us here, you gotta let us go.
Gabe: We’re not keeping you here, you’re just staying.

Werm: Your set was pretty good.
Pat: What?
Werm: What was the name of your second to last song?
Pat: Uh…To—Toxic Eolution.
Werm: It’s fucking hard, man. That’s the one I did her to.

Reece: All right, he’s got six bullets…if we all go at once…
Sam: We haven’t done anything!
Justin: It doesn’t matter. Okay. They’re called cartridges. The bullet is the part that enters your brain if you keep talking shit. And this gun only has five cartridges, not six, 'cause they’re big as fuck and only five fit the cylinder. So, please shut the fuck up and don’t test me.

Darcy: Now. The list. This is everybody who knows?
Gabe: Yeah. Including the band.
Skinhead: Knows what?
Darcy: Manageable. From here on out, not a single name gets added unless they have red laces.

Gabe: You think they know?
Darcy [shoving him against the wall]: I think they’re smarter than you!
Daniel: Darcy…
Darcy: I apologize. We’ll do it here. Stage it up the road.

Sam: Pretty smart for a Nazi.
Amber: I’m not a Nazi.
Pat: How do you fall for this shit?
Amber: Let’s just say the people who were gonna hurt me weren’t white.

Darcy [through the door]: Gentlemen? We’re loading you out.
Sam: Are there cops here?
Darcy: They’ve come and gone. It got a little complicated.
Pat: We’re so fucked…

Sam: How do we even know that they have guns?
Amber: They have guns. No question.
Reece: We’re gonna trust you?
Pat: We’ve got zero leverage.

Darcy [through the door]: This will be over soon, gentlemen.

Amber [after they find the bunker complex]: Heroin. It’s not about her or us.

Pat: We can’t take it so seriously. We gotta treat this like paintball.
Sam: What?
Pat: Rick Silva helped organize the paintball for Skate-o’s bachelor party. And we were short a few players to book the whole field, so they paired us up with these ex-marines. And the first few rounds, these guys just tore us to shreds. I mean, zero casualties on their side. And I just cowered behind these trees till I got shot. Covered in paint. But Rick…[/b]

Later…

[b]Amber: I’m curious. It was paintballing…You were cowering…
Pat: Yeah, Rick Silva. We were getting slaughtered by these legit Iraq vets.
Amber: It totally applies.
Pat: Full camo, thousand-dollar automatic paintball guns. They knew real war and they played real war. Tactics, hand signals, flanking. Just wiped us all out. So Rick gets fed up and says, “fuck it.” Didn’t care about getting shot. Didn’t care about taking cover. It was hopeless, man. So the last match, the whistle blows, and he just tears out there, full jackass, in–in sneakers and cut-offs and he wipes out their whole team. Doesn’t stop. Just keeps running and laughing and shooting until they’re all dead.
Amber: Pretend dead. And we’re up against real guns.
Pat: Yeah. Either way, we can’t play real war.
Amber: So, let’s pretend.

Darcy [handing Gabe red shoe laces]: For you. We’re just mopping up tonight. You already earned these. Maybe push Neal, depending on the mess, to start looking for a new house band. We’ve really gotta get back to a routine.
Gabe: You think Cowcatcher’s gonna talk?
Darcy: I’m more worried about their habits. Really have to stay away from that nigger dope. There’s a bad batch doing the rounds.

Darcy: He breathing?
Gabe: A little bit, yeah.
Darcy: Let him bleed. Later is better for time of death.

Daniel: Where’s Emily?
[Amber removes the rug exposing Emily’s corpse]
Daniel: Which one did it?
Amber: Werm did it.
Daniel: Bullshit. Which one?
Amber: What did they tell you? What? You want to know? You want him to know?
Daniel: Know what?
Amber: Werm found out that she was leaving. But she didn’t say that it was with you. “Meat grinder.” That song was their cue.

Amber [to Gabe]: Any more dogs?

Amber [after hearing gunshots]: It’s the residents.
Pat: What are they doing?
Gabe: Something you don’t want to see.

Pat: They’re making it our fault.
Amber: You were trespassing.

Amber: Why else would we walk up here?
Pat: I don’t know. And I was gonna ruin the crime scene.
Amber: Oh. I thought we’d leave a new one.

Pat: This…is a nightmare.
Darcy: For us all.
Amber: Tell me those stupid fucking words are his last.

Pat [to Darcy]: It’s funny. You were so scary at night.

Pat: I know what it is.
Amber: What what is?
Pat: My desert island band.
Amber: Tell somebody who gives a shit.[/b]

Let’s just say that not all immigrant stories are the same. This one for example is nothing at all like the folks being debated on the campaign trail here in America. For one thing, it transpired back in the 1950s. In New York City. Brooklyn. And she is white. And a woman from Ireland.

So, among things, the chances of her being a “terrorist” were rather remote.

But some things stay the same. There’s still gender bias. And racism. And ethnocentrism. And while you once lived over there in a particular cultural context, now you live over here in [in some respects] an entirely different one.

And then things get complicated. A tragedy strikes and you have to go back. And then you find yourself pulled in both directions. By two different lives. By two different sets of relationships. By two very different men.

All with very different narratives.

And in part these will revolve around conflicting moral imperatives: What is the right thing to do? Or, as likely as not, what is the least wrong thing to do?

And [inevitably] this will revolve as well around the extent to which [given the times] this might be recounted as “the immigrant experience”. As though it might possibly be reduced down to one particular individual’s trek between competing realities.

Here there is great stock put in being Irish. And there are those who take pride in the fact that they are Irish…or German or Italian or French or Spanish or whatever. But I have always seen this as just part and parcel of the way in which as children we are taught to separate ourselves in this manner. It’s just a way to mold and manipulate [and then later to divide and conquer] us all politically.

Or, sure, maybe there really is something to it. Maybe [biologically] there are actual qualities or characteristics that are passed down over the generations through the genes.

IMDb

[b]The city of Brooklyn in the film was actually shot in Montreal for budgeting reasons, as the production was unable to turn 2015 Brooklyn back to 1950s Brooklyn. Only two days of production were spent in Brooklyn, one in order to create the brownstone exterior shots and a second to film at Coney Island.

Saoirse Ronan herself was born in The Bronx, New York, but raised in Ireland to Irish parents.

While this is Saoirse Ronan’s first time using her native Irish accent, the dialect of her character differs from the one she uses in reality. In this film, she uses a Wexford accent, as her character is from Enniscorthy, while she speaks with a Dublin accent in her private life.

Received a standing ovation when it premiered at the Sundance Film Festival.[/b]

at wiki: en.wikipedia.org/wiki/Brooklyn_(film
trailer: youtu.be/1ekxPFTZm1Y

BROOKLYN [2015]
Directed by John Crowley

Eilis: Miss Kelly might I to talk to you later.
Mary Lacey: Not if what you’re going to say will cause trouble for me in some way or another.

She’s reason enough to be leaving.

[b]Eilis: I’m away to America.
Mary Lacey: Whose idea was that?
Eilis: Father Flood in New York arranged it. Rose used to play golf with him. He sponsored me. He found me a job and got me a visa.
Mary: Lacey: Your poor sister.
Eilis: My sister?
Mary Lacey: Oh, mothers are always being left behind in this country. But Rose … That’s the end for her now, isn’t it? She will be looking after your mother, for the rest of her life.

Georgina [about their ship cabin] This is hell. Never again.
Eilis: Never again to America?
Georgina: The mistake was coming home from America in the first place.

Georgiana [at customs]: Stand up straight. Polish your shoes, and don’t cough whatever you do. Don’t be rude, or pushy, and don’t look too nervous.
Guard: This way!
Georgiana: Think like an American. You have to know where you’re going.
Guard [stamping her passport]: Welcome to the United States, Ma’am. Through the blue door, please.

Mrs Keogh: I saw you had a letter today, Diana. Any news?
Diana: Mr. de Valera has had another operation on his eyes, she says.
Mrs Keogh: I don’t want news that I can read in a newspaper.
Sheila: Anyway, we would describe Mr. de Valera as “politics”, would we not, Mrs. Kehoe? And we do not like politics at the dinner table.
Mrs Keogh: We don’t.
Diana: It’s not politics, to talk about eye operations.
Mrs. Keogh: It is if the eyes belong to a politician.

Mrs. Keogh: Ellis, from the look of you, you have greasy skin, is that right? What do you do about that?
Eilis: Just… Well, I wash it, Mrs. Kehoe, with soap.
Miss McAdam: There is nothing wrong with soap. Soap was good enough for our Lord. I expect.
Mrs. Keogh: Well, which brand did he use, Miss McAdam? Does the Bible tell you that?

Eilis: Sorry. Could I have the bill please?
Diner Waiter: I hope that when I go through the pearly gates, the first sound I hear is you asking me for the bill in that lovely Irish brogue.

Mrs. Keogh: We’ve never had a Bartocci’s girl living here. We might get some inside information.
Eilis: I haven’t been told anything.
Diana: I’ll bet you wouldn’t let on if you had. She’s that sort. More loyal to her bosses than to her friends. Like a Red spy.
Sheila: Oh, dear God!
Mrs. Keogh: I’ll thank you to keep His name out of a conversation about nylons. He might be everywhere, but he’s certainly not in Bartocci’s on sale day.

Rose [in a letter to Eilis]: We talk about you every evening, of course. We want to know everything. I’m sure you’re busy, but even if your letters were two hundred pages, they wouldn’t be long enough for your mother.
[cut to Eilis weeping]

Father Flood: I forget what it’s like in Ireland. So when your sister wrote to me about you I said that the Church would try to help. Anyway, we need Irish girls in Brooklyn.
Eilis: I wish that I could stop feeling that I want to be an Irish girl in Ireland.
Father Flood: Homesickness is like most sicknesses. It will pass.

Eilis [at the Christmas dinner for the poor and homeless]: How many are we expecting?
Father Flood: There were a hundred last year. There may be more this.
Eilis:They all Irish?
Father Flood: All Irish.
Eilis: Why don’t they go home?
Father Flood: If there’s nothing there for a clever young girl such as yourself, there’s gonna be even less for men like these. Some of them have been here fifty years, they have lost touch with everyone. These are the men who built the tunnels, the bridges, the highways. God alone knows what they live on now.

Patty [putting makeup on Eilis]: There. That’s better. Now you don’t look like you’ve just come in from milking the cows.
Eilis: Is that what I looked like?
Patty: Just a bit. Nice clean cows.

Tony: I’m not Irish.
Eilis: You don’t sound Irish.
Tony: I need to make this clear. No part of me is Irish. I don’t have Irish parents or grandparents or anything. I’m an Italian. Well, my my parents are, anyway.
Eilis: So what were you doing at an Irish dance? Don’t the Italians have dances?
Tony: Yeah. And I wouldn’t want to take you to one. They behave like Italians all night.
Eilis: What does that mean?
Tony: Oh, you know.
Eilis: No.
Tony: Hands.
Eilis: Too many of them?

Tony: OK, so while you’re being amenable. Can we go see a movie this week? When you’re not at night classes?
Eilis: I’ll sign up for two movies.
Tony: Really?
Eilis: Yes. Even if the first date is a disaster, I’ll give it another chance.

Miss Fortini: Eilis! You’re like a different person! How did you do it? Maybe I can pass some advice on to the next poor girl who feels that way.
Eilis: I met somebody. An Italian fella.
Miss Fortini: Oh no. I’m not passing that on. I’d rather have them homesick than heartbroken. Does he talk about baseball all the time? Or his mother?
Eilis: No.
Miss Fortini: Then keep him. There isn’t another Italian man like him in New York.

Patty [teaching Eiliis how to eat spaghetti]: Hold it. Now remember You’re getting off easy, because we haven’t got sauce.
Diana: Yeah. You have to remember that the sauce flies everywhere, so take it slowly.
Patty: I’m gonna say “Splash” anytime I see problems.
Diana: Good idea.
Eilis: Can I start now?
Patty: Yeah! Go!
Diana: SPLASH! You just splashed his mother, and his father, and the walls.
Patty: Let’s go again.

Tony’s mother: Hey, how did you learn to eat spaghetti like that?
Eilis: I’ve been taking lessons.
Tony’s brother: Lessons? Like, in a class? You can do that?

Frankie [Tony’s brother who is 8 years old]: So first of all I should say that we don’t like Irish people.
[General cries of outrage around the table]
Frankie: We don’t! That is a well known fact! A big gang of Irish beat Maurizio up and he had to have stitches. And because the cops round here are Irish, nobody did anything about it.
Maurizio: There are probably two sides to it. I might have said something I shouldn’t, I can’t remember now. Anyway, they probably weren’t all Irish.
Frankie: They just had red hair and big legs.

Eilis [to Tony]: You remember that after I had dinner at your house, you told me you loved me. Well, I didn’t really know what to say. But I know what to say now. I have thought about you. And I like you, and I like being with you and…maybe, I feel the same way. So the next time you tell me you love me, if there is a next time…I’ll say I love you too.

Eilis: Tony and I are going to Coney Island at the weekend to celebrate.
Diana: Oh, boy!
Eilis: What does that mean?
Diana: Do you have a bathing costume?
Elis: No, I was going to get one…

Patty: Do you have sunglasses?
Eilis: No.
Sheila: You need sunglasses. I read that if you don’t have them on the beach this year people will talk about you.
Mrs. Keogh [witheringly]: And what will they say, exactly, Sheila?
Dolores: That’s the thing, Mrs Kehoe. You’d never know, because they’d never say it to your face.
Mrs. Keogh: Diana’s right, though, Eilis. You need to think carefully about your costume. It’s the most Tony will ever have seen of you. You don’t want to put him off.

Father Flood [on Rose’s death]: It was sudden. I think perhaps she was ill, and she knew she was ill, and she didn’t tell anybody.
Eilis: When will they bury her?
Father Flood: Tomorrow.
Eilis: Without me.
Father Flood: Without you. You’re too far away, Eilis.
Eilis: Why did I ever come here?
Father Flood: Rose wanted a better life for you. She loved how well you were doing.
Eilis: But I will never see her again. That’s right, isn’t it, Father? I will never see her again.
Father Flood: You know that I think you will.

Mother [on the phone]: When your daddy died, I said to myself that I shouldn’t grieve too much because I had the two of you. Then when you went to America, I told myself the same thing because Rose was here with me. But everyone’s gone, Eilis. I have nobody.

Eilis: I can’t bear it, Tony.
Tony: You wanna go home, I guess.
Eilis: And how would it be for you, if I did go home?
Tony: I’ll be afraid, every single day.
Eilis: Afraid that I wouldn’t come back?
Tony: Yes. Home is home.
Eilis: I’m not sure if I have a home anymore.

Eilis [at the seashore back in Ireland]: I’d forgotten.
Jim: What?
Eilis: This.
Jim: You have beaches in Brooklyn?
Eilis: Yes, but they are just very crowded.
Jim: There will probably be quite a few walkers along here later.
Eilis: Yes. It’s still not the same.
Jim: I’m sure it’s not. We don’t really know anything of the rest of the world. We must seem very backward to you now.
Eilis: Of course not. You seem calm, and civilised. And charming.

Jim: Can we talk?
Eilis: What about?
Jim: The future. I can’t let you just go back to America without saying anything. I’d regret it for the rest of my life. So, I don’t want you to go. I want you to stay here, with me. And I know that means asking you another question. But I don’t want to bombard you. So I’ll save that one for later.[/b]

And we know what that one is. Only Eilis has forgotten to mention that she is already married to Tony.

[b]Mary Lacey: Anyway, Mrs Brady has a niece living in Brooklyn. The world is a small place, isn’t it? She had a letter from her a couple of weeks back.
Eilis:And what did it say?
Mary Lacey: Oh, only that she’d been to a wedding at the city hall, and her husband bumped into a girl from Enniscorthy who was getting married there.
Eilis: I’m not sure what you’re telling me, Miss Kelly. He didn’t bump into me.
Mary Lacey: Oh, you can’t fool me, Miss Lacey. Although I’m not sure that that’s your name any longer, is it? He couldn’t remember. Something Italian, he thought.
Eilis: I’d forgotten.
Mary Lacey: You’d forgotten! What a thing for…
Eilis: I’d forgotten what this town is like. What were you planning to do, Miss Kelly? Keep me away from Jim? Stop me from going back to America? Perhaps you didn’t even know. My name is Eilis Fiorello.

Eilis: Mommy, I’m sorry. I’m so sorry. I’m married. I got married in Brooklyn before I came home. I should have told you. I should have told you as soon as I got back. I want to be with him. I want to be with my husband.
Mother: Of course. Is he nice? Yes. He’d have to be nice, if you married him. So you are going back?
Eilis: Yes. Tomorrow.
Mother: Are you on the early train? I’m going to bed.
Eilis: Mummy…It’s not even eight o’clock. You don’t have to…
Mother [crushed]: I’m very tired. And I’d like to say goodbye now, and only once.

Eilis [instructing a new immigrant on the ship back to America]: When you get to Immigration, keep your eyes wide open, Look as if you know where you’re going. You have to think like an American. You’ll feel so homesick that you’ll want to die, and there’s nothing you can do about it apart from endure it. But you will, and it won’t kill you. And one day the sun will come out - you might not even notice straight away, it’ll be that faint. And then you’ll catch yourself thinking about something or someone who has no connection with the past. Someone who’s only yours. And you’ll realize…that this is where your life is. [/b]

There have been any number of films made that examine the possibility of catastrophic events occurring as a result of “natural disasters”. Volcanoes, earthquakes, the “big one” from space. And one consequence in particular that threatens those in their paths is the tsunami. In fact, scientists assure us it is only a matter of time now before one or another calamity precipitates a wave of truly epic proportions.

Like this one:

The film’s basic premise is not fictional. The mountain is in constant motion and will fall, sooner or later. Director Roar Uthaug: “This will actually happen there one day. There is this crack in the mountainside out in the fjord, and it keeps expanding each year and at some point it will cause a huge rockslide into the fjord and they will have 10 minutes before the wave reaches Geiranger. So we wanted to stay true to the facts - to what geologists think will be the facts one day.” IMDb

Of course films of this sort often rely almost entirely on “special effects” to carry the day. The plot is formulaic and the characters are little more than stick figures. Part and parcel of one or another Summer or holiday blockbuster.

This one is less like that. The main character is a geologist. He works [or worked] in the early warning center. So it is his job to monitor the mountain. And in this neck of the woods everywhere you look there are mountains. In part, this film is more like watching a documentary on the Science Channel. It takes you inside the actual geology of the calamity. Sure, all of the usual cliches are there. But it just seems so much more plausible.

Also, the film manages to create a real sense of dread as you wait for the disaster to unfold.

The tricky thing about events of this sort though is that while they are inevitable it is not likely that they will occur in the next day or two. Still, sooner or later, they will. And that means that you and I will either be in the wrong place at the wrong time when they do or we will not.

Acts of God some call them.

IMDb

[b]The first disaster movie made in Norway and Scandinavia.

Norway has about 5 million inhabitants and The Wave (2015) sold 832,649 admissions, therefore about every 6th Norwegian saw it in a cinema. [/b]

at wiki: en.wikipedia.org/wiki/The_Wave_(2015_film
trailer: youtu.be/k-IL1_ViyKY

THE WAVE [Bølgen] 2015
Directed by Roar Uthaug

[b]Various commentators on TV: The avalanche on the night of January 15, 1905 surprised people while they were sleeping soundly…It happened in Lodalen in Nordfjord where a big piece of the mountain fell out resulting in a major tidal wave, which killed 63 people…The tidal wave surged through Lake Loenvatnet and was 40 meters tall when it reached land…58 years have passed since the Tafjord Disaster in Sunnmre. 40 people lost their lives when a huge piece of the mountain fell into the sea…There are numbers today that show over 300 unstable mountains in Norway…Everyone knows that it’s only a matter of time until the next big avalanche…Geiranger is threatened with what people believe will become a new Tafjord Disaster. By the fjord hangs kerneset, a giant, unstable part of the mountain that one day will fall out…Then, 7 million cubic meters of rocks will slide straight into the fjord and create an enormous tidal wave…No place else can you find as active as in Kerneset. The question is: Can the people be warned before the mountain slides into the fjord?

Idun: This house has soul.
Julia [daughter]: What’s a “soul”?
Kristian: A soul is just some nonsense your mother believes in.
Idun: What did you say?
Kristian: Nothing.

Kristian: Number 5 too?
Cooleague: Looks like it.
Kristian: What’s going on?
Colleague: The groundwater suddenly sank. In number 4 and 5. Then we lost the connection.

Kristian: Something weird happened to the groundwater today.
Idun: That’s not your responsibility any more. That mountain has been there for a thousand years and it’ll probably be there for a thousand more.

Kristian [to his colleagues]: Imagine that there are no problems with the sensors, but with the wires down there. Right? All mountains consist of layers. Ours is no different. Our drilling holes go through all these layers. You said that the groundwater disappeared
right before we lost contact.
Georg: Yes.
Kristian: Groundwater won’t just disappear like that. It finds new ways, makes new layers. That creates friction. Which then again make the other layers move. And if they moved enough, they might’ve cut off our wires.
Jacob: Then we’ll drill some new holes and switch a few sensors. That’s no big deal.
Kristian: No. If the pressure from the mountain above these displacements was great enough there won’t be any expansion before the slide. And there won’t be any warnings.

Kristian: There’s a lot of movement in that mountain now, you know that?
Colleague: We’ll investigate this further, Kristian. We’ll take care of it.
Kristian: What do you mean?
Colleague: More samples, drill more holes.
Kristian: More holes? Are you crazy? Do I really have to remind you guys what might happen here? We’re talking about an 80 meter tall wave here! After ten minutes, Geiranger is no more!
Arvid: We know what might happen just as well as you do.
Kristian: It sure doesn’t seem like it!
Arvid: What the fuck do you want me to do? You want me to press the button, and create total panic? Cancel the tourist season before it starts?
Kristian: Since when did you start caring about tourism?
Arvid: That’s not what this is about! What do you think will happen if we start crying wolf every time something happens up there? What the fuck do we do when the slide actually happens?![/b]

There’s always that dilemma of course.

[b]Georg [looking at the monitor]: Shit!

Georg [on phone]: We’re getting some weird readings here. It looks like the mountain has contracted.
Arvid: That’s not possible.
Georg: Multiple sensors are showing contraction.
Arvid: Re-calibrate the entire row and read them again.

Georg [after the rocks shake]: What the fuck was that?!
Margot [on phone]: The geophones are reading quakes over there.
Arvid: Yeah, we felt it here too.
Margot: Minus 0.8 more at C6.
Arvid: Can I get data for C6?
Georg: 1.72. Minus 2.6 the last hour.
Arvid: Fucking hell! Same here. Confirming contraction.

Kristian [on phone]: Get the hell out of there. Drop all you have and get out!!
Arvid: We’re just gonna finish up here.
Kristian: I’ve checked the data from Vajont and Randa. There were registered contractions right before the avalanches. Same thing at both places. Arvid, they weren’t expanding. They were contracting.[/b]

Then the shit hits the fan…

[b]Kristian [on phone]: Margot? Sound the alarm.
Margot: But…
Kristian: Code Red! Code Red! Margot, sound the alarm!

Idun [to her assistant at the hotel]: Ten… Ten minutes. We have ten minutes. We need to get the guests out of here!

Title card: The Akernes crevice is monitored continuously. It is still expanding by up to 15 cm annually. All experts agree there will be a landslide. They do not know when.[/b]

The club. But unlike any club that any of us is ever likely to be a member of. And certainly not a club that any of us would want to be a member of. Unless you would like to be sent to live among “disgraced priests and nuns, suspected of crimes ranging from child abuse to baby-snatching from unwed mothers.”

So: Is it based on a true story? I don’t know. The character’s accounts here are said to be fictional but they are also said to be based on the sort of actual flesh and blood miscreants that most of us are now familiar with given the scandals that have unfolded in North America as well.

As punishment for transgressions go, they could do worse. They have all the creature comforts of home. And they spend much of their time training a greyhound that they enter into races. They bless the dog with holy water and then when he wins, glance up into the Heavens in order to properly thank God.

But then that [as they say] is all on the surface.

In large part the film revolves around Catholicism and the vows of chastity the ecclesiastics are required to embody. In other words, it explores the consequences of repressing that which nature demands of all its creatures: that they be fruitful and multiply.

And then the part about rationalizing the things that we do. You don’t need to be a Catholic priest in order to avidly pursue this of course but with God factored in – the institutionalized God in particular – it can get all that more convoluted.

As for the “meaning” behind the film, one reviewer described it thusly: "This is truly a bizarre, bleak, dark, and depressing film. This film is clearly a brutal attack on the church, the priesthood, and mankind in general.

Of course that might offend some. Or be embraced triumphantly by others.

Another take on it: variety.com/2015/film/reviews/be … 201428580/

On the other hand, some will react to it as an exercise in “religion for intellectuals”. A way in which to explore God and religion in a world of words. Heads talking to each other. The actual behaviors themselves being but more grist for the mill. The mill scholastic sorts crave.

Note: some might find the dialogue disturbing. It is sexually explicit.

at wiki: en.wikipedia.org/wiki/The_Club_(2015_film
trailer: youtu.be/e8c2DYoF7lA

THE CLUB [2015]
Written in part and directed by Pablo Larraín

[b]Title card: God saw that the light was good and he separated the light from the darkness. Genesis 1:4

Father: With the last race we totaled 470,000 pesos. Not bad.
Sister Monica: That money is a blessing.
Father: I would split it.
Sister Monica: What do you need money for?
Father: For expenses. We need more dogs. One greyhound is not enough.

Priest [from the Vatican]: Perhaps some of you have met him already. But let me introduce Father Matias Lozcano. From now on, he will join you in your home…in this community of yours.
Sister Monica: Father Matias. Let me introduce Father Vidal, Father Ortega, Father Silva and Father Ramirez. I’m Sister Monica. We’re very happy to have you here. Welcome.
Priest: This house is very important to the church. A shelter, a house of prayer.
Father: Is anybody else coming, Father?
Priest: No, not that I’m aware of.

Sister Monica: It’s absolutely forbidden to communicate with any person outside of this house. Also forbidden is any activity involving self-flagellation… or self-pleasuring. You are not allowed to handle money or cell phones.
Matias: Excuse me, Sister, but I don’t know why I should have to be subjected to the same rules as those men. Maybe you don’t know why I’m here. I didn’t commit any crime, any sin. I’m not a queer. I had a bit of trouble…but it was resolved.[/b]

Not quite…

[b]Sandokan [outside the house]: I saw you arrive in a black car. Why don’t you come out and talk with me? Why don’t you come talk with me? Why don’t you come talk with me, Father Matias Lozcano? When the priests came to get us…when they would come to get us at the children’s home to introduce us to the word of God they would recite the sermon of Jesus from the Bible when the priests brought us in. When I had to serve them as altar boy and we had to serve the chalice to them. And there were a bunch of priests that would touch their genitals. There must have been like three priests who touched their genitals. Then they would proceed to masturbation, self-masturbation that they would perform by moving their foreskin. You could see very clearly how the foreskin went back and forth, back and forth until the ejaculation came. Then they would molest us. They would penetrate us anally and come on our faces. I know you’re in there, Father Matias Lozcano.
Father: Is that one of your kids?
Sandokan: Remember coming on our faces?
Father: Is that one of your kids, degenerate? Go talk to him!
Sandokan: You’d make me pray and then you’d say “That’s not oral sex, fucking orphan. This is oral sex!” And you’d stick your penis in my mouth. It was a big penis, like this. And since I was a child, sometimes the corners of my mouth would hurt. As a child, my mouth couldn’t open wide enough for a priest’s penis but he’d do it to me anyway. And sometimes, the semen would make me vomit. The semen would make me vomit. Later, the priest would give me breath mints. That way, the semen wouldn’t feel so dirty.

Father [putting a gun on the windowsill]: Go to the window! Look at him! Don’t you recognize him? He recognizes you! You take care of this!
Sandokan: Father Matias, listen to me!
Father: Scare him, you hear? You’re a degenerate! Go outside!
Father Matias: I don’t know him.
Father: Go outside! Don’t play dumb!
Sandokan: They’d take us to the bathroom and we would suck their penises. We’d make love again. We’d come back from McDonalds with a Happy Meal.[/b]

Father Matias goes outside with the gun. He approaches the man and he raises the gun. Then he shoots…shoots himself in the head. Problem solved? The other priests think so.

[b]Policeman: You’re saying this is a-
Sister Monica: A retreat for priests… who can no longer work and must leave their parishes.

Father [to policeman]: He was very sad, very worried. He didn’t want to eat or drink. Nothing. Not even tea…We were sitting at the table watching a reality show when he suddenly got upset about something. He went downstairs and came back with a gun. We got scared and hid in the bathroom. After a while, we heard a gunshot.[/b]

And then it is time to pray. To ask God for forgiveness.

Priest [from the Vatican]: Father Matias suffered from heart attack symptoms some time ago. He was under medical supervision. They performed many tests on him. And no one ever mentioned any symptoms of depression. I am very surprised he had a gun in his possession. I asked Father Garcia to come with me. He is a spiritual director and has a lot of experience dealing with crisis situations. He has been on assignment in many countries. He also received a degree in psychology in Spain and studied in Geneva. He is very prepared and a beautiful man.

Father Garcia is a Jesuit.

[b]Father: You can just see Father Garcia is a guilty rich guy. But guilty of what? Besides, if there were no more poor people, there would be no more saints and that would be a terrible thing. There have always been poor people. They want to change the church. Over 2,000 years old and it’s still here and I like it the way it is. There is only one church of God.
Father: Amen.

Sister Monica: Father, we have a good life here. It’s a nice life. The brothers are okay. They are healthy and clean of heart, I promise you. They glow. If you had met them before, you wouldn’t believe the difference. We get up, stick to a schedule, sing. We lead a holy life. It’s very nice. Really, very nice.
Father Garcia [who sees right through her]: Sister, we both know why the brothers are here. What I need to know is if they’re aware of why they’re here. This house is not a spa.
Sister Monica: No.
Father Garcia: It isn’t a retreat either. It’s a center for prayer and penance. It’s a place of repentance.
Sister Monica: You’re one of those new priests.
Father Garcia: What I want is a new church. And I want you to help me.

Father Garcia: Have you made money on that dog? Do you place bets?
Father: He’s a greyhound, Father, the only dog mentioned in the Bible.

Father [to the others]: I went through his bag. He has your file, and yours and mine. And the files of priests at other homes. He has credit cards. American Express. What happened with Lozcano sped things up but Father Garcia was coming anyway. He’s on a mission. He’s closing down the homes all over Chile.

Father Garcia: It’s one thing to fall in love with a man but a completely different one to fall in love with a child.
Father: Because the sickness of falling in love with a child can be cured, repressed. I know a lot of men and women who think about children but would be incapable of doing anything. But that bishop accused me of defending pedophilia, and it isn’t true. I was defending restraint. And I know what I’m saying. I know what I’m talking about, since I’m a master of restraint.
Father Garcia: Do you still think about men?
Father: You’re horribly vile. It’s just that you took a vow of chastity many years ago and have spent all this time thinking about obscenities instead of praying. You haven’t made love to anyone. You haven’t fornicated. So you don’t know what it feels like. You don’t know the sickness of the mind can be cured when the body explodes. Because you and I are condemned to be dishonest bodies.

Father Garcia: The bishop told me you had a notebook.
Father: Yes. I wrote down everything the soldiers confessed.
Father Garcia: What did you write down?
Father: Secret burial grounds, theft of money. Secret torture houses, murders. Everything. Then I burnt it.
Father Garcia: Why?
Father: Because a colonel threatened to kill me. It didn’t matter, I memorized it. A lot of soldiers repented. But those left-wing civilians wanted to resolve a spiritual matter in a secular court. They realized it was their only chance at revenge because God would forgive all of them in Heaven. Even the murderers.

Father Garcia: You studied for years to become a priest. You gave your life to our Lord Jesus Christ but that doesn’t make you a messenger of God. So set aside your arrogance and lead the life you have to lead the life of an accomplice. They put you in this house to keep you quiet.
Father: I won’t claim to be innocent, but please do not try to manipulate a cunning fox who during his long life as a priest has touched more communion bread than you have touched your own member.

Father Garcia: What’s going on with Father Ramirez? There’s no information about him. There are no files. I called Santiago, and they can’t help either.
Sister Monica: I was told he arrived here in the late '60s but beyond that nobody knows, and he doesn’t remember.

Father Garcia: From now on, the consumption of alcohol is forbidden in this house. More prayer, less outings.
Father: Forbidden? No.
Father Garcia: More penance, less dog. More vegetables, less chicken.
Father [mockingly]: More vegetables, less…
Father Garcia [angrily]: What’s wrong?! There are no doors or keys in this house, so you can leave whenever you please. But as long as you live under the church’s roof, you’ll follow its rules. And right now, for you, I am the church!
Father: I am the church!
Father Garcia: No.
Father: How many years of priesthood are there between all of us? Shit!
Father Garcia: Sister, take him to his room. Take him immediately.

Father Garcia: When I was a missionary in Africa, we would give a goat to each family. That goat would produce milk, meat and cheese. It would allow them to grow. That goat gave them life. When the goat got old they would offer it as a sacrifice to our Lord Jesus Christ. Father.
What does this dog offer this house?
Father: Affection.
Father Garcia: Avarice. You have to get rid of the dog.
Father: No.
Father Garcia: If I let you keep that dog, you will keep on betting and I cannot allow that. Get a cat.
Father: I don’t like cats.
Father Garcia: Look at yourself. A cat would suit you better.

Father Garcia: The commissions.
Father: The commissions?
Father Garcia: The commissions. How much did you make?
Father: Not as much as you. You are a Vatican bureaucrat who travels in first class and stays at five-star hotels. I can smell your perfume from here, Carolina Herrera for Men. You buy it at duty-free shops. Am I wrong? How long has it been since you were in a parish? With people, suffering people. With women who cannot bear children. With girls who don’t want their children and want to throw them in the trash? Why? Why such injustice? So God gave me a mission—to save lives. To bring happiness to those couples
that cannot have children, Father.
Father Garcia: Father, we’re talking about the kidnapping of live children who are given to other mothers that are not their own. And after a funeral with an empty coffin…
Father: What else could I do? With a 17-year-old mother in tears. Those girls didn’t want to have those children! It’s a question of social class. You understand that, don’t you? Of your social class. They couldn’t have them, they didn’t want to have them. They rejected them! They wanted to throw them in the trash! I only saved lives, sir. Now there are blondes in the slums. And dark-skinned kids in the upper-class neighborhoods with families that love them and take care of them.[/b]

Conflicting goods. No getting around them, is there?

[b]Father Garcia: Why were you sent here?
Sister Monica: During Pope John Paul’s visit… something terrible happened to me. I had to quit college, ended up in a convent and became a nun. First in Brazil and then in Boston, some time ago. But then I went to Africa. Black Africa. I adopted a girl and brought her here with me. After a while, they took her away from me because they said I beat her and gave her to another family. But I never laid a hand on her. It was my mother who said I beat the girl because she didn’t want a black granddaughter.

Father Garcia: We’re going to have to close down this house.
Sister Monica: That’s not necessary.
Father Garcia: Why not?
Sister Monica: No one else will die here.

Father: I’m celibate. Of my own free will, I decided not to have a wife, children.
Sandokan: So you’re celibate because you haven’t been with a woman but you have been with men? Have they penetrated you anally? Have you sucked a penis, foreskin? Are you homosexual?
Father: Homosexuality has broadened my concept of sexuality. Between a man and a woman, it’s just a matter of procreation. Whereas, between homosexuals, it’s something much deeper.
Sandokan: The priest used to tell me that if I wanted to be a virgin when I got married I should just have anal sex. He would penetrate me anally… so I could be a virgin when I got married.
Father: Well, you are a son of God as well. Your homosexuality humanizes me.
Sandokan: You gotta be kidding me. Don’t call me a homosexual. Don’t go around saying that.

Father: What did they tell you?
Father Garcia: Well, everything. Now we just need your version to finish up and close this house permanently.
Father: I got here about four centuries ago. Back then, they said that the devil had created our kind. Now they say God created us 'to love our fellow man because it’s dirty. We love those who have dirty sex, those who laugh at themselves or humiliate themselves, those who smoke in the bathroom, those who have to endure idiotic questions from people like you who think they know more than we do because they sleep with women. But make no mistake, I know more than you. I know something you don’t. I know more than you, I do. Because in that abject and deep sex I’ve seen the most loving light of our Lord.

Father: Do you know what I think happened to Father Matias? He got here to this shitty house that smells like shit and saw these fucking geezers. Silva’s face. Vidal’s face. He saw me too. All this shit. He thought, “I’ll have to spend the rest of my days in this shit!” And he shot himself.
Father Garcia: You are in a privileged place. God is here, Father. Look around you. Nature, the sea.
Father: God is not here, Father. This is a jail. With fucking criminals!

Sister Monica [to Father Garcia]: That lunatic came after the poor priest to kill him, I don’t know. He screamed as if he was being stabbed. So we took out a small gun that we keep in case of burglaries and we gave it to the priest so he could shoot a warning shot.
But he was so distressed that he shot himself.[/b]

With each adjustment the lie gets closer to the truth.

[b]Sister Monica: Want to close down this house?
Father Garcia: What do you think?
Sister Monica: Want to send us to another house?
Father Garcia: People are coming after these priests.
Sister Monica: That’s why it’s not advisable. If they asked me, I would be declared an accessory and so would my accessory as well as the accessory of my accessory. All the way up, until they got to I don’t know who. You.
Father Garcia: Why talk now if you haven’t talked before?
Sister Monica: No, I don’t want to talk. The last thing I want is to talk. But if you kick me out, I’ll have nothing to lose.
Father Garcia: You’re an employee. You have to answer.
Sister Monica: If you kick us out, I’ll call the press and tell them everything.

Sandokan [to Father Garcia]: Let me tell you something. Matias Lozcano was my first man. He was the first one I made love with. The first man I loved deeply and madly to the farthest reaches of love. It was with Father Matias Lozcano. And he’s no longer with me. The priest was the first person I had sex with, both anally…The first time, I sucked his penis… and he showed me the grace of the Lord. He would say that if I swallowed the semen I would go directly to heaven because any man of God carries the holy semen because it comes from the glory of our Lord Jesus Christ. It is life. Because the Virgin Mary…Ultimately, God also created her from semen.
[pause]
Sandokan: When was the last time you ejaculated? Have you had sex with children? Have you penetrated them anally? That’s nice. But I’m not a homosexual. I lead a normal life. I have sex with women. Sometimes I feel I’m sinning with the prostitutes and all that. But when I was with the priests I never felt I was sinning because they are men of God and all the fluids that come out of them are the Lord’s, right? Praise be to God. You know what? I know some children. They’re smaller than me. Would you like to have sex with the children I know?

Sister Monica [after killing the Father’s dog]: Only God knows. He knows. We’re girls, that’s why we don’t understand. But he’s the Father. He’s the only one who knows.
[pause]
Sister Monica: Are you going to kill me?
Father: No. I can’t.
Sister Monica: Will you forgive me?
Father: No. No, bitch. No.

Father: He could stay here.
Father: What? Where?
Father: In my room. Until he gets better.
Father: He can’t stay here.
Father: Why not?
Father: First I’d like to talk this over between ourselves.
Father Garcia: And I’d like to see all of you in jail.
Father: Then call the press.
Father Garcia: No. I love the church and don’t want to hurt it.
Father: What are you doing here then?
Father Garcia: If you give this man a bed, I’ll forget all about you.
Father: For how long?
Father Garcia: Forever.
Sister Monica: Any objections?
Father: Objections to what?
Father Garcia: To doing penance, Father.

Sandokan: I wanted to tell you, Father, if I’m gonna stay in this home in order to maintain my menial balance and not to go psycho I need some drugs. For that, I need a supply of phenobarbital as well as alcohol, propyphenazone, Rohypnol, Optalidon, Lipenan, aripiprazole, phenobarbital, green, red and yellow amphetamine capsules, Prodrin, Sirin, Ritalin, Cipropol…to get high, to relax, to stay level. And you can find all those things in Dr. Hoffman’s drugstore. He has the whole supply. And another very important thing is that, at any given time, if suddenly, by accident… you have access to any of my pills please, don’t consume them. And if you do, don’t mix them with alcohol or you will be fucked. All of you. That’s what I wanted to say.[/b]

Chess or gangbanging?

Not many of us are ever likely to be dangling between those two worlds. And I suspect that out in the “real world” very, very few actually are.

So, the first thing you will wonder here is this: based or not based on a true story? Yes, in fact, it is:

The Dark Horse is based on the real-life story of Genesis Potini, a brilliant, New Zealand chess player who suffered from severe bipolar disorder. Despite the challenges that came his way, Potini pushed forward to find his purpose in life by passing on his knowledge of chess to the community. wiki.

In one respect this film shares in common with many other films the narrative that revolves around “the poor”, the “disadvantaged”, the “underprivileged”. And how one or another man or woman, being exceptional at one or another skill, is able to inspire at least some of these kids to make it up out of the bottom of the barrel.

In other words, rarely does the plot involve [in turn] a political analysis of the barrel itself.

Here the skill set is chess. And [as is often the case] the protagonist while brilliant is also “troubled”. To the point that he has been sent to mental institutions. And the neighborhood that he frequents is on the wrong side of the tracks: widespread poverty, drug addiction, violence. Gang banging. In fact the father here expects his son to follow in his footsteps and join his motorcycle gang, the Vagrants.

The lesson to be learned is that when children are raised in an environment in which they are expected to be lacking in intelligence and accomplishments, that is how they turn out. But when they are motivated to learn they generally turn out to be no less intelligent/accomplished than children fortunate enough to be raised in considerably more affluent [positive] environments. It’s all rooted in politics in other words. Though Ariki does a damn good job pointing out the part about “the real world”. A world in which by and large it’s the white folks that run the show. And certainly at the chess tournament. Virtually all the kids are white.

Ethnically, the people here are Maori. And it unfolds in New Zealand.

This one garnered a 97% fresh rating at Rotton Tomatoes on 62 reviews.

IMDb

[b]At the request of writer/director James Napier Robertson, actor Cliff Curtis gained almost 60 pounds and stayed in character for the entirety of the shoot to portray Genesis.

Actor Wayne Hapi who played “Ariki” had no previous acting experience before his debut in ‘The Dark Horse’, however as an ex gang-member he did have direct experience with the film’s content. Wayne applied for an audition via email after Casting Director Yvette Reid placed a job listing at WINZ “seeking Maori Men aged 50-65yrs, tattoos and criminal records welcome!”. Wayne was honoured with a nomination for Best Supporting Actor at the 2014 New Zealand Film awards. [/b]

at wiki: en.wikipedia.org/wiki/The_Dark_Horse_(2014_film
trailer: youtu.be/jmobdHek8T0

THE DARK HORSE [2014]
Written and directed by James Napier Robertson

Shop keeper: Is there someone you want me to call?
Genesis [oblivious, perusing a chessboard]: No, you couldn’t. You can’t do that. I mean there it is, right there. That’s on B5, not C4
Shop keeper: I’m sorry?
Genesis [rambling to himself, nearly ranting]: And you want the Sicilian Defence? Well, impossible. C5, that’s where that should be. Your fianchetto bishop, he’s on the G7. That’s the way it should be, but that’s not what’s happening. What’s happening here is the Scotch Game. The bishop takes GA. And play the gambit, ease them into the game. Nice and easy. Here she comes.

Establishing right from the start that Genesis is, perhaps, a bit…crazy? And sure enough off he goes to New Zealand’s equivalent of a mental health facility.

Nurse: Hi, Gen. I’ve spoken with Dr Andrews. He doesn’t feel we’re going to be able to release you this time without someone to look after you. A family member, support person, that sort of thing. Is there someone you’d like us to call?

He calls his brother.

[b]Genesis: How are you?
Ariki [his brother]: No, bro. Don’t think I can help you. Be better off with someone else.
Genesis: Bro…There ain’t nobody else.
Ariki: Just gonna end up back in here anyway, eh? Ain’t you?
Genesis: Please.

Doctor’s voice: Don’t skip a dose. Don’t get less than eight hours uninterrupted sleep a night. You got an emergency scripts for lithium, Zopiclone, and benzodiazepine. And try to avoid anything that could stress you out. Stress is the number-one trigger. Are you listening? Your brother can have you readmitted.

Mutt: You keep staring, cuz, you’re gonna lose those fuckin’ eyes in a sec.
Genesis: Better me than a little kid, eh, bro?
Mana [exploding]: I ain’t a fuckin’ kid! I don’t need your fuckin’ help! I didn’t fuckin’ ask for it, did I?

Nobes: How are you doing at the moment, my man?
Genesis: Good. Really good. I’m better.
Nobes: You’re better? You’re banging on my bedroom window at 4:30 in the morning ‘cause you want to join a kids’ chess club and that’s better?

Ariki: Hey, Boss. Thanks for coming, my brother. You know my boy. Birthdays coming up. Fifteen. Been thinking. He’s ready. I want him in.
Boss: Some ain’t right for it, eh?
Ariki: He is.
Biss: This what you want, boy?
Mana [reluctantly]: Yeah.
Ariki: Old time’s sake, my brother?
Boss: Old time’s sake. You want him done on his birthday?
Ariki: Right. Mutt.
Mutt: Yeah?
Ariki: Boy’s all yours now. Harden him up. We ain’t patching no child.

Genesis [introducing himself to the chess club]: Hi, everyone. I am of the Te Aitanga-a Hauiti clan. My name is Genesis Potini. And…My special powers, yes. Yes, yes, yes. I’m gonna lead you all to the National Chess Championships up in Auckland in six weeks’ time!

Genesis: I have thought about this, and I know it will work.
Nobes: You thought about it? Thought about them?
Genesis: Yes, yes.
Nobes: Who you just met tonight? Who you don’t even know whether they can even play!
Genesis: Yeah.
Nobes: Gen!
Genesis: I can help them. They’ll have a purpose. They need a purpose, a focus. Who knows what’ll happen?
Nobes: I know what will happen. You’ll rev them up with some new and exciting idea, then you’re gonna go off the rails, and we’re not gonna see you again. They don’t need some big, delusional tournament. They don’t even have parents. Just fuckin’ gangs and jails. They’re not even around. They need people who are gonna show up, Gen. Stability.
Genesis: Cuz…
Nobes: Go!

Ariki: Mutt…He said you took Mana out last night.
Genesis: No, he followed me, bro.
Ariki: I don’t want it happening again. He’s got to be a man now, got to be strong. I can’t have you messing with his head.
Genesis: No, I would never do that, bro. That’s the last thing I want.

Ariki: That’s 1,000 bucks, bro. Go and get a place of your own.
Genesis: What about the ward, bro?
Ariki: I’ll tell the ward what you want 'em to know. As long as you respect what I’m asking, bro Get on the dole. Start your own life. I can’t do anything more for you now, my brother.

Nobes: I told Michael’s parole officer that we’re going to this…this tournament. Be like his community service. They went for it. Gen, you probably think I’m being some big arsehole. But you talk dreams to those kids, you better follow through. Take your meds, get your sleep, whatever. Just promise me that you’re looking after yourself. Promise me you won’t let 'em down.
Genesis: Promise.

Michael: Looks like we got another Dark Horse in our midst, eh?
Nobes: What Dark Horse? Him?
Michael: Didn’t you go crazy or something?
Nobes: Michael.
Genesis: You made a mistake.
Michael: What, winning?
Genesis: You could’ve got checkmate about six moves earlier.[/b]

And then from memmory he procedes to show him how.

[b]Genesis: You can’t be here, Mana. Does your father know you’re here?
[Mana shakes his head]
Genesis: Well, he knows that you came to our practise.
Mana: Are youse going to a tournament?
Genesis: How did you know that?
Mana: I know you think I’d be shit at chess, but that’s just 'cause nobody’s taught me. Maybe I could be all right. Maybe I could play in your tournament.

Genesis: Who wants to play some blind chess?
Kids: Yeah!
Genesis: Cover your eyes. Now, Jedi. E2 to E4.
Jedi: Bishop to D6.
Rusty: Queen to E4. Checkmate.
Genesis: Murray, did you fall asleep? Murray! Give us the coordinates.
Jedi [whispers to Murray]: Knight to B6.
Murray: Knight to B6?

Mana [to Genesis]: Have you ever been pissed on? It was in front of all of them. I just sat there. Couldn’t do anything. Listened to him laughing. I just want to fuckin’ kill him.

Mana [angrily]: Why are you sleeping here? Why aren’t you fuckin’ sleeping in a house like everyone else? Is there something wrong with you, holding on to all those old clippings? Are you crazy? Is that why you need those pills? Just fuckin’ tell me!
Genesis [after a long pause]: When I was a boy…I was taken to a hospital. A mental hospital, 'cause they thought there was something wrong with me. And the doctors, they looked at me for a while and told my family I was sick. I had to stay. I didn’t see your dad for a long time. But I kept playing…Play every day, dreaming of the day I’d meet him again and thrash him. I got out, won a few local games, tournaments, beat a few good fellas. That’s when they made those clippings that you found. But the stress…I’d just get sick again. I had to take those pills to stop me from getting sick.
Mana [after a pause]: Have you thrashed Dad yet?
Genesis: Not yet.
Mana: But you have played against him though, eh?
Genesis: Yeah. He taught me.

Genesis: I was thinking maybe…maybe Mana could come to the tournament, too. Maybe he’d enjoy it.
Ariki: Pretty hard if he doesn’t know how to play, eh?
Genesis: He does. I’m not saying he’s gonna win or nothing, but…It’s next weekend. The tournament, it’s next weekend.
Ariki [staring hard at him]: Get out.
Genesis: Wait. Wait a minute.
Ariki: Behind my back, both of youse, after I asked you.
Genesis: No, it wasn’t like that, bro. I wanted to tell you about it. I wanted to ask you…
Ariki: About what? About you knowing what’s best for my boy? ‘Cause you got some fuckin’ chess club? Fuck up his chances with the brothers?
Genesis: No, it wasn’t like that.
Ariki: You think some kids’ game’s gonna solve all his problems? Off to some weekend tournament. And what, happy endings? And then what? You gonna raise him, feed him, stay out of your nuthouse long enough for that? ‘Course you fuckin’ ain’t. Dump him right back here, and then fuck off back where you came from.
Genesis: Wait, wait. Stop, please. Just stop a second. I don’t want take him from you. Okay? I just want to give him a chance to see something out there in the world.
Ariki: There ain’t nothing out there for him! World don’t want him. Didn’t want me, and sure as fuck didn’t want you, did it? He lives in my world, the real fuckin’ world.

Ariki: Come here telling me fuckin’ stories. Remember my hand on your shoulder, do you? Telling you things will be all right? Well, nobody had their fuckin’ hand on mine, bro. No one told me shit’d be all right. I’ve been alone with nothing. But I stayed fuckin’ standing. When you fell all apart, I stayed fuckin’ standing, and so will he. And I ain’t gonna let you fuck that up.
Genesis: I don’t want to fuck anything up, bro. But he is being pissed on. Pissed on and beat up by Mutt. And you’re his father. You should be protecting him.
Ariki: Damn fuckin’ right I’m his father! You think I don’t know? You think I didn’t go through the same fuckin’ shit? That’s the real world. That’s the shit the rest of us have to deal with while you just take your fuckin’ pills.

Genesis: Ariki, please.
Ariki: Get out.
Genesis: Please, just listen to me. Just…
Ariki: You got 10 fuckin’ seconds.
Genesis: No, please, listen to me. Just…No, just listen to… I’m just asking you for a week.
Ariki: Five!
Genesis: No, it doesn’t make any sense, man. Why can’t you just give him a week, eh?
Ariki: Two!
Genesis: That’s all I’m asking is just one week. A week! I’m just asking, why can’t you give him one more week?
Ariki: ‘Cause I ain’t got one more fuckin’ week! You fuckin’ blind, bro?
Genesis: What are you talking about?
Ariki: Just get out.

Genesis [At Rip’s home]: Are you Rip’s mother? Hi, my name is Genesis Potini. I’m his chess coach. And I implore you to allow him to stay in the club, please. Don’t make him leave the club. Just let him stay…
Mother: I’ve seen you. You’ve been sleeping up on Kaiti Hill. You just got out of a mental home, didn’t you?
Genesis: Well, yes, but please don’t do this to him.
Mother: You shouldn’t be anywhere near those kids.
[she closes the door]

Sandy [to Genesis]: This is the best thing that has ever happened to those kids. I better get you cleaned up for this fundraiser tomorrow, yeah?

Michael [at the chess tournament]: We’re dropping like flies, Gen.
Genesis: Yeah, we’re not out yet.

Genesis: Mana, it’s time to go. Come on, get up. Get up, get up.
Mutt: Boy’s been fuckin’ patched now. Too fuckin’ late, eh, cuz?
Genesis [to Mana]: Take it off. Get it off.
Mutt [wielding a metal pipe]: What, are you fuckin’ kidding me?
Mana: Stop it, Mutt!
Ariki: Go easy, cuz.
Mutt: What, you got something you wanna fuckin’ say, bro?
Genesis: How many times you been pissed on? How many times before you stopped crying?
Mutt [raising the pipe]: Fuck you! Fuck you!
Ariki: Mutt.

Mutt: Fuckin’ get back here, you fuckin’ hear me?
Genesis [to Mana]: Keep walking.
Mutt: Think you can fuckin’ walk off like that, boy? You fuckin’ belong to me now, boy. You’re fuckin’ mine. Hey!
Genesis [to Mana]: Don’t look back.

Title card: Genesis Potini continued leading the Eastern Knights for many years to come. The kids he helped went on to lives they’d never thought possible, both on and off the board. Gen passed away surrounded by loved ones on August 15th, 2011. Led by Nobel Keelan, the Eastern Knights are still going strong to this very day.[/b]

There may well be as many different families as there are families themselves. So, what are the odds that you will be able to identify with the one portrayed in any particular film? Slim to none?

And this family is certainly far removed from most that you will run across. The mother was a famous photographer. And now she is dead. But: Did she or did she not commit suicide? And now the members of her family – a husband and two sons – are brought together to make sense of it all. And, it turns out, to share, in some important respects, very different renditions of her.

And some might wonder, “how can that be?” After all, they have spent all those years interacting with this woman. And yet at times it is as though she were three different people. But isn’t that sort of thing more likely in this day and age. There are so many additional points of contact with others out in our post-modern world. We never really know where those – even those we are close to – might end up. Or who they might bump into. Both on and off line. And how that changes things. Sometimes everything. We just live in a world now where we only have so much control over what those around us stumble into.

Conrad, for example.

Then there’s the part where people who are out in the world witnessing all of the terrible things that can unfold “in the news”, must balance that with the relationships they forge with family and loved ones. In some respects though there’s just no way to explain a gap of this sort. You’ve either experienced it or you have not. Everyone trying to pin down whether Isabelle was or was not depressed. As though what she did for a living wouldn’t almost certainly bring her to that.

Louder than bombs? You’ll get that part by the closing credits.

IMDb

[b]Conrad and Jonah watch in the computer a scene from an old movie where his father Gene appeared as actor. This scene is for real and it belongs to the movie Hello Again (1987), starred by Shelley Long and Gabriel Byrne, who plays Gene in this movie.

A New York reporter posted on Twitter (August, 2014) a casting call ad for this movie that he found in some places in New York. It read “Looking for a Young Jesse Eisenberg for the feature film Louder Than Bombs directed by Joachim Trier shooting in October (2013) in the NY area. Must be 6-10 years-old; Blue eyes; fair skinned/no acting experience necessary!” The ad included a young picture of Eisenberg, and an e-mail to contact for more information and to submit a recent picture. Julian Murdoch was selected for the role.

Due to the terrorist attacks in France, the title for the local release was changed to ‘Back Home’ [/b]

at wiki: en.wikipedia.org/wiki/Louder_Than_Bombs_(film
trailer: youtu.be/4I1l_J9QuVk

LOUDER THAN BOMBS [2015]
Written in part and directed by Joachim Trier

[b]Amy: The stuff they brought earlier was fucking disgusting.
Jonah: I know it was disgusting. Could you not say fucking around the baby, maybe just like, give it a week.
Amy: Okay, one week.
Amy [to the baby]: Your daddy’s gonna get your mommy some fucking food.
Jonah: A week.
Amy: And he better fucking hurry.

Isabelle: When I first started, I thought the job was to get as close as possible. The exciting part of it was probably what drew me to it. Then I became confused and I thought I had to stay until after the tanks had left to show the damage, maybe.
Charlie Rose: The consequences. The toll of war.
Isabelle: Yes, the other side of the war. I think that’s most of my photographs, my recent photograps are the testemony of.
Charlie Rose: How long will you do this? And when will you know it’s time?
Isabelle: I think it is my responsibility. No, I don’t think I should stop. Why should I?

News reporter [on TV]: In a twist of fate, having finally quit the hazardous world of conflict photography, Isabelle Reed died in a car accident less than a mile from her home in Nyack, New York. She was 57 years old, leaving behind her husband and two sons.

Richard: So…when I write this article for the New York Times, I don’t think I can avoid mentioning how she died. That it wasn’t really an accident.
Gene: Yeah. So, are you saying that you want to write that she killed herself?
Richard: Gene, I don’t want to be a part of romanticizing what we do. Isabelle wouldn’t either.

Richard: Your boys…they know what really happend, right?
Gene: Well, Jonah obviously does, yeah. But Conrad…he was 12, so, that’s a conversation.

Gene: That meeting I had this morning. Well, Richard was there. He’s going to be writing this article, and it just reminded me that there was some stuff that you and I, we just need to talk about.
[he looks at Conrad who is playing a video game as though Gene wasn’t even there]
Gene: Can you turn that off? Or you can just put it on pause.
[Conrad ignores him]
Gene: Conrad, can you…can you please turn that off?
Conrad [turning to him, shouting]: Get out! Get the fuck out.
Gene [startled]: Don’t you speak to be like that. I’m just trying to talk to you!
[Conrad takes a plastic bag and puts it over his head. Gene has to rip the bag from his head. Conrad bolts from the room]

Gene: You know this article that Richard is gonna write. I’m sure it’s gonna be tasteful, but he wants to mention it.
Jonah: Well, I mean, he can’t…he can’t do that. Did you tell him he can’t do that?
Gene: You know, I’ve been thinking about this and I really think that Conrad has a right to know.

Isabelle [voiceover with photographs of war’s terrible consequences in the background]: It was early and freezing. There was a group of men preparing the burial of a young boy. Children were dying daily. I felt that I had to get this one right. That this might convey something about what was going on. And there was this man. I thought he had to be the boy’s father. I was searching for some sign that it was okay for me to be there. That he accepted me. I’m faced with this everytime. Can I take a photo that tells their story? The way they would if they could tell it? And is that my job? Or shouldn’t I instead use this family to tell something bigger, and in some ways, more important? At the risk of reducing them to an example, to victims. In times of war or extreme poverty the codes for civilized behavior are suspended. In so-called normal life, no one would go into a house where people are grieving and photograph them.

Jonah: I wanted to ask you, do you ever think about Mom? Do you ever think about the car accident?
Conrad [wary]: Why?
Jonah: Well, there’s no story in a car accident, you know, so some people have to make one up. They have to invent some things that they have something to blame, you know, but honestly it was just bad luck. I mean it was fucked up, but it’s not like it was anybody’s fault or anything. [/b]

He blinked.

[b]Gene: Don’t you think that Conrad deserves to know the truth.
Jonah: Truth? What is the truth? What, some story that Richard wants to write, how is that the truth? He’s gonna make her out to seem like she’s some kind of depressed person.
Gene: No, I don’t think he will. But she was depressed. You know that, right?

Gene: It was a tough year. You didn’t really know what was going on. You couldn’t know what was going on.
Jonah: Actually, I did know what was going on, 'cause she called me all the time when she wouldn’t talk to you, so would talk to me, so I spoke to her all the time. Anyway, I guess this story suits you perfectly, 'cause then you could make her out to be the negligent parent and you can be like the perfect parent…
Gene: Yeah, well, I don’t want to argue about this…
Jonah: No? I guess I don’t either. Just think really hard about what you’re doing here, because, I mean, even if you see her that way, I don’t think Conrad has to.

Jonah [looking at Conrad’s computer screen]: What else are you watching here.
[he sees links to some sick shit]
Jonah: Birds, skeletons, decomposing…You’re not, like, going to shoot up the school one day, are you?

Jonah [after Conrad opens a document]: Did you write this?
Conrad: Yeah
[Jonah starts to read]
Conrad [voiceover]: “Am I crazy thinking about setting fire to Marion Wilkenson’s hair? Hair that burns always smells really bad…in 1999, three other boys with the name of Conrad Reed were born…I use 8 sheets of toilet paper, sometimes 12. I wonder if people use more or less…I have 14 pairs of socks if I count the warm wollen ones. I’ve got 14 pair of underwear, 20 t-shirts, 21 books, 108 comic books, 16 DVDs, 121 films on my computer…After Mom died in the accident, Dad and I went on a trip to Egypt. Kenneth didn’t even know that Egypt was in Africa…I like clips that are short and real. It has to be real. Goosebumps are real…The most times I’ve jerked off in one day: 7…Jonah reminds me of Mom. He’s small and super smart…The body starts to decompose as soon as you are dead. It’s two times faster underwater. It’s four times slower if you’re buried. The cold slows it down even more. In the tropics, a dead body can decompose in, like, under a day…Mom once showed me how she can change the meaning of a picture by framing it differently. It had a profound effect on me…Mom was one of the best photographers ever. It even says so in Wikipedia…Brain cells die in minutes, but skin cells taken 24 hours after death can still grow in a lab. People say that hair and nails grown after death, but they don’t. It’s the skin that shrinks so it may look like that in a way…There are days I’m invisible, I can do whatever I want. I must be careful not to lose that ability…I was nine and found a bullet with some of Mom’s stuff. I swallowed it. Maybe it’s still inside of me…Dad followed me today just like he did after Mom died. I felt like I had to do something important. So I wanted to show him I visit Mom’s grave but I couldn’t find it. And I just fell down on another one.”[/b]

Remember that?

[b]Conrad: You know, if I had a girl, I’d never lie to her.
Jonah: Yeah? Good luck with that.

Conrad: I’m gonna give it to her. The stuff you read.
Jonah: To her? Are you sertious?
Conrad: Yeah. I want her to know me.
Jonah: Okay, listen. I thought you were kinda backwards and weird…but it turns out you’re not. You’re…you’re actually pretty cool. And that stuff you wrote, really, that stuff was excellent. Still…and I’m telling you this because I love you, that girl is never going to go for you, no way. I’m sorry, she’s just not. It’s not your fault. I mean, it’s not her fault either. It’s high school. And, like, the hierarchy here, the status of looks and social skills and all this bullshit is stricter here than anywhere else in the world. I mean look at that girl. She’s not going to get it. She and her friends will all laugh at you. I mean, they’d be wrong because you are way cooler than they will ever be. You really are. But…but they’ll destroy you. [/b]

Let’s just say he doesn’t take it well.

[b]Isabelle [voiceover]: One morning you’re over there doing something you feel is important, but it’s hard as well you know? You can’t wait to go back home. Then finally you’re there. You always arrive exhausted, having changed plans like four times…But you hear them. Trying to be quiet, just waiting for you to come out. They don’t know how much you have changed since last time ypu say them. You have to learn all the names of the new things they’re interested in. Things that will change again a month from now. After a few days you feel better in the role. No, it’s not even a role. You like it. They want you there. They love you. You can feel it…But you still feel that you are in the way. In the way of what they usually do. Again, you get the feeling that you are in the wrong place. It’s not that they don’t want you there, but, they don’t really need you.

Narrator: He could still many years from now recall this scene and all its detail. The lock of hair she carefully places behind her ear. The way the washing label stuck out from the neck of her tank top. The street lights that went out as they passed Kevin Anderson’s house. That strangely familiar smell of damp earth he couldn’t quit place. As a stranger passed, he glanced at them as he went by probably thinking they were a couple. She had said that she wanted to have lunch with him Tuesday after English. He knew that this would never happen, that she would feel differently Monday back in school. But at that moment he just enjoyed that she felt like saying this to him. That she maybe really felt like having lunch with him. That while they were walking there like that, having lunch together at school seemed to her like a perfectly natural thing to do. [/b]

And there it is: that enormous gap between this and that which had brought his mother to the brink. There’s really no way to describe it, let alone to bridge it.

Conrad: So it’s true? The paper. It’s true?
Gene [nodding]: Yes, it is.
Conrad: Why didn’t you tell me? I saw her you know. I saw how she was. I was here.

What could be simpler: Your wife is leaving you. It’s the law of the land that you are not permitted to be single. You have 45 days to find a new “romantic partner”. If you fail to do so, you will be turned into a lobster. And this is entirely possible because the plot unfolds in “the future”. And in particular a future that is described as “dystopian”.

“Absurdist” even.

In other worlds, even more dystopian [absurd] than it is now.

And we know it’s dystopian because practically all of the characters have no names. Instead, they become The Hotel Manager or The Short Sighted Woman or The Limping Man or The Loner Leader

The good news though is this: You get to choose which animal you are turned into. David chooses to become a lobster. You know, if he fails. Why a lobster? Because, according to David, “lobsters live for over one hundred years, are blue-blooded like aristocrats, and stay fertile all their lives.”

On the other hand, David’s brother his now his pet dog.

Yes, all of this may seem to be entirely ludicrous. But it did manage to garner a 90% fresh rating on 188 reviews at RT. Just don’t expect that your own reaction to it is going to be anywhere near the right one.

The plot? The plot is obviously a satiric metaphor to expose…something. About loners perhaps. Which means they would consider someone like me to be nothing less than a psychopath. Which means I would be hunted down and disposed of.

Or maybe it’s poking around conformity again. The pressure to fit into any particular community. Where does “I” end and “we” begin? And the part about pondering where it might be best to draw that line. And [of course] the part about sex. And love.

The opening scene alone draws you into it immediately. As in “What the fuck?!!”

at wiki: en.wikipedia.org/wiki/The_Lobster
trailer: youtu.be/TR_NcqD-Gfs

THE LOBSTER [2015]
Written in part and directed by Yorgos Lanthimos

[b]Narrator [the Short Sighted Woman]: He decided his brown leather shoes were the best pair to wear. His back hurt a little, but not like some other time in the past when the pain was intolerable. He was thinking his wife doesn’t love him at all anymore. He didn’t burst into tear and he didn’t think things most people do when they realise someone doesn’t love them anymore.

Interviewer: Have you ever been on your own before?
David: No, never.
Interviewer: Are you allergic to any food?
David: No.
Interviewer: Your last relationship last how many years?
David: Eleven years and seven months.
Interviewer: Sexual preference?
David: Women. However I had one homosexual experience… in the past, in college. Is there bisexual option available?
Interviewer: No sir, this option is no longer available since about last summer due to several operational problems. I’m afraid you have to decide right now if you want to be registered as homosexual or heterosexual
David [after a pause]: I think I should be registered as heterosexual.

Hotel Manager [to David]: Now the fact that you will turn into an animal if you fail to fall in love with someone during your stay here is not something that should upset you or get you down. Just think, as an animal you’ll have a second chance to find a companion. But, even then, you must be careful; you need to choose a companion that is a similar type of animal to you. A wolf and a penguin could never live together, nor could a camel and a hippopotamus. That would be absurd. Now have you thought of what animal you’d like to be if you end up alone?
David: Yes. A lobster.
Hotel Manager: Why a lobster?
David: Because lobsters live for over one hundred years, are blue-blooded like aristocrats, and stay fertile all their lives. I also like the sea very much.
Hotel Manager: I must congratulate you, the first thing most people think of is a dog which is why the world is full of dogs. Very few people choose unusual animal which is why they are in endangered.[/b]

So that’s how it works!

[b]Voice from a speaker: Good morning Room 101, 44 days left. Breakfast is served.

The Limping Man: Hello everyone. My mother was left on her own when my father fell in love with a woman who was better at math than she was. She had a post graduate degree I think, where as my mother was only a graduate. I was nineteen at the time. My mother entered the hotel, but didn’t make it and was turned into a wolf. I really missed her. I found out she had been moved to a zoo. I often went there to see her. I’d give her raw meat. I knew that wolves liked raw meat, but I couldn’t figure out which of the wolves was my mother so I used to give a little bit to each of them. One day I decided to enter the enclosure. I really missed her and I wanted a hug. I climbed the fence and jumped in. All the wolves charged at once and attacked me; all but two who stood motionless. My guess is that one of those two must have been my mother. The zoo guards got to me quite quickly and took me to the hospital. Thankfully I didn’t lose my leg. I just have this limp, which is also my defining characteristic. My wife died six days ago. She was very beautiful and I loved her very much. She had a limp too.

David’s dancing partner [in a complete monotone]: I’m sorry I got the blood on your shirt. But don’t worry, there are many ways to remove blood stain from clothing. One way is to wring the clothes to cold water, then rub in sea salt. Another way is to srape the stain with cotton ball dip in ammonia. The third way is to make flour mold into a paste like toothpaste. Especially it the clothes are delicate or bright color. But just never use warm water on blood, ever.
David: Ok.

Hotel Manager: ls your room number 186?
Robert: Yes it is.
Hotel Manager: I imagine you know masturbation is not permitted in the room or any other area of the hotel. And yet, it is been brought to my attention you continue to do it. Are you looking at a photograph while you masturbating?
Robert: Yes.
Hotel Manager: What does the photograph show?
Robert: A naked woman on a horse in the country.
Hotel Manager: If I were in your shoes I would not be ogling the naked woman but the horse.[/b]

Cue the toaster.

[b]Biscuit Woman [to David]: Can I come to your room sometime for a chat? I could give you a blowjob. Or you could just fuck me. I always swallow after fellatio and I’ve got absolutely no problem with anal sex if that’s your thing. My ex-husband always used to say I had the most beautiful thighs he’d ever seen, but let’s not talk about him.

Robert: You thought about what animal you wanna be if you don’t make it?
David: A lobster.
Robert: I’m gonna be a parrot if I don’t make it. Hey, why don’t you become parrots too, then can all be together?
The Limping Man: You’re a complete idiot. Picking one of few animals that can talk when you have a speech impediment. You’ll lisp even as an animal. As for you, David, they will catch you and put you in a pot of boiling water until you die. And then crack open you claws with a tool by prying it, then suck up what little flesh you have with their mouth. You’re pathetic, both of you.

Voice from speaker: Good morning Room 101, you have 7 days left. Breakfast is served.

Hotel Manager: Morning ladies. So, today is your last day. And as is customary, you can choose how you like to spend your last night. What I always said in this situation is it would be wise to do something you can’t do as animal. For example read a work of classic literature or sing a song you really like. It would be silly to choose, for example, a walking the ground or have sexual intercourse with another person. Those are things you can do as animal.
Girl: I’d like watch Stand By Me with River Phoenix, Kiefer Sutherland and Richard Dreyfuss…alone.
Hotel Manager: Excellent choice. Lovely film.

Narrator: One day, as he was playing golf he thought that it is more difficult to pretend you do have feelings when you don’t than to pretend you don’t have feelings when you do. He also thought that he liked her accent and he always prefered woman with short hair. So he decided she was the one. During the hunt, he would follow her. And as soon as she shot a loner, he would say to her: “I wish we had a real gun instead of this silly tranquilizer one. Why don’t you kill him with your bare hands?” And the moment she put her hand around loner’s throat he would said: "I hope he dies right away.

Heartless Woman [after she fakes choking to death while David sits there and does nothing to help her]: I think that we are a match.
David: Yes, I think so too.[/b]

Off to the Double Room.

[b]Heartless Woman [to David]: Do you mind if we fuck in a position where I can see your face?

Heartless Woman: Good morning. I killed your bother. I left him to die very slowly. He may not be dead yet as now we speak. I was kicking him for ages.
David: It doesn’t matter.[/b]

She means the dog. And it does matter.

[b]Narrator: He couldn’t understand why she did it. So he decided to turn her into an animal. He dragged her to the room where transformation took place. I asked him many times what sort of animal he turned her into. But he always give me the same answer: “That’s none of your concern.”

Loner Leader: You can stay with us for as long as you like. You can be a loner until the day you die, there is no time limit.
David: Thank you very much.
Loner Leader: Anyway, any romantic or sexual relations between loners are not permitted. And any such acts are punished, is that clear?
David: Can I have a converstation with someone?
Loner Leader: Of course you can, so long as there is no flirting or anything like that. That applies to dance nights as well. We all dance by ourselves. That’s why we only play electronic music.

Short Sighted Woman [of David]: That night, in my sleep, I dreamt that we lived in a big house together in the city with a large, well-lit kitchen, and I was wearing dark blue trousers and a tight cream blouse and he took my clothes off and fucked me up the ass.

Robert: You’re not thinking of coming back? You know if you told the hotel manager about your brother, she’d probably forgive you.
David: No, it’s really nice to be on your own. There is no one tying you down. You listen to music whenever you like, you masturbate whenever you want, go for a walk whenever you like, have a chat whenever you like. I don’t miss companionship at all

Loner Leader: Where were you? I was looking for you.
David: I was masturbating behind those trees over there.

Short Sighted Woman [of her relationship with David]: We developed a code so that we can communicate with each other even in front of the others without them knowing what we are saying. When we turn our heads to the left it means “I love you more than anything in the world” and when we turn our heads to the right it means “watch out, we’re in danger”. We had to be very careful in the beginning not to mix up “I love you more than anything in the world” with “watch out, we’re in danger”. When we raise our left arm it means “I want to dance in your arms”, when we make a fist and put it behind our backs it means “let’s fuck”. The code grew and grew as time went by and within a few weeks we could talk about almost anything without even opening our mouths.

Loner Leader: Can you imagine why I brought you to this quiet place today?
David: No.
Loner Leader: Because I think it’s the perfect spot for your grave.

Doctor [of the Short Sighted Woman]: She’s blind.
Loner Leader: Thank you.

Short Sighted Woman: There is no point to lying to you. You’ll find out sooner or later. Our leader blinded me in the city. She must’ve realised I love you, you love me and we’re going to run away to the city together. I’m sorry.
David: You can’t see at all?
Short Sighted Woman: No, not at all.

David [to waiter]: Can I have a knife and fork please? Not a butter knife, steak knife.

David: I’m going to do it with the knife.
Short Sighted Woman: Do you want me to come with you?
David: I rather you didn’t.
Short Sighted Woman: Don’t worry. It’s strange at first, but you get used to it. And your other senses are heightened. Touch, for example, and hearing.
David: I know. I won’t be long.[/b]

Krigen.

One in particular: Afghanistan. Only this time from the perspective of another country. The soldiers here are from Denmark. And since my own reaction to the “war on terror” has always revolved by and large around the political narrative I embrace regarding “the military industrial complex”, I’m not at all certain the extent to which that is applicable to a nation like Denmark.

After all, profit is certainly not the only motivation for taking a nation to war. And I am always generally enthusiastic about ousting any and all religious fanatics from power.

Besides, soldiers, much like the rest of us, can be more or less idealistic, more or less cynical.

Still, in other respects a war is a war is a war. And in today’s world that often involves questions of “collateral damage”. The killing of non-combatants. And then in deciding whether or not in any particular context this constitutes a war crime. Or, as one reviewer at IMDb noted:

Why decide so-and-so? Why did such-and-such happen in this or that way? Could it have been altered? Could lives have been saved? Did I do the job I signed up for, or more, or less? The ways in which such issues haunt soldiers, their commanders, their families and even the Afghan locals, form the basis of this important film.

In other words, how can “the fog of war” not be but exacerbated when two entirely different cultures with two entirely different languages collide?

Here is one take on Denmark’s involvement in the war: theguardian.com/film/2010/j … fghanistan

In war, there is always going to be the part about doing the right thing versus suffering the consequences of doing the right thing. And it’s not like the commander here intended to kill those 8 children.

As for the ending, well, what’s one more lie in one more war?

IMDb

Four of the cast members are real Danish soldiers who have been stationed in Afghanistan.

at wiki: en.wikipedia.org/wiki/A_War
trailer: youtu.be/qil14JEoPzU

A War [Krigen] 2015
Written and directed by Tobias Lindholm

[b]Pederson [commander]: How are the guys feeling?
Soldier: They’re awful. Especially my second rifleman, Lasse.
Pederson: What about you?
Soldier: None of the guys feel good. We feel like walking targets. The guys are powerless. They can’t do anything. The guys don’t see the purpose of patrolling …
Soldier: Hold on a sec. Let’s see this from their perspective. The guys just lost a friend. They’re frustrated. I’m just saying the assignments make no sense.
Soldier: I’ve just lost one of my 21-year-olds, who bled out right in front of me. THAT makes no sense!

Pederson [to his men]: Do any of you have any doubts about why you are here? It’s to secure and help the civil population, so they can have a decent life and rebuild their land. I know you walk on patrol a lot, and that you use a lot of energy. But that’s because we have momentum. We’re getting the civilians on our side. That’s why it’s so important that we show our presence in the area.

Perderson: Lasse? What’s going on?
Lasse: I want to go home. Since that morning with Anders …He wasn’t even supposed to be there. He took my spot. And he was blown to pieces. I can’t leave through these gates again. I’m not worth two shits.
Perderson: I can’t send you home. What I can do is give you assignments inside the camp for the next two weeks. That way you won’t have to leave these gates for a while. And you can calm down. If you still feel down after a couple of weeks, we’ll talk again.

Villager: There aren’t any Taliban here. They’re regular civilians. The Taliban comes sometimes. When we leave, they’ll be here right away.
Pederson: When were they here last?
Villager: As soon as you get here, they run away.
Pederson: If we help you with the well and the water, could you help us with the mines?

Pederson [after his sniper killed a Taliban soldier]: Marius, how will you explain to your son that you have shot a bad Guy?
Marius: I don’t know. B for Bang?
Soldier: D for Dead?

Interpreter: Although you patrol at day, the Taliban comes at night. He says that the Taliban know we helped his daughter. Now they want him to be a warrior for them, otherwise they’ll kill his family.
Perderson: Tell him that we’ll come tomorrow and force the Taliban away from the area.
Villager: I can’t go home. We have to stay here tonight.
Pederson: I’m sorry, but I have to …I’m sorry. You have to go home now. I myself have three children. I understand your situation. But in order for us to help you, you will have to go home.
Villager: Your children live in safety though.
Interpreter: He says that if they go back, they will be killed.
Villager: Take care of the children, and I’ll leave.
Interpreter: His children will be killed. We have to go to the village in the morning anyway…
Pederson: Stop that right now.
Villager: What should I do?
Perderson: We will be there tomorrow. We’ll secure the area, and force the Taliban out. We’ll protect you and your family. You have my word.[/b]

Next day…

[b]Soldier [on the radio]: We’re here. The family we helped, we located them. They’ve all been killed. The boy was shot in the head. The girl was shot two three times in the chest and neck. The mother was hit in the face.

Soldier: We’re not getting air support, unless we have PID.
Pederson: We need to get Lasse out of here!
Soldier: 7-5 wants to know who’s in there.
Pederson: I don’t give a shit who’s in there!
Soldier: I know, but it’s 7-5 asking!
Pederson: Then tell them, I know who’s in there! We have to get out of here!
Soldier: We have PID on Compound 6. Repeat: PID on Compound 6.

Pederson: What’s going on?
Soldier: The commander is in your office. Got two guys from the Judge Advocate Corps with him.
Pederson: What’s it about?
Soldier: I don’t know.

JAG officer: Can you confirm that you and your men were present in Adam Khan Kalay on September 21 at 9:30?
Pederson: I can confirm that.
JAG officer: We have been told that you gave orders to attack Compound 6. Is that correct?
Pederson: Yes. We were in close contact with the enemy.
JAG officer: And the enemy, that you refer to, was located in Compound 6?
Pederson: Yes. That’s why, we called for air support on it.
JAG officer: You are charged with bombing a civilian target and thus caused the deaths of 11 civilians.
Pederson: What does that mean?
JAG officer: It means you are going home, Claus.

Maria: Tell me why you’ve come home.

Maria: What is PID?
Pederson: It means I saw the enemy there.

Lawyer: You are accused of violating the Military Criminal Code, 36.2.
Pederson: And what does that mean exactly?
Lawyer: It means that you have been accused of killing civilians.
Maria: What is the penalty for that?
Lawyer: It probably won’t be a jury trial, in which the maximum penalty is four years.

Pederson: What do we do now?
Lawyer: The most important question is, if Compound 6 was a military or a civilian target. That’s the whole case. Did you have PID, Claus?
Pederson: I had a strong assumption that the Taliban were…
Lawyer: I’ll have to stop you right there. Did you have PID?
Pederson: I had a strong …
Lawyer: I gotta stop you again.

Maria: Does that matter? He says, his men are wounded and bleeding. It’s his duty to save them.
Lawyer: I understand that very well. But you have to understand, that to everyone else, Claus is a soldier who killed 11 civilians. Alright. Let me be completely honest with you. In this store I sell acquittals. Morality and ethics is not my department.[/b]

Or 15 if you count the family he sent home?

[b]Pederson: I can’t just lie. I didn’t know who was in that house, Maria. It was my responsibility, and I have to suffer the consequences.
Maria: You must suffer the consequences? What about the children? What about me? We need you at home…It’s not about what you were supposed to do then, but what you do right now. Would it help you to go to prison for four years? Would you get better? Would the children get better? We need you at home! The children need you!
Pederson: I dropped that bomb. It was my decision. I can’t just blame my men.
Maria: Alright, but then do what he says. Say you had the fucking PID. Say, you can’t remember who confirmed it. Maybe you did kill eight children, but you have three living ones at home!

JAG prosecutor: Alright. I would like to quote from exhibit 27a: "I don’t care who’s in there. We need to get Lasse out. " And shortly thereafter: “Tell them I know who’s in there. We have to get out of here.” This is contrary to what you said.
Pederson: No, it’s not.
JAG prosecutor: Would you elaborate on that?
Pederson: You need to understand something. When I get a report that they won’t grant air support, but it’s the only thing that can save me and my men, I see it as my duty to get it granted.
JAG prosecutor: Who told you, where the enemy was located?
Pederson: I don’t remember. Because we were under heavy fire!

Daughter: Daddy, is it true that you killed children?

JAG prosecutor: Did you consider, as next-in-command, that something went terriblywrong out there?
Najib: That is a difficult question because you can’t imagine what it means to be out there. Claus is the most capable soldier I know. And ultimately it is our responsibility to get our men back home in one piece. That is what we are there for. But he shouldn’t have been out there with them. He should have been in the camp overseeing the operation.

JAG prosecutor: Your company commander is in difficulties and has been indicted for half a year. The information you’re bringing forward now, would have been of significant importance to both the man and his case. Do you want me to believe, that at no point did it occur to you to share any of this information? It’s been six months.
Najib: Yes, it has. Sorry.[/b]

The proscecutor sums up the case:

JAG prosecutor: The law is clear: The prohibition against arbitrary attacks is of central importance in the protection of the civilian population. At no point has the defendant been able to justify why he decided to attack. He says someone in the unit identified Compound 6 as a hostile target, but he hasn’t indicated who or specified further circumstances. The court has heard me question every single soldier in the vicinity of the defendant, who would have been able to identify Compound 6. And one soldier, Kenneth ‘Butcher’ Jensen, waited until court to inform us that he observed the muzzle flashes and conveyed it to the defendant. I have no trust in the witness, because in the sound recording we can clearly hear the exchange of words between the defendant and Butcher up until the order: “I don’t give a shit who’s in there.” And when next-in-command in TOC insists on PID: “Tell them, I know who’s in there.” I see a man who disregards the need of a civilian population to save his own guy, Lasse. Is that understandable from a human perspective? Yes. We can probably all understand the difficult dilemma. But although we have sympathy for the defendant, who appears to be a competent soldier and leader and although we must provide Danish soldiers room for manoeuvreability in extreme circumstances, no one is above the law. Otherwise, a judicial system is rendered superfluous. If we in a case like this let such a serious violation of humanitarian rights slide, we will end somewhere, where we do not want to be. Claus Michael Pedersen must be sentenced because there is no doubt that he intentionally disregarded the elementary rules of engagement. Basically, the penalty in section 36.2 is prison for life. Now, however, this is not a jury trial, because the defendant did not have the intention to kill civilians. But their deaths are a direct consequence of his decision. The maximum penalty is four years. It is my contention, that we should be close to that maximum. With these remarks, I rest my case.

Yes, one more cinematic reflection on why music is more or less the center of the universe for any number of us. Me, for example.

The 1980s. The advent of New Wave. Of Hardcore. The two greatest music genres in the world.

My world, for instance. And still in fact. Though, admittedly, it was considerably more exhilarating back in the day when I was able to actually dive deep down into it. Now all that’s left is the music.

But: this is basically a film about how much more intense your love for music is always going to be when you are sharing it with someone that you are falling in love with. Especially for the first time. And it is all the more fulfilling when what you are sharing is not just music that you listen to but music that you are creating yourself.

Now, I’m not one who makes much of a distinction between “our music” and “their music”. Between “pop music” and “art”. They seem to be. Fine. Different folks, different strokes.

And then there’s the part that is bursting at the seams with…class. It can all be an entirely different experience on that side of the tracks. Lots of folks there more or less willing to shit on you. Also, in some respects, Conor’s sojourn in a Catholic High School takes the film back to the 1950s.

Finally [maybe] it’s a film about how far beauty will take you when that is really all you’ve got going for you.

The ending is straight out of la la land. But not entirely out of the question.

at wiki: en.wikipedia.org/wiki/Sing_Street
trailer: youtu.be/C_YqJ_aimkM

SING STREET [2016]
Written and directed by John Carney

Reporter [on television]: There are still no accurate figures for the number of young lrish people coming to London in search of work, the crude indications that do exist show an enormous increase. Many take the boat with barely enough money to survive a few days in London, but still they emigrate because they see hope across the sea, hope they cannot see in lreland.

This was back in the 1980s. So, sure, if you can make a living as a musician…

[b]Conor [son]: Who are the Christian Brothers?
Robert [father]: The Christian Brothers are an educational institution formed by…
Brendan [son]: The Christian Brothers, Conor, are an order of the Catholic Church self-appointed in their education formation and systematic beating of their young charges.
Robert: Oh, shut up, Brendan. Six years in the hands of the Jesuits, and look what they did for you.

Brother Baxter: We have a strict black-shoe policy here, Mr. Lawlor. Your parents should have read it in the introductory rule book, page 142.
Conor: I don’t have black shoes, sir.
Brother Baxter: Well, you’re just going to have to get a pair then, aren’t you?[/b]

The next day…

[b]Brother Baxter [looking down at his brown shoes]: Good morning, Mr. Lawlor.
Conor: Well, I brought it up with my mum, but she said we can’t afford another pair at the moment. I bought these before I knew about the shoe color policy here at Synge Street. But it’s not as if they’re runners or something. They’re… they’re brown. They’re-they’re quite sensible.
Brother Baxter: They’re not black.
Conor: I’m-I’m not sure what you want me to do.
Brother Baxter: Take them off. You can leave them at the door there. Seeing as you’re so fond of them, you can pick them up here at 4:00 every day until you comply with the rules of the school.

Conor: We need to form a band.
Darren: What?

Eamon: What are you into?
Conor: I’m a futurist.
Eamon: What does that mean?
Conor: Like, uh, no nostalgia. Not like your da’s band. Not looking backwards, just forwards.
Eamon: Oh, cool. Like Depeche Mode?
Conor: Okay.
Eamon: Or Joy Division?
Conor: Right
Eamon: Or Duran Duran. What do you think of them?
Conor [mimicing Brendan]: Jury’s still out on which way those guys will go. They’re a lot of fun and James Taylor is one of the most proficient bass players in the UK at the moment, giving them a funky edge.
Eamon: John Taylor.
Conor: Yeah, John! Of course!

Darren: There’s a black guy in 3B.
Conor: So?
Darren: Be cool if he was in the band.
Conor: Why?
Darren: He’s probably the one black guy in the whole school. Probably in Dublin. Having a golliwog in the band give us a real edge.
Conor: You can’t say “golliwog.”
Darren: Why not?
Conor: Trust me, you just can’t.

Conor: [about a name for the band]: What about “La Vie”?
Darren: What’s that mean?
Conor: It’s French for “The Life.”
Garry: What’s French for, uh, “That’s not gonna be the name of the band”?
Conor: “Ce n’est pas le nom du groupe.”
Garry: There you go.

Conor [after Brendan stomps on his demo cassette]: We’re just starting. We need to learn how to play.
Brendan: Did the Sex Pistols know how to play? You don’t need to know how to play. Who are you, Steely Dan? You need to learn how not to play, Conor. That’s the trick. That’s rock and roll. And that takes practice.

Conor [to Eamon]: When you don’t know someone, they’re more interesting. They can be anything you want them to be. But when you know them, that limits them.

Brendan: You’re good. Get better. How d’you know he’s her boyfriend anyway?
Conor: It seemed like it. Pulled off in his car, music blaring. He’s pretty cool.
Brendan: What was he listening to?
Conor: Genesis.
Brendan: No woman can truly love a man who listens to Phil Collins.

Brother Baxter: What’s going on?
Conor: With what?
Brother Baxter [gesturing towards his hair]: This.
Conor: Oh, well. I checked the rule book…the-the one you mentioned about brown shoes and I couldn’t find anything about makeup or altering hair color. Oh, and look. I painted these with paint from the art room.
Brother Baxter: Head down to the toilet and remove the makeup right now.
Conor: Why?
Brother Baxter: Because I told you to.
Conor: But I’m in a band. It’s a school band, and I think it’s important that we have a look.
Brother Baxter: You’re a man. Men don’t wear makeup.
Conor: But why not? Men in the 18th century wore makeup. That means people like Mozart wore makeup, and he was a man.
Brother Baxter: So you’re Mozart now, are you? That makes me Salieri, is it?
Conor: Who’s Salieri?

Raphina: Will you write me a happy song sometime? I need a laugh.
Conor: But what if I don’t feel happy?
Raphina: Your problem is that you’re not happy being sad. But that’s what love is, Cosmo. Happy sad.

Conor: What did she mean by that?
Brendan: Well, I think what she means is that you need to reach a place in your life where you’re okay with your sadness. It’s pretty high concept stuff. How old d’you say she was again?
Conor: Sixteen.
Brendan: It’s monastic. She’s like a monk.
Ann [sister]: She sounds really pretentious.
Brendan: Why, 'cause she wants to leave school and follow her vocation?
Ann: You call wanting to be a model a vocation?
Brendan: Anything can be a vocation, Ann. Being a taxi driver, being a bin man, being a poet, being a singer, being an artist.
Ann: Brendan, I never wanted to be an artist.
Brendan: We couldn’t get the brush out of your hand when you were a kid.
Ann: What is wrong with being an architect?
Brendan: It’s not a vocation.
Ann: I thought everything was a vocation.
Brendan: Don’t be playing word games with me, Ann. I don’t do “words,” all right?

Conor [to Brendan]: I think she’s an amazing human being, never seen anyone like her. The way she talks and looks. She wears this sunglasses, and when she takes’em off, her eyes… are like the clouds clearing to let pass the moon
[Brendan scoffs]
Conor: Sometimes I just wanna cry looking at her.

Darren: What does happy sad even mean? How can we be both things? It makes no sense.
Conor: It means that I’m stuck in this shithole full of morons and rapists and bullies, and I’m gonna deal with it, okay? It’s just how life is. I’m gonna try and accept this and get on with it, and make some art.
Eamon: So how does that affect our music?
Conor: Positively.

Conor [to Barry, the school bully]: Maybe you’re living in my world. I’m not living in yours. You’re just material for my songs.

Conor [to Barry]: You only have the power to stop things, but not to create.

Conor [to Raphina]: Look, there’s the ferry heading to England. Full of lrish people.

Conor: What’s wrong with you?
Brendan: I don’t know. I’m in withdrawal!
Conor: From what?
Brendan: I haven’t smoked hash in two days, Conor.
Conor: Why?
Brendan: So I can do somethingwith my life.
Conor: Like what?
Brendan: Do you see that guitar? I used to be able to play that guitar…well. I used to ride hot girls. I could run 200 meters faster than anybody in my school. You’re the youngest. You get to follow the path that I macheted through the jungle that is our mad family. I was alone with them for six years. You think they’re crazy now? Think about what they were like when they were in their late 20’s. Two Catholics in a rented flat with a screaming baby who just got married because they wanted to have sex. They didn’t even love each other. I was in the middle of that, alone! And then you came along, thank God! And you followed the path that I cut for us. Untouched. You just moved in my jet stream. And people laugh at me, Conor. The stoner, the college dropout. And they praise you, which is fine! But once, I was a fucking jet engine!!!

Conor: Hi. Is Raphina there?
Girl [at the door]: No. She doesn’t live here anymore.
Conor: Wh-Where is she?
Girl: I don’t know. Are you the bloke in the band?
Conor: Yeah.
Girl: I lost money on you.
Conor: What?
Girl: Yeah, we all had bets going. Thought you were gonna win. Look, she was always gonna do her own thing, wasn’t she? She’s mad like that, determined.

Conor: Raphina?
Raphina: No, sorry.
Conor: Hey, wait.
Raphina: What?
Conor: Raphina.
Raphina: Who?
Conor: Raphina.
Raphina: Oh, no, I’m Raphina’s younger sister. Sorry.
Conor: No, you’re not. What are you doing? I thought you were in London.

Conor: So what are you gonna do now?
Raphina: I don’t know. I was gonna print some CVs, but I haven’t really done anything, except your videos. McDonald’s have an ad in their window. Would you still fancy me if I did that? “D’you want chips with that?”
Conor: As long as you’re happy.
Raphina: So that’s my life now. Working at McDonald’s, hanging out with a 15-year-old schoolboy. I’m exactly like my ma. I’m mad.
Conor [finally realizing the score]: I have to go now. I have a gig to rehearse for.
Raphina: Oh, tell me about that.
Conor: No.

Connor: Will you help me write a song?
Eamon: Always.[/b]

Imagine what it must be like to be a young boy raised in a “traditional Bedouin community”. A community that is more or less completely isolated from the rest of the world. And then one day out of the blue the rest of the world finds you.

Sort of.

It is 1916. The world is at war. Into a Bedouin camp comes a British officer, part of “Middle Eastern theater” of this global conflict. He needs someone to guide him across the desert. A perilous trek. In part because the desert is said to be “riddled with mercenaries, revolutionaries and outcast raiders”.

To Theeb, he is like a creature from another planet. All those gadgets. And what is in that mysterious box? He simply cannot resist going long.

This is a film in which the extent that you are familiar with the historical context, it all becomes more or less perspicuous. The tale unfolds “in the wake of the Great Arab Revolt against the ruling Ottoman Empire”. You either grasp the significance of that here or you don’t.

In part this is also another exploration into the age old conundrum: the forest or the trees? One man is ever looking at the “big picture”. At the forest. From his perspective, what possible difference can the fate of one or two saplings make?

Still, the “big picture” here is actually far, far in the background. It never really makes an appearance. But the fate of the characters are still caught up in it.

And yet what can all of that possibly mean to a boy who was born and raised in this tiny self-contained community where everyone has his part to play from the cradle to the grave; and where “reality” is entirely scripted within the community itself.

Or perhaps the aim is suggest that such an isolation is increasingly less likely to be sustained in a world that is now well into “the modern industrial age”.

IMDb

[b]Jacer Eid (Theeb) and his brother in the film Hussein Salameh are not professional actors. They live in Al Shakriyeh village in Wadi Rum where the film (and The Martian) were shot. They were picked and trained by the director Naji Abu Nowar after spending months in the tribe.

“Theeb” which means “wolf” is a word which represents manhood in the bedouin culture.

Jordan’s first nominated film at the Academy Awards.

The original plan was to feature some female characters but no women among the Bedouin communities were prepared to appear in the film.

Filming was delayed as most of Jordan’s film-making units were involved in Kathryn Bigelow’s Zero Dark Thirty (2012) at the time. [/b]

at wiki: en.wikipedia.org/wiki/Theeb
Trailer: youtu.be/jif5Tk2-d1M

THEEB [2014]
Written in part and directed by Naji Abu Nowar

[b]Father: He who swims in the Red Sea cannot know its true deep, and not just any man, Theeb, can reach the seabed, my son. In questions of brotherhood, never refuse a guest. Be the right hand of the right when men make their stand. And if the wolves offer friendship, do not count on success; they will not stand beside you when you are facing death.

Theeb: Who’s the foreigner?
Hussein [older brother]: I don’t know.
Theeb: What’s he want?
Hussein: Quiet, child.

Theeb [holding up a mirror while Edward, the British officer shaves]: How many men have you killed?

Marji: The sharif said you could guide us to the Roman Well. On the Pilgrim’s Trail?
Tribal chief: That trail’s been abandoned since the railroad came.
Edward: I have people there.
Tribal chief: With all respect, there are more raiders than pilgrims on that trail.

Theeb: What do they want with the well?
Hussein: I don’t know. We take them and go home.
Theeb: What’s in the box?
Hussein: The box?
Theeb: He goes crazy if I touch it.

Edward: We can’t sacrifice the mission for two boys, I don’t care who their father is. Please tell me you understand.
Marji: I will not leave them.
Edward: Do you not understand how important it is…
Marji: We brought them here.
Edward: …that we get to that railway.
Marji: We cannot leave them.
Edward: If we do not get there they will massacre your brothers.
Marji: I’ll die before I abandon them!
Theeb: What are they fighting about?
Hussein: It’s none of our business.
Edward: Do you even know what a country is?
Marji: Brothers are more important than your railway.
Edward: Something to fight for! A boy and his brother…who cares?!!

Hussein: Let’s follow them.
Theeb: Why?
Hussein: You want them to die of thirst?

Hussein [to Theeb]: Remember our father. The strong eat the weak. We are stronger.

Hussein: Listen. If anything happens, climb up the mountain. When it’s safe, wait by the well. Someone will come. You hear? You hear?
Theeb: I hear.[/b]

Instead, he falls into the well.

[b]Hassan [watching Theeb with the wooden box]: That’s dangerous!..Don’t be scared. Don’t be scared Don’t be scared. Why were you with the Englishman?
Theeb: Shut up.
Hassan: Did I bring you here? Your people put you in this mess.
Theeb: You killed them.
Hassan: Didn’t I say, “Surrender and you’ll have peace”? And what did you do? You shot me!

Hassan: [to Theeb]: Come here. Take the dagger and dig the bullet out. Dig it out with the tip. Use the dagger’s tip.

Hassan: Is that your tribe’s mark on the box?
[Theeb nods his head]
Hassan: Who’s Sheikh Abu Hmoud to you?
Theeb: He’s my father.
Hassan: The Wolf begets a Wolf.

Theeb [looking down at the railroad track]: What’s that?
Hassa: The iron donkey. This is what destroyed us.
Theeb: What is it?
Hassan: The iron donkey trail.
Theeb: What’s it for?
Hassan: Pilgrims and Ottoman soldiers ride it. A month by camel now takes a week by train.

Hassan: I’ve traveled all over. I’ve seen Jerusalem and al-Sham. Everywhere from Baghdad to Al-Madinah al-Munawwarah.
Theeb: Why did you stop?
Hassan: They stopped me. The train came and ruined everything. All my forefathers were pilgrim guides. They left us in dark times, without means or opportunity. And so brother killed brother.
Theeb [after a long pause]: The strong eat the weak.

Hassan [as he and Theeb pass a field strewn with dead bodies]: Those are your Englishman’s friends.
Theeb: What happened?
Hassan: The train. Madmen. You can’t stop a spear with your hand.

British soldier [after Theeb shoots Hassan]: Drop the gun! Drop it, boy!
Theeb [to the British post commander]: He killed my brother.
Commander [after a pause]: Go home.[/b]

Being blind.

You either are or you are not. And you were either blind from birth or you lost your sight having once been able to see.

Every situation is going to be different. Every individual reaction will be different. There is not a “right” or a “wrong” way to be blind. And if you have never been blind what can you really know about it? Sure, you can put something over your eyes and go X number of days without sight. In order to try to imagine what it might be like to not see. But that’s hardly the same.

And then there is this:

Ingrid [voiceover]: They say that my ability to visualize will fade away. That the optic nerves wither without new impressions.

I hadn’t thought of that. Of course if you were born blind there has never been anything to visualize.

As for me, I always come back to this: to never have seen at all or to have once seen and then lost your vision. Which would be the more devastating?

And when you are involved with other people there is how you now think and feel about being blind when you are around them. But there is also the part “inside your head” that you may or may not be able to communicate to others. If you are even able to come to grips with it yourself. And always that gap between being dependent on others and being able to live your life as an independent human being. All that has to be reconfigured.

Or maybe being blind here is more a metaphor for what we either see or do not see in human relationships that have run amok in our sex-drenched postmodern world.

This film earned a 97% fresh rating at RT. On 34 reviews. It is described there as an “experimental film”. In other words, clearly not for everyone. One of those films in which if someone asks “what’s it about?”, you will get many very different answers. And at times you’re not sure if what you are watching is real or just something that is coming out of Ingrid’s head. Are Elin and Einar just figments of her imagination…characters in a story? And what is the point of their story as we struggle to come to grips with her own.

at wiki: en.wikipedia.org/wiki/Blind_(2014_film
trailer: youtu.be/26D4LYQOAhk

BLIND [2014]
Written and directed by Eskil Vogt

[b]Ingrid [voiceover]: I start with something fairly simple, something you’ve seen countless times. A tree, for instance. An oak. The bark. The cracks in the bark, the knots or whatever you call them. Smaller things are easier to visualize. A dog, a German Sherpard. Places are harder. It helps if I knew them well before it happened. The apartment we used to live in, our favorite restaurant, my husband’s office or the shopping center downtown. You have to use your memories. Take care not to be derailed. And start to associate. There not really memories. Nobody can remember a whole building. Not every single detail.

Ingrid [voiceover]: They say that my ability to visualize will fade away. That the optic nerves wither without new impressions. But I can slow it down, If I work on it every day. I can maintain it.

Ingrid [voiceover]: It came and went. He streamed and downloaded vast amounts. Watched it, masturbated, saw more, did it again. Maybe as often as four or five times a day. Then, loathing himself, he erased it all. Only to start downloading again, masturbating, deleting everything etc…The artificial dialogue bothered him. The awkward attempts at being sexy. But the sex was real enough…

Ingrid [voiceover]: Einar didn’t know why, but he got kicks from specific things. He had actual fetishes. He found uncharted waters within himself. Weird perversions he thought were unique. But even they had been categorized long ago – made searchable by anyone.

Ingrid [voiceover]: He envied girls. No matter how they looked, what they lacked in terms of the ideal, there were men who wanted them, who celebrated them on websites and file sharing networks. Not everything appealed that much to him. But who was he to judge? Some things he never grew tired of. High heels. The urge to watch naked men surrounded by clothed women. And long hair in every variety. But eventually the most hard-core porn lost its attraction. He needed something mundane in the girls he masturbated to. [/b]

This is all interspersed with clips of hardcore pornography. You begin to wonder: what does all of this have to do with being blind?

[b]Man on television: Let’s discuss the eternal question: What’s worse, being blind or deaf?
Man: As a musician of sorts, I’d really hate being deaf. But at the same time I love porn, so…
[the television audience laughs]

Ingrid [voiceover]: I can still see in my dreams. I wake up. After a few seconds I remember I can’t see…[/b]

Then she relates the experience she had of going blind.

[b]Morten [describing a building he has designed through a model]: We wanted to minimize the area occupied by the building.
[her fingers leave the building]
Morten: No, that’s just trees.
Ingrid: I can’t visualise it. Sorry. I’m useless.
Morten: No, I should explain it better.
Ingrid: No, that’s not it.

Ingrid [voiceover]: No, he’d never dare…

Ingrid [voiceover]: I no longer know how I look. I have a memory of it. It must be weird to get a blow job from a blind woman, even your wife. It probably makes him feel guilty, as if he’s exploiting me or something. The poor guy probably feels obliged to give the handicapped woman a sex life.[/b]

And that appears to be entirely true. If there is any truth to it at all.

[b]Ingrid [voiceover]: There was increasing distrust of loners in Norway, especially men. Einar could tell. He still thought about the quote: “How one man’s hate could unite us in love.”

Ingrid [voiceover]: Watching TV is much like before. It’s easy to imagine what’s happening. How unnecessary the pictures are.

Ingrid [voiceover]: He’ll probably try again. Slip inside. Sit down and watch. Especially now that we are expecting a child. I’ll just have to sit still. Wait until he feels safe. Then I’ll get up and walk, not straight toward him, but toward his part of the room.
[she goes to the floor]
Ingrid: As soon as I feel the carpet beneath my feet, I’ll just lie down. Right in front of him.
[she rolls onto her stomach and slides down her jeans and panties…she turns onto her back and starts to masturbate]
Ingrid: We’ll make it work. He just has to stop being so damn boring.[/b]

Another dope fiend in rehab. He is given a day’s leave to be interviewed for a job in Oslo. So, will he go? Or, instead, will he go thundering through the day and well into the night, careening from one to another problematic encounter.

Thus: 24 hours to find a better, more constructive path. Or to fuck it all up again and change nothing at all.

So, why do people become dope fiends? I suspect that Renton summed it up best in Trainspotting:

Take the best orgasm you’ve ever had…multiply it by a thousand, and you’re still nowhere near it.

And then that’s juxtaposed to this:

Choose Life. Choose a job. Choose a career. Choose a family. Choose a fucking big television, choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol, and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suit on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on Sunday morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pissing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace yourselves. Choose your future. Choose life… But why would I want to do a thing like that? I chose not to choose life. I chose somethin’ else. And the reasons? There are no reasons. Who needs reasons when you’ve got heroin?

There are just so many godawful potholes in the “modern world” that have to be filled with something. Why not with intense pleasure? As one reviewer noted, “Anders discovers that the world outside is frosty, ambivalent towards him, and most of all banal and meaningless.”

And increasingly it is not just “alienated youth” that have come to this conclusion. It’s not called “a drug abuse epidemic” for nothing. And not just here in America.

Also, the film explores the transition between “dropping out of society” and the attempt to come back into it again. Especially when so many of the things that made you opt for leaving it are still there. In particular when you are not in the possession of, among other things, any “marketable skills”. And even if you do opt for going back there’s no guarantee that anyone will want you back.

More then anything the film succeeds in conveying this sense of being tugged in conflicted directions: the straight and narrow…or not?

As for the ending, your reaction is always going to be the same in films like this: given what we’ve seen so far, does it make any sense? Is it the ending that you’d expect or does it seem to be, among other things, contrived?

Some will be hoping for a “happy ending” here. But, for others, that will only piss them off.

Me, I liked it. Everyone should have this option.

at wiki: en.wikipedia.org/wiki/Oslo,_August_31st
trailer: youtu.be/YH4TwlZFyNc

OSLO, AUGUST 31ST [2011]
Written in part and directed by Joachim Trier

At a drug rehab session, addicts recall when they were not hooked on dope…

[b]I remember taking the first dip in the Oslo fjord on the first of May…I remember driving into Oslo on Sunday at sunset. The city was completely empty…I remember how tall the trees seemed compared to those in Northern Norway…I remember thinking, “I’ll remember this.”…I remember dad sitting in the kitchen, smoking. Drinking coffee, listening to the radio…I don’t remember Oslo as such, it’s people I remember. We moved to the city. We felt extremely mature…I remember hours on trams, busses, the metro – walking along endless roads to some mythical party where you never knew whether you were invited or not…I remember how free I felt the first time I came to Oslo. Then I realized how small Oslo is…I remember mom showing me where she once rented a room. There’s only offices there now. Every football match I’ve played was with friends I still have. And that’s because I’m from Oslo…I remember his laughter. The scent of salt on her skin. Everyone was sure we’d win…I remember the disappointment…I remember the first snow. Everyone smoked back then. How he insisted “melancholy” was cooler than “nostalgic”. We had so much time on our hands. How my bed didn’t fit into the flat…I remember walking past his flat…I remember having a best friend. I never saw him again…I remember when they tore down the Philips building. It’s a parking lot now…

Addict: Well, I’m scared shitless.
Counselor: Scared of the future?
Addict: It’s like I’m right back to when I started doing drugs. As if I’m back in primary school emotionally. That black…Void, or… It’s like it’s back. And the relief from shooting up is gone. So I have serious doubts about how I’m going to live now.

Anders: The past days I haven’t had any… I haven’t had strong feelings in any direction. I feel tired, but that’s because I haven’t slept well.
Counselor: You’ve got a big job interview today. Would you like to talk about it?
Anders: Well, there’s not much to talk about.

Anders: We do role playing, psychodrama. It’s part of the treatment. The other residents play people in my life, like my sister or you.
Thomas: So a dope head plays me? So how’s it done?
Anders: Well, you have to improvise. They stand in a circle, try to tempt me with stuff. “Anders, remember how the dope makes you feel warm inside. You can just smoke it, no need to shoot up.” Well, stuff like that, you know. Or they were suppose to tempt me with academic stuff. But they had no idea. “I’ve got a really awesome book here, a really cool book. Adorno…”

Thomas: Proust said, “Trying to understand desire by watching a nude woman is like a child taking apart a clock to understand time.”
Rebecca: Jeez. He’s trying to be personal, and you hit him with a quote!
Thomas: So if he’s personal, I have to be personal too? But it’s been ages since I slept with a Swedish girl.
Rebecca: But his point was the opposite of your Proust quote. He said he didn’t feel any desire.[/b]

The crux of it [perhaps]:

[b]Anders: But it’s not about heroin, not really. Look at me. I’m 34 years old. I have nothing. I can’t start from scratch. Don’t you understand?
Thomas: I know it’s not easy…
Anders: I don’t want pity.
Thomas: I know that. I’m just saying you can still make it.
Anders: Make what?
Thomas: Lots of stuff. You’ve got a family to back you up, friends, brains. Like, come on! Look at the others at rehab. They don’t have those opportunities.
Anders: Sure, but they’re happy to work in a warehouse and have kids with some ex-raver.
Thomas: Be a loser, if that’s what you want.
Anders: No it’s not what I want. Fuck, I didn’t come here to…I don’t need you to tell me to get my act together.

Anders: Remember what you once said? “If someone wants to destroy himself, society should allow him to do so.”
Thomas: Sounds like something I’d say. I was probably thinking about promoting junk food, or decriminalizing prostitution. I don’t know. But you’re not…
Anders: I’m a spoilt brat who fucked up. If you’re unsentimental about it, nobody needs me. Not really.
Thomas: You expect me to be unsentimental about this?
Anders: No. I’m just trying to…I just want you to understand. If that’s how it ends, it’s a choice I’ve made.
Thomas: But you can’t go telling me that. That’s horrible, Anders. I mean, you mustn’t do it, no matter what happens. I can’t relate to you telling me you’re planning to commit suicide. Is that what you’re saying?
[the look on Anders’s face: yes]

Thomas: You’ve had these thoughts before. They’ve always passed. It’s hell while it lasts, but…
Anders: It’ll get better. It’ll all work out. Except it won’t.
Thomas: Oh, come on.
Anders: Come on what?

Thomas: You got through it before. I mean, if you have to look at your life from the outside…If you have the time, like you had. I think anyone would get depressed.
Anders: Well, maybe. But it’s pretty fucked up. I see happy people. I’ve always thought happy people must be morons.
Thomas: They are morons. Obviously.
Anders: Yeah. But you two are happy. And you’re not morons, are you?
Thomas: Sometimes I wonder.

Anders: And research is your thing. I never thought it was that thrilling to scrutinize Rilke, dissect sentences, write articles nobody reads. It seems meaningless to me.
Thomas: Well, there goes my existence. Is that how you see my life?
Anders: Sorry. I just… I only meant to say…You’re good at all that. [/b]

And then it turns out that Thomas is stuck in his own potholes:

[b]Thomas [to Anders]: Rebecca and I hardly have sex anymore. Not at all, really. So there we sit, pretending to have fun. Two glasses of wine. That’s as good as it gets. Frigging pathetic. After Albert came, I hoped to start writing. But I haven’t done shit. Rebecca and I hardly talk anymore. I got a Playstation. We sit and play Battlefield. Drink beer. We accept some invitations, then decide we’d rather stay at home. We tell the babysitter something’s come up. We sit there, playing Battlefield. And Rebecca is really brutal. Takes dog tags from other players, then executes them to humiliate them properly.

Anders [at job interview]: Well, you resemble the The Window, which makes it hard to set you apart. Specially when they’re better in some areas.
David: Really? Like what?
Anders: You do many things well. But take the article on “Mad Men” and “The Man Without Qualities”. It’s not a bad idea as such. But there are many of these intellectual articles on HBO TV series and video games. It feels a bit like a media studies paper. You know what I mean? Samantha in Sex in the City seen through Schopenhauer.

David: When I look at your CV, there’s almost nothing after 2005.
Anders: Well, there wasn’t anything I thought would be relevant.
David: Everything’s relevant to us. So what were you doing?
Anders: Did some odd jobs from time to time.
David: Okay. Like what?
Anders: You really want to know?
David: Of course.
Anders: I was a drug addict.

Woman in restaurant [that Anders overhears]: I want to marry, have kids. Travel the world. Buy a house. Have romantic holidays. Eat only ice cream for a day. Live abroad. Reach and maintain my ideal weight. Write a great novel. Stay in touch with old friends. I want to plant a tree. Make a delicious dinner from scratch. Feel completely successful. Go ice bathing, swim with dolphins. Have a birthday party, a proper one. Live to be a hundred. Stay married until I die. Send an exciting message in a bottle and get an equally interesting reply. Overcome all my fears and phobias. Lie watching the clouds all day. Have an old house full of knickknacks. Run a full marathon. Read a book that’s so great I’ll remember quotes from it all my life. Paint stunning pictures that show how I really feel. Cover a wall with paintings and words close to my heart. Own all the seasons of my favourite shows. Attract attention to an important issue, make people listen to me. Go skydiving, skinny-dipping, fly a helicopter. Have a good job I look forward to every day. I want a romantic, unique proposal. Sleep beneath open skies. Hike on Besseggen, act in a film or play at the National Theatre. Win a fortune in the lottery. Make useful everyday items. And be loved.

Anders [of his parents in voiceover]: He taught me to bike, row, how you can exceed the speed limit by 20% without getting busted. She spoke of adult matters in English She taught me to always floss. To put things back where they belong. They ware both from Oslo. Remembered places we passed. Slightly deaf, he insisted on hearing the absurd: “What do you think is best?” “Got waffles on your chest?” They thought intellecual achievement was superior to sports success. They were sympathetic to celebrities who protected their privacy. They made me a critical reader, contemptuous of the less eloquent. But anyone I brought home got a warm welcome. They never missed the evening news. He took a test, then proudly told us he had an artistic personality. He said people who valued military experience were dull. She held a tolerant view on drugs. He wanted to ban barbecuing in parks. Democracy was just the best alternative. She thought Bardot should help people, not animals. They respected my privacy. Maybe too much. They taught me religion is a weakness. I don’t know if I agree. They never taught me to cook or build a relationship, but they seemed happy. They never told me how friendship dissolves Until you’re strangers, friends in name only. They let me be picky about food. She said I could do as I wished. Decide what to be, who to love, where to live. They would always help me. They were stricter with my sister than with me.[/b]

So, what does that explain?

[b]Girl [in bar]: What do you do?
Anders: What I do? You think that’s interesting?
Girl: Of course.
Anders: Well, I don’t think it matters much.
Girl: But what do you do? You have to tell me.
Anders: Why? I don’t do anything. I’m…I’m just a loser. Drinking to ease the pain.
Girl: You mean like every day?

Anders [on phone]: Hi Iselin. It’s me again. It’s late where you are. I thought you might be out or something. It’s nothing really, I just wanted to…I didn’t mean all the things I said earlier. But by now you probably knew. I just wanted to talk to you one last time, but… Well…I hope you’re okay. I’m sorry.[/b]

We know what’s coming.

Modern love.

Or, rather, post-modern love.

You meet someone, get married and plan to live happily ever after. And yet in the back of your mind you know that, increasingly, this is less and less likely to actually happen. And it’s not all that uncommon these days to wreck the relationships – the lives – of those you now swear “to have and to hold from this day forward, for better, for worse, for richer, for poorer, in sickness and in health, to love and to cherish, until we are parted by death.”

Stranger still, how often do you come to realize that the love you had for spouse #1 was actually more genuine and worth sustaining?

I mean, has that ever happened to you?

It’s always basically the same thing: What you profess to feel now for this new person is what you once professed to feel for the one you want to be rid of.

Only this is sort of the exception to the rule.

In any event, modern love does not take kindly to plans. The law of unintended consequences and all that. Maggie’s plan? To come up with a baby, raise it as a single parent and live happily ever after. Then she bumps into John.

The folks here are straight out of Woody Allen. Liberal and liberated, they are comfortably off and know their away around all things intellectual and artistic. The rest of the world is just sort of “out there” somewhere as they go about the business of being the center of the universe. And, for the kids, this can become really fucked up. In other words, who has time for them?

Also, this is about folks [academics in particular] who get so caught up in their “work”, it soon takes precedence over everything else. And over everyone else. So a “happy ending” here is when they figure that out.

at wiki: en.wikipedia.org/wiki/Maggie%27s_Plan
trailer: youtu.be/9al2JBycNHA

MAGGIE’S PLAN [2015]
Written in part and directed by Rebecca Miller

[b]Tony: Hi, how are you?
Maggie: I need a baby!

Tony [to Maggie]: Well, just so you know, I have some sperm in a facility uptown, if you’re in a pinch.

Tony: Guy Childers from college? Wait, wasn’t he the guy, he now…what, he’s a pickle salesman, right?
Maggie: No, he’s a pickle entrepreneur. And he agreed to make a donation, so that I could inseminate myself.
Tony: But he has no sense of personal space.
Maggie: So what? He was a math major. And I’m not gonna marry him. I’m just borrowing his genes.
Tony: But not his personality, I hope.

Maggie [to Guy]: I already have health insurance and everything. So I guess the question is, um, how much involvement do you want to have? I was going to suggest none, but, um, I’m open to negotiation.

Maggie: So, what do you teach?
John: Uh, Ficto-Critical Perspectives in Family Dynamics. Yeah, and Masks in the Modern Family, Victorian Times to the Present Day.
Maggie: Psychology department?
John: Anthropology. What about you?
Maggie: I’m the Director of Business Development and Outreach for the art and design students. Oh. Uh, what is that? I help graduate students strategize for success in the art and design world. I’m sort of a bridge between art and commerce.
John: You seem a little young for that, no?
Maggie: I have an MBA and a master’s in arts management.[/b]

See, straight out of Woody Allen.

[b]Printed on Felicia’s t-shirt: WHAT WOULD JESUS BUY?

John [to Maggie]: I knew this Maasai from Tanzania. He was here to run in a marathon. He took everything about New York City in complete stride. Nothing fazed him until he saw a grown man following his dog and picking up his shit. He started laughing so hard, he wept.

Maggie: What is ficto-critical anthropology, anyway?
John: Well, it is a way of writing about anthropology that blends ethnographic observation, storytelling, and, like, theory.

Georgette: So, John, of course, we’ve been discussing the Occupy Wall Street movement…I can’t help mentioning the irony that Warner Bros. owns the copyright on the V for Vendetta mask that became the face of the Occupy movement…
John: Whether we like it or not, in this country, the most potent, totemic symbols that we have are cinematic and television-based. So it only makes sense that a radical popular movement would try to subvert them…
Georgette: Nevertheless, the reality of Occupy occurs within the capitalist narrative as a kind of subplot…
Kliegler: This sweeping cynicism of yours…
Georgette: If by “sweeping cynicism,” you mean not living in a dream, then shoot me now.
[audience laughs]
John: Nobody ever thinks a revolution is going to happen until three days after it’s happened. This is a leaderless movement. It wasn’t gonna operate on a schedule. This was a genuine populist uprising.
Georgette: Absolutely. But to return to the use of masks in politics. I am more interested in the possibility of anonymity and group affiliation. The “I am Spartacus” maneuver, which has been the primary tactical explanation for the use of masks among various 20th and 21 st century protest movements. Including the Zapatistas, the black blocs of the anti-globalization movement, and, of course, Pussy Riot.

Maggie: I like everything I’ve read. He’s asking me for suggestions.
Tony: What does his wife think about that?
Maggie: She doesn’t know about it. To be honest, I don’t think she really pays attention to what he does. She’s very self-absorbed. She might even be a narcissist…He’s basically a psychiatric nurse. He can’t write his novel under those conditions. I think their marriage, like, fell apart after the second child. And now he’s trapped in it.
Tony: Oh, that’s what he’s telling you.
Maggie: Why would he lie?
Tony: To get into your pants!

Guy [to Maggie]: I’ll be back in a jiff with that jizz.

Maggie: Why didn’t you become a mathematician?
Guy: I liked math because it was beautiful, that’s all. I never wanted to be a mathematician.
Maggie: Really? You think math is beautiful?
Guy: Anyone who’s touched even a hem of that garment knows it’s beautiful. For me, the hem was enough. Couldn’t have taken the frustration.
Maggie: What do you mean?
Guy: Never seeing the whole thing. You’re always just getting these little glimpses of the whole picture. Spending my whole life hunting for scraps of truth.

Electronic voice: “You have a 71% chance of being fertile”.

John: I’m in love with you. I mean, I’m genuinely locked out of my apartment. I am. But I’m also in love with you. And I don’t want to be married to Georgette anymore. And please…please can I…can I sleep in your bed? I don’t want you to have a baby with the pickle man. I want you to have a baby with me.

Maggie [of a character in John’s novel]: I’m Mrs. Jeffries, aren’t I? I’m the colorless, efficient postal worker that you fall in love with because she makes your life so much easier.
John: I came up with Mrs. Jeffries before we even met.
Maggie: Yeah, well, you’ve turned me into her, then. At least I don’t have a mustache. Yet.

Maggie [of John]: I’m terrified that I’m falling out of love with him. Like, really out of love.
Tony: Felicia and I fall in and out of love pretty much every week. You can’t be so idealistic

Georgette [at a book reading]: This book was born from pain. My husband, whom I am not ashamed to say I loved with all my heart, though we had a difficult relationship, had an affair with a younger woman, left me and started a new family. And what I gleaned from this exquisite torture are the thoughts which this act of betrayal to me as a woman provoked in me as an anthropologist. I must ask myself, is the contemporary obsession with exclusive possession ruining our chances of marital happiness?

Maggie: Georgette is fascinating.
Felicia: Really?
Maggie: Yes. She’s warm and powerful and charming all at once and I can see why he was so obsessed with her.
Felicia: I don’t think “easy to live with” was on that list, though, you know.
Maggie: I like her. I actually like her! I’m such a blockhead. I thought I was rescuing John from this monstrous egomaniac, so he could finally finish his book. I thought I knew better how to run his life, that I was gonna fix everything. And he’s totally self-absorbed,
while I do every single practical thing and make the money, and on top of that…If it weren’t for Lily, I would say I made a terrible mistake.
Felicia: It’s too bad you can’t give him back to his ex-wife. Right? [/b]

In other words, Maggie now has a new plan.

[b]Maggie: John and I are in trouble. And I don’t think he realizes how much trouble we’re in, or he doesn’t want to know. And then, when I saw you at the reading, I realized that there might be an opportunity, an opening to somehow get the two of you back together.
Georgette: Oh, I see. I see. So you are tired of your little affair? You’re all done with it. Now you want to make sure you don’t feel guilty so you’re going to manipulate us all into some absurd happy ending. I have met a lot of control freaks in my life, in fact, I thought I was one, but you, you make me look like an amateur.
Maggie: I didn’t mean to insult you.
Georgette: Have the decency to leave him and face the fact that you poisoned my life and my children’s life, and probably John’s life with your own selfishness. That’s your burden. You earned it.
Maggie: Uh, wait a minute. If you had such a perfect marriage, why was John miserable? You neglected him and you used him and you didn’t believe in his talent.
Georgette: If I am so awful, why are you trying to get me back together with him?
Maggie: Because I think that, actually, even though I do think you are pretty self-absorbed and extremely needy, that he needs it. It keeps him in balance. It’s thinking about you that stops him from only thinking about himself.
Georgette: Leave. Leave. Leave. Leave my house, leave.

Tony: Love is messy. It’s illogical, it’s wasteful and it’s messy. And it leaves these loose threads that go out all over the place. But you, you like things nice and neat and tidy and ethical. But you screwed that up the minute you got with a married man.
Maggie: You’re not being my friend right now.
Tony: Oh, yes, I am. I am being your friend. This is being your friend. I’m being honest with you. Good intentions. You’re all about good intentions. Little Miss Quaker Two Shoes is gonna do the right thing. But you always somehow screw it up.
Maggie: Screw you.
Tony: Yeah, screw me. Fine. Just being honest. Trying to be a friend.

Tony: I mean, what about Lily, huh? Fathers are a good thing, too.
Maggie: I know that. I know that, but I’m just as afraid of her growing up inside of a dead marriage as her growing up in a house without her dad. Kids can tell when people are pretending.

Maggie: Do you even like me anymore?
John [snorting]: What are you trying to get me to say, huh? It sounds like I should be asking you that question.

Georgette: I am attending a conference in Canada on ficto-critical anthropology. Ficto-critical anthropology is John’s field.
Maggie: I know.
Georgette: I’m in.
Maggie: Really?
Georgette: I have no reason to trust you. On the other hand, I have absolutely nothing to lose. I could easily arrange to have John give a paper at the conference.
Maggie: Do you think he would accept?
Georgette: Slavoj Žižek is speaking. He loves Žižek.

Georgette: I’m sorry.
John: For what?
Georgette: For being so self-centered. For not listening to you, to what you needed, for not investing in your work.
John: You don’t have to say that.
Georgette: I think I became so caught up in succeeding, in making a name for myself. I stopped paying attention to you, to us, to our marriage. And now I have success, it’s as if I’ve emerged from a tunnel. And I hope in the future, to be less self-absorbed. If I ever get another chance at love.
John: What are you saying? Of course you’ll get another chance.
Georgette: You think so?
John: Yeah. Come on! I’m sure they’re lining up.

Felicia: Well… John and Maggie…He and Georgette…
Tony: What? Like, it worked?
Joihn: What worked?[/b]

Uh, oh…

[b]John: Was it a test, huh? Is that it? To see if I was still in love with Georgette as you secretly suspected? You must be very happy now.
Maggie: I felt we were going to break up. And I had a feeling that you were still in love with Georgette. And it turns out you were.

Justine [daughter]: Can you please just tell me what’s going on?
Maggie: Your dad and I got into a big fight and he’s taking some time.
Justine [to Georgette]: Are you and him getting back together?
Georgette: It’s a complex situation. Are you sad?
Justine: No.
Georgette: Angry?
Justine: You guys have no idea what you’re doing, do you? I mean, there’s no plan. Is there?[/b]

On the contrary, plans are all there are.

[b]Maggie: Is something burning?

Maggie: I just think if you guys saw each other again…
Georgette: No, no. No more matchmaking ideas. No more ideas, period. You’ve had your thinking license revoked.

John: You wanted to see me?
Georgette: [handing him a bag of ashes]: Yes. I wanted to return your book.

Georgette: The reason your book doesn’t work is you put too much weight in the allegory. You’re trying to use fiction to prove a thesis. The text is crying out for pure passages of economic theory. Narrative blended with theory is your specialty. Make it a John Harding book. It could be a phenomenon.
John: You really think so?
George: I know it, John. You just have to accept it’ll be published by Yale University Press, and not Scribner’s. Probably be shortlisted for a Bateson Prize. You might even win one.
John: Oh, fuck.

Maggie: I’ve decided to embrace the mystery of the universe and stop bossing everybody around so much.
Max [Tony’s son]: Good luck with that, bossy pants.
Tony: He’s gonna write a book about us one day and we are not gonna look good.

Lily: 3,000, 100, 15,000.
Maggie: What kind of 3-year-old loves numbers that much?
Tony: Was John into math? I know you weren’t.[/b]

Cue Guy.

The tortured artist. Or the dope fiend. From there the sky is the limit. There’s no telling how high he’s been, how low he’s been, and how many folks he ends up taking with him.

To both places.

Especially when what he once was is now gone and he’s poised for a comeback. That’s the part where the past intertwines with the present and you can never really be certain what that means for the future.

And always the same assumptions [from some]: that however much he twisted his life up into impenetrable knots, all that turbulence was necessary in order that it could be parlayed into great music. It’s only a question then of how far you go before it all just becomes pathetic.

The very first scene is riveting: Chet dope sick in an Italian jail reaching for a tarantula crawling creepily out of a trumpet lying a million miles away on a fetid cell room floor.

“He loved his horn, he loved his heroin”. And there is never going to be a “right balance” to strike here. You’ll just take out of it what you put into it: yourself.

And then there’s the part about jazz. A genre [I still] know very little about. But if you are a part of it you are always going to be judged by others as either more or less authentic. Players are always comparing themselves to others. Who is the coolest cat? Who plays the best?

And then the part about race.

Many however will react to it more like this:

I’ve got no kick against modern jazz
Unless they try to play it too darn fast
And lose the beauty of the melody
Until they sound just like a symphony

In the world of music, there’s just no getting around this particular chasm.

That grain of salt though: The film is said to be “semi-factual, semi-fictional”.

IMDb

[b]Stephen McHattie, who starred as the father of Chet Baker in this movie, also starred in Robert Budreau’s short film ‘The Deaths of Chet Baker’ in 2009 as Chet Baker.

According to Ethan Hawke on the ‘WTF Podcast’, he wanted to play ‘Chet Baker’ going back 15 to 20 years before. Richard Linklater, when approached with Hawke by the idea of a biopic, had his own idea of making a Baker film about a day-in-the-life story about the day before Baker tried heroin for the first time. But because the project couldn’t gain traction, and Hawke’s age not matching up after years of effort of finding a distributor, the idea was dropped. [/b]

at wiki: en.wikipedia.org/wiki/Born_to_Be_Blue_(film
trailer: youtu.be/lC1DQ9qIECo

BORN TO BE BLUE [2015]
Written and directed by Robert Budreau

[b]Club announcer: We’re proud to present the man who’s been voted number one in the nation for both trumpet and vocals. All the way from the sunny shores of California, the James Dean of jazz, the Prince of Cool, the man “Time” magazine credits with inventing West Coast Swing.
[cheers and applause]
Club announcer: That’s right, folks. And he’s here playing a double bill with our very own Miles Davis and Dizzy Gillespie. Making his Birdland debut, Chet Baker and his quartet!

Woman [with a syringe of heroin]: I can’t believe you never tried before. You’re so square.
Chet: I hate needles. Will you do it for me?
Woman: Yeah.
[she pats his arm]
Woman: Hello, fear.
Chet: Hello fear.
Woman: Hello, death.
Chet: Hello, death.
Woman: Fuck you.
Chet: Fuck you.

Woman [playing Elaine, looking down at the dope]: What is this shit? What is this shit?..You did this because of Miles? Chet, say something![/b]

Only it’s all an act.
Only it’s not.

[b]Dick: A lot, uh, a lot’s changed since you left.
Chet: Yeah, I see.
Dick: Jazz is dying. Dylan went electric.
Chet: You sold Pacific, Dick.
Dick: No, I built it up. You tore it down.
Chet: We built it up…
Dick: I built it up.
Chet: We built it up. You tore it down. And…and you sold it out.
Dick: I sold…yeah, at least I didn’t abandon my wife and kid and become the world’s biggest junkie.
Chet [after a pause]: I did fuck everything up, didn’t I?

Jane: So what did Elaine like to do?
Chet: Elaine? Mostly, she liked to fuck. Yeah. She liked to fuck, and I liked fuckin’ her.
Jane: What? I don’t know. Your songs are so romantic. But I guess you never wrote them, right?
Chet: One time, we did it seven times in two hours. What do you think about that?
Jane: Sounds like you fuck too fast.
Chet: Uh, I do better when I’m high.
Jane: So you’re really a junkie?
Chet: Huh? I got some habits.
Jane: So what, your parents didn’t love you enough or something?
Chet: No, it’s nobody’s fault.
Jane: So why are you such a fuck-up, then?
Chet: Huh? You want to know? You want to know the truth?
Jane: Yeah, I want to know the truth.
Chet: It makes me happy. I love to get high.

Chet: Why don’t you come back with me to my place and we can sing?
Jane: That’s not a good idea. Listen, I know all about you.
Chet: What do you know?
Jane: I know you’re trouble.
Chet: Trouble’s good for you.

Jane: That’s why your playing touches people.
Chet: Mm-hmm.
Jane: It’s like what Chekhov said when his patients were fevering on what kind of food they liked to eat: “Something sour.” And my dad read me all the philosophers before I was a teenager, but Chekhov? He thought that the feelings that we experience when we’re in love are our normal state, that being in love shows a person who he should really be.

Doctor [voiceover]: He’s got severe trauma to the neck… possible fracture of the cheek. He’s lost all his front teeth…
Dick [voiceover]: You know what an embouchure is? Like a piano player not having any hands. 28 eight years of practice, gone. He’ll never play again.

Newscaster [on TV]: And from the Hollywood, a dramatic U-turn. The studio is now shelving the Chet Baker movie, which was meant to launch the recently paroled jazz legends comeback.
Jane: They haven’t called me. They can’t shelve the movie that quickly.
Dick: That was no stranger that did this. That was Chet’s dealer.

Dick: Do you think the studio’s gonna have anything to do with this? Just wake up.
Jane: Okay, wait, somebody must be able to help. I mean, somehow…
Dick: How many people have called? How many people have come to visit? We’re all here. This is everybody. And I’m leaving.
[he looks down at Chet in the hospital bed]
Dick: I’ve looked after you for 13 years, Chet. But I’m…I’m done.

Miles: Must be real hard posing for all these pretty pictures.
Chet: I’m just trying to sell records, right’?
Miles: Right. Let me tell you something. I never trust a cat… let loot or love effect his art. You think them silly white girls out there understand a lick about jazz’?..You want some advice, Baker? Go back home to the beach, man. This ain’t the place for you. Come back when you’ve lived a little.

Jane: So you’re gonna kill yourself because you can’t play trumpet anymore?
Chet: Yes.
Jane: Am I supposed to feel sorry for you? Play something else. Sing.
Chet: Maybe we haven’t been introduced. My name is Chet Baker. I’m one of the greatest trumpet players of my generation. One of the best jazz improvisationalists.
Jane: So it’s trumpet or nothing?
Chet: Yes.

Chet: When I was released from the army, a little while later I came home one day…and there was a note on my door. It said, “Auditions with Charlie Parker at the Tiffany Club, 3:00 p.m.” I saw it. I grabbed my horn, and I went over there. I could see 30 or 40 trumpet players all sitting there, and every trumpet player in LA was there. And there he was, biggest ass, but he was somebody, right? And then after a while, he says, “ls Chet Baker here?” Somebody must’ve told him about me, right? And I said, “Yeah. Yeah, Bird, l-Im here.” And so I came up, and we played “Toot Toots.” We played “Cheryl” and “The Song ls You.” He took the microphone. He said, “Thanks for coming, everybody. This audition is over.”
Jane: He gave you the job just like that?
Chet: Just like that. He said I was “bixellated.”
Jane: He was a big, fat junkie by then, right?
Chet: Don’t talk shit about Bird. It was an honor to score for him.
Jane: Some role model.
Chet: Yeah, he was. He was. He never hurt anybody but himself. Just like me.

Chet [to himself]: Hey, Miles. Hey, Dizzy. There’s a white cat on the West Coast gonna eat you up.

Chet: I sold a lot of that record.
Father: Hmm.
Chet: How many records did you sell? Oh, that’s right. You-you quit, right? I didn’t quit.
Father: Yeah. But I never embarrassed my family. I never dragged the Baker name through the mud.
Chet [after a pause]: Good-bye, Dad.

Dick: So I heard you were clean.
Chet: I am. I’m clean. Ever since the accident.
Dick: Accident? How much you need?
Chet: Dick…I just need a session, man.
Dick: I heard you were playing some pizza parlor.
Chet: Yeah, yeah.
Dick: I didn’t even think that that would be possible.

Jane: You went and saw Dick, right? What did he say?
Chet: Told you. He said no. I mean, you know, I’m not gonna beg him.
[he sighs]
Chet: At this point, I’d do anything.

Jane: How is he doing?
Dick: Oh, he’s, uh, struggling.
Jane: You said he’d never play again.
Dick: I don’t know what’s worse, Chet not playing or Chet playing mediocre.

Dick: You know, this is the first time I’ve seen him sweat. Everything came so easily for him musically. I think that was one of the problems.
Jane: You think he’ll ever play high-level again?

Chet [to Jane’s father]: I mean, here’s the deal, all right? I don’t mind if you want to give me a lecture about being responsible or anything like that, but if you start talking to me about music or talent or Bird… you know, uh, I might have to say, “Fuck you.”

Chet: Danny was saying he’s thinking about Birdland.
Dizzy: Look, Chet, you’ve come a long way, but, uh-
Chet: But what?
Dizzy: Well, they only do special events now.
Chet: Dizzy, come on. You’ve still got pull there. Everybody respects you. You got the-the key to the gate, you know?
Dizzy: You ain’t ready or Birdland, man.

Dizzy: A sound that’s all your own. Ain’t no denying that.
Chet: And I’m ready to play Birdland.
Dizzy: It’s not your playing that I’m worried about. All things be ready if your mind be so. Are you sure you’re ready to come back?
Chet: I’ve learned three different embouchures, all right? I got a left, I got a center, and I got a right, and if you let me sing, okay, I can play two full sets before my teeth fall out, okay?
Dizzy: Eyes on the prize. God, you are a glutton beggar. I’ll get you Birdland. But don’t say I didn’t warn you.

Chet [at Birdland]: Miles is here too?
Dick: Everybody’s here.

Chet: I’m not getting a cold. I ran out of methadone, you know.
Dick: What did you say?
Chet: Two days ago, I ran out of methadone.
Dick: You…you stopped taking your medicine? You—Chet, come on! You’ve got every cat on the East Coast out there waiting for you to play the biggest gig of your career, and then you…
Chet: I don’t want a career, Dick. I told you that. If I wanted a career, I’d get a fucking job.
Dick: Okay, okay.
Chet: Okay? I wanna play. All I want to do is play.

Dick: Chettie, I found some methadone. I didn’t take no for an answer. Remember Johnny Red? He was holding…
[he looks down at the dresssing room table — at the heroin spoon]
Dick: Fuck. It’s all gonna start again. Jane will leave you.
Chet: I don’t think I can play otherwise.

Dick: Take the methadone. I mean, you’ve been playing great on it.
Chet: Yeah, it sounded great. You said that if I really nail this show, there’ll be lots of gigs, right? Maybe a European tour?
Dick: Look, I thought you didn’t want a career.
Chet: I want my life back. Dick, come on. I want to play music the way that I want to play it. You know, this is my last chance.
Dick: No.
Chet: Yes.
Dick: No.
Chet: Yes.
Dick: But it is a chance, but if you…If you sing with the tongue of angels but you have no love, then you’re a clanging cymbal.
Chet: What-what does that mean?
Dick: I don’t want you to be empty out there. It gives me confidence. It does. Time gets wider, you know. Not just longer. And…and I can just…oh, I can get inside every note. I can.
Dick: Every pretty note?
Chet: Yeah.
Dick: But that’s you. That’s all you. It’s always been you. Your choice.

Jane [taking Chet’s “ring” from around her neck]: Will you give this to Chet?
Dick: I’m sorry.
Jane [turning to walk away]: Don’t be sorry for me. [/b]

We know what he chose, don’t we?

Titlecard: After his comeback in New York City, Chet Baker went to Europe where he lived for the rest of his life. He made some of the best music of his career and remained a heroin addict. He died in 1988 in Amsterdam.

I have always detested bullies. To torment another human being just because you want to, because you can and because you can get away with it, has always struck me as a particularly despicable behavior.

So I am drawn to films that explore it.

On the other hand, I am still no less entangled in my “moral dilemma”. So I recognize the extent to which this behavior, as with my reaction to it, is no less embedded in dasein embedded in conflicting goods. And, in particular, a “good” here that often revolves around the mentality of the sociopath. Tormenting others enhances the bully’s self-gratification and that [for all practical purposes] is the center of his universe.

Here, however, the bullying is embedded in a particularly surreal context. High school teens [the ones from “detention room” of course] hatch a plot to expunge and then to change grades in the school computer. From that a calamity ensues and all but one of them are dead. The school hires an attorney to deal with the inevitable law suits. In getting to the bottom of it however all bets are off. For example, the bully is the teacher. Or maybe it’s the principal. Or maybe its the attorney herself.

Follow the money.

All of this unfolds in a brand new world – a brave new world – of cyber-reality. It’s just mind-boggling all of the things that get can be accomplished “technologically”.

You wonder: Is something like this even possible?

Finally, you will be asking yourself: Why does this remind me of The Usual Suspects? You will either see the twist coming at the end or you won’t.

at wiki: en.wikipedia.org/wiki/H8RZ
trailer: youtu.be/pwFOny1b6DI

H8RZ [2015]
[pronounced “Haters”]
Written in part and directed by Derrick Borte

Principal: You better believe that once this thing leaks, every ambulance chasing bloodsucking attorney in the state will be calling on us here.
Laura: I’m here to build a case that Alex’s own poor decision making lead to the situation. As a result any publicity or law suits will go away.

From here on though nothing is as it seems.

[b]Laura [to Alex]: I need you to tell me every single detail. Even the ones you didn’t tell the police.

Quote from Nietzsche on classroom wall: ‘The wreckage of stars - I built a world from this wreckage.’

Alex: What if I don’t have anything to say?
Laura: That’s your prerogative. But I need to warn you that I can make the rest of your formative years extremely difficult.

Teacher: If you are going to cheat on a multiple choice test, at least get a couple wrong. Aim for a B+ tops.

Alex [to Laura]: They told us about their big plan. They’ve been thinking about it since they were freshmen. It was actually a good idea considering these were the guys who thought that setting off a stink bomb was a revolutionary act.

Jack [at the “office meeting”]: Over 150,000 students skip school everyday because they are being bullied. And at least 1 in 20 students have witnessed another student with a gun at the school.
Principal: We know this is a problem, Jack. We are trained by the state on how to deal with it.
Jack: So why isn’t it getting any better?

Alex [to Laura]: And then overnight everything changed. We were on top of the world. There was no way any of us could have guessed what was coming next.

Text from Tiffany Tammand [to Carla]: “Wish you could change the past like you changed your grades?”[/b]

This from a student who had [supposedly] committed suicide.

[b]Alex [to Laura]: These are the kids that run the school. They make the rules and dish out the punishments. Adults have no idea what kids are really like.

Laura: You were a nobody that they took advantage of to get into the principal’s office.
Alex: No, we were a team.
Laura: What team member let’s his friends die so that he can go to college?[/b]

Again, Laura has absolutely no idea what is really going on here. In fact, almost no one does.

[b]Cameron [to a pixilated image of Brittany online]: I’ll kill you!
Brittany: I’m dead already, remember?

Laura: Why do you think that Cameron was the first one Brittany contacted?
Alex: Everyone knows that Cameron is the one to go to if you are looking for something that’s hard to find.
Laura: Like drugs?
Alex: I said hard to find.

Alex [voiceover]: We knew Brittany was having us gather pieces to a puzzle, we just had no idea what the puzzle was going to add up to. We should have known when it started to involve a fake ID, social security numbers and stolen leases we were getting into something a lot more serious than just changing grades.

Alex [voiceover]: I couldn’t believe how easy it was. A photo ID, a social security number and proof of residence was all we needed to create a bank account. With a few pieces of information we made a person out of thin air.

Laura [to the principal]: You embezzled money from a charity fund for a suicide victim!

Cameron [to Faustin]: You know, after this is all over, I plan to do a lot of smart things. I’d watch my back if I was you.
[Faustin snorts and walks away]

Cameron: What if we just take out Faustin?
Jack: What?
Alex: Are you crazy, we’re not criminals.
Cameron: After all this shit, you’re not a criminal?!

Alex [to Jack]: I just figured out a way to steal a half million dollars.

Laura: You were pushed to the breaking point by a very sick man but that doesn’t mean you were innocent. You stole, cheated, lied…if a jury heard all that and knew you were the only survivor you would go to jail.
Alex: I did what I had to do.
Laura: People lost their lives, Alex.
Alex: We were victims. You said it yourself.
Laura: I can prove that you robbed the school of a half a million dollars.
[she chuckles]
Laura: You’re pathetic.

Alex/Brittany [voiceover]: No one even noticed. She just walked into the lake and was gone.[/b]

Imagine living in China today and being old enough to remember the Cultural Revolultion. And then somehow having to reconcile that with the state capitalist contraption the nation has reconfigured into today.

In fact, you still see statues of Mao Zedong strewn about the country. But how on earth is he treated now in schools, in corporate boardrooms, in government offices, in daily conversations?

One thing never changes though. Whenever there is social, political and economic changes of this magnitude there are going to be winners and losers. And the winners will rationalize their victories and the losers will rationalize their losses.

Here the main protagonist, Shen Tao knows of the Cultural Revolution only through that which she has been taught. And taught in a state where that which you have been brought up to believe is the only way in which you are expected to think about everything. But that is all literally in the past. This film explores her life in the years 1999 and 2014 in China. And then segues to the imagined life of her son in the year 2025. In, of all places, Queensland, Australia.

More than anything it’s an incisive exploration into grappling with how individual men and women are forced to draw a particular line between that which is deemed “personal” and that which is deemed “political”. Between “I” and “we” in a culture [and a world] that is changing by leaps and bounds.

Some things more or less stay the same because in the end we are “human all too human”. But other things are utterly dependent on your own unique trajectory from the cradle to the grave. And yet both here and there [in the “modern world”] it is increasingly all about money. Success or failure is more or less measured materialistically. And with each passing generation the individual comes to be more and more on their own.

For better and for worse. And it is all just a point of view, isn’t it?

As for the ending: You tell me.

at wiki: en.wikipedia.org/wiki/Mountains_May_Depart
trailer: youtu.be/qc1ZKyhMG6o

MOUNTAINS MAY DEPART [Shan He Gu Ren] 2015
Written and directed by Zhangke Jia

Zhang [who has just bought a coal mine]: Liangzi, what are we going to do?
Liangzi: About what?
Zhang: I like Tao too.
Liangzi: Then tell her so yourself.
Zhang: I’ll make it plain. Just stay away from her. You have no chance with her.
Liangzi [turning on a miner’s helmet lamp and shining it in Zhang’s face]: Let’s see what an elite face looks like.
Zhang: I’m telling you this as a friend.
Liangzi: Piss off.
Zhang [after a pause]: Okay…From now on, our friendship is over. And you’d better get the fuck out of my mine.
Liangzi: Don’t you worry. The day I beg you for a living, I’ll be dead.
Zhang: I see. You’ve got balls.

Socialist or capitalist: Some things never change. It’s all about power and money and options. Tao is young and beautiful. Zhang owns the mine. He just fired Jiangzi, his lowly employee. Do the math.

[b]Liangzi: So, you’ve made your decsion.
Tao [after a long pause]: We are still good friends.
[Liangzi scoffs]
Zhang [walking over to them]: Are you on Viargra? Following her around all day?
[Liangzi punches him in the face and walks away]

Zhang [after Tao gives birth]: Baby Zhang Dollar.
Tao: Are you really giving him that name?
Zhang [looking down at the infant]: Sure I am! Zhang Dollar. Papa will make you lots of dollars.[/b]

Jump to the year 2014…

[b]Jiangzi: Surgery, chemotherapy…they cost big money.
Wife: Then give me the numbers of your friends and relatives. I’ll borrow money from them tomorrow.
Jiangzi: That makes no sense. Borrowing money is a serious matter, I’d have to go in person.

Friend: Zhang Jinsheng has gotten big. He has investments in Shanghai. He’s a real capitalist now.
[Jiangzi takes that in]
Friend: But he and Tao are dovorced.

Jiangzi’s wife: You don’t know me. I’m…Liangzi’s wife.
Tao: Liangzi. Liangzi is back?
Wife: Yes, he is.
Tao: How is he?
Wife [weeping]: He’s not good. Not good…

Dollar [as a child]: Papa’s name is Peter now.
Tao: Peter? He even has a foreign name now…You’re better off with your dad. Stay with him in Shanghai. You can go to International School and then abroad. You’re mama is of no use to you…No one can be with you all your life. We are fated to be apart.[/b]

Jump to the year 2025…

[b]Zhang [reading something Dollar wrote]: You can do it all, can you? You’re the Top Gun? Superman? Who do you think you are?
Dollar: What?
Zhang: You say you can do anything?
Dollar [about Zhang reading what he wrote]: That’s not right!
Zhang: Can’t you even learn to speak your old man’s Chinese?! You understand “old man”? Old man means father. I am your old man. The father of Dollar Zhang!

Dollar [in English]: I want to quit college. Nothing there is of interest to me. I could be doing anything.
[Mia translates this into Chinese]
Zhang [after putting a clip in a revolver]: I have just one question for him. If he moves out qwhere is he going to live?!
[he turns to Dollar]
Zhang: How will you aurvive without a college degree? Where did you pick up all this shit?!!
[Mia translates this into English]
Dollar: I’m free to do what I want!
[Mia translates this into Chinese]
Zhang [to Dollar]: Do you know what freedom is?
[he turns to Mia]
Zhang: China does not permit the individual to own guns. But Australia just changed the law, you can buy guns. I now own a pile of guns, but no one to fire them at! So what is freedom? Freedom is bullshit!!
Mia [to Dollar in English]: Freedom can be interpreted in many different ways.

Dollar: That woman in there she was so rude.
Mia [who is older than his mother]: Yeah. She thought we were mother and son. So, how would we introduce me to your mother if we go back to China? Your teacher? Your acquaintence? Your girlfriend?[/b]

Dysptopia.

No, not that kind.

Here we have a world in which everything is always as it ought to be but is only as it ought to be in order to create the illusion of tranquility.

The perfect world. A world where everyone has a part to play and the part they play is the only part they would ever want to play. In other words, a well-ordered, comfortable but utterly soulless existence.

And, apparently, it may well be based on…reality? As one reviewer from IMDb noted…

I moved to Norway four months ago, and have tried ever since to find the origin of the strange emptiness i felt. When I saw this film I was stricken with the brilliant snapshot of this society. Yes, this is all true!!! I too found a great job with a great pay, and I live with my Norwegian boyfriend in a nice apartment downtown. But, so far everyone I have met have left me with that tasteless, empty feeling I had never had before.

So, is this true? I couldn’t tell you. But almost every nation has a rendition of it. Communities in which folks behave in an entirely predictable and fiercely civilized manner. A place in which nothing out of the ordinary is tolerated.

And, indeed, there are any number of men and women who would construe such an existence not as a hell on earth but as a paradise. Think Truman’s world. But in reality.

Well, if reality was a fantasy. A surreality as it were. Out of the blue, Andreas sort of just pops up in town. Like the ghost of Travis Henderson. As though he was expected. He is given an apartment, he is given a car, he is given a job.

The rest is largely…allegorical?

Here’s one take on it: ruthlessculture.com/2009/04/14/ … -man-2006/

at wiki: en.wikipedia.org/wiki/The_Bothersome_Man
trailer: youtu.be/wOAS4gke5s0

THE BOTHERSOME MAN [Den Brysomme Mannen] 2006
Directed by Jens Lien

[b]Andreas: There’s something wrong with the booze in this place. They’ve watered it down or put something in it.
Drunk: Nothing wrong with the booze.
Andreas: I’ve been drinking all night, but it doesn’t work.
Hugo [in toilet stall]: Doesn’t work. My head’s still clear. It’s terrible.
Drunk: Don’t listen to him. He’s drunk.
Hugo: I’ve spent everything I’ve earned on booze, but still nothing. There’s no point.
Drunk: And philosophical. Drunk and philosophical.
Hugo: And hot chocolate’s supposed to be nice. Dark and tasty. It doesn’t taste any good. And it’s all like that. Hot chocolate, pussy and burgers. Nothing has any taste.

Andreas: What do you do?
Anne: I sell kitchen interiors.
Andreas: Interesting.

Woman: The bathroom is important. Some say the kitchen is the most important, but I think it’s the bathroom. What do you think?
Andreas: The bathroom is important. Yes.

Andreas: I’ve met someone else.
Anne: What do you mean?
Andreas: Another woman.
Anne: Why?
Andreas: I fell in love with someone at work. I didn’t plan to.
Anne [matter of factly]: I thought we were happy.
Andreas: We were. But then I fell in love.
Anne: Why?
Andreas: I’m going to leave you.
Anne: We’re having guests on Saturday. Are you leaving before Saturday?
Andreas: I can stay until Saturday.
Anne: That would be good.

Anne: Nordby called and invited us to the go cart track on Saturday.
Andreas [dripping in blood]: Go cart?
Anne: On Saturday. Do you want to?
Andreas: Yes, sounds nice.

Andreas: We met in the men’s room. You complained that nothing tasted like anything. Nothing tasted any good. You were quite loud.
Hugo: Sorry.
Andreas: You went on and on. You talked about hot chocolate.
Hugo: Sorry about that. I’ve calmed down now.
Andreas: Let me in.
Hugo: Could you please leave?
Andreas: Let me in.
Hugo: Do I have to?
Andreas: Yes.
[he opens the door and lets Andreas in]
Hugo: I don’t want to make any trouble. Could you please leave now? You can’t tell anyone about this. I found it a couple of months ago.
Andreas [of the beautiful music they hear playing]: Where does it come from?
Hugo [pointing]: From that hole.

Andreas: I miss so many things, Håvard.
Håvard: The new lamps have arrived.

Woman [the city mayor]: Most people are happy here, Andreas. They think it’s a nice city. They have everything they need. People are happy. The majority of people are happy. And we’re proud of that.

Man [greeting the new arrival]: Welcome. The car is over there.[/b]

Shades of Foxy Knoxy?

A young woman from Spain newly transplanted to Berlin falls for a local and his three buddies. Real Berliners. And then in the course of one tumultuous night – out of the blue – she gets caught up in a bank robbery. Everything in her life will then always be measured by before and after this extraordinary chain of events.

The part in particular where everything falls apart at the seams. The part where she is kidnapping a baby just stay out of jail.

Also shades of Russian Ark above. As with that film, this one consist of one continuous shot. Only Ark was 96 minutes long and Victoria is 134 minutes long. It took three attempts to pull it off. This is only the second European film to attempt it.

What makes the film mesmerizing is the way in which you drawn into it as though you were actually watching these people. Or as though you were even there with them. A slice of “real life” that topples over into a turn of events you would never have anticipated.

As such, it depicts so clearly how the snowball effect [or the butterfly effect] can unfold in human interactions.

It’s just that for most of us our days are pretty routine. The snowball rolls down the hill but the slope is not enough to really change much. But then suddenly one day you bump into someone…

Sonne [to Victoria]: You want to ride with us…ride with us…in my car?

…and you choose to go along. And he takes you into a whole other world. A world that [for better or for worse] would never have existed had you just ignored his overtures.

And then there is the part where you begin to wonder why would she choose to do what she did. After all, when she first happened upon them [in the wee hours of the morning] they were attempting to steal a car. What in the past had prompted her to be so…reckless?

And I thought that her explanation [of sorts] was amazing.

IMDb

[b]The original screenplay was very short (only 12 pages), since a large part of the dialogue was improvised. Because of this, the writers are credited for story and not for screenplay.

Despite its positive reviews, this movie was disqualified for an Academy Award nomination in the Best Foreign Language Film category due to its large amounts of English dialogue.

Just like the other famous one-take film Russian Ark, Victoria was to be filmed only three times. In the case of both films this succeeded with the third, and last, take.

In the scene right after the bank robbery Laia Costa actually forgot where to drive and takes the wrong turn. Everyone’s outburst of panic in the car is completely genuine as they were risking filming crew members and thus ruining the whole take. Even the director Sebastian Schipper, who was lying in the trunk of the car, started screaming directions in sheer panic. His screaming was later removed during audio editing. The car actually ended up driving past crew members but none of them can be seen thanks to the cameraman who reacted quickly by filming from a much lower angle so as not to have any windows in the frame. [/b]

at wiki: en.wikipedia.org/wiki/Victoria_(2015_film
trailer: youtu.be/e9tKRK2qj0I

VICTORIA [2015]
Directed by Sebastian Schipper

[b]Victoria: Are you stealing that?
Sonne: No, no. I pay tomorrow! I don’t want…He’s a friend of mine. Really. I swear, he’s a friend of mine…
Victoria: OK.
Sonne: I pay him tomorrow. I know him very long time.

Boxer: Tell her why I’m famous. I’m famous! I’m famous.
Sonne: He stole a truck. He stole a truck and he went on a highway to Poland.
Victoria: That’s true? And you were famous for that?
Boxer: I was eleven! It was on the news. There was an interview.

Boxer [explaining his tattoo]: I smashed a guy.
Victoria: What?!
Boxer: I really hurt…I hurt a guy very bad.
Victoria: But what’s the relation with the tattoo?
Boxer: I’m not a bad guy. I just…I did a bad thing, OK?
Victoria: Yeah, but… You did this tattoo for that reason? Because you did something bad?
Sonne: Who cares? He was in jail…
Victoria: You were in jail?

Victoria: You don’t seem German at all.
Sonne: We are real Berlin guys. There are many people just coming here and think they are Berlin. But we are Berlin. We’re real Berlin. Multicultural. You know?

Sonne [amazed at her skills playing the piano]: I never, ever… I never hear something like this before. Really. Show me your hands. It’s like wonder hands. Really!
Victoria: They’re just hands.
Sonne: No. What’s the name of the song?
Victoria: It’s “Mephisto Waltz”, you know?
Sonne: Mephisto? Mephisto, he’s like a devil, huh?
Victoria: Yeah, it’s the devil.
Sonne: I like the devil.
Victoria: Yeah, me too.
Sonne: But one question. Really…Why you don’t play…? You have to play…You have to play in concert halls. Why do you do something like this!
Victoria: I’ve been… I’ve been… I don’t know the name, how you say that… I’ve been… in the conservatory, you know… I was in the conservatory. and I cannot continue in the conservatory because I’m not good enough, or something like that.
Sonne: Because they’re stupid, or what?
Victoria: No, it’s OK. I prefer that.
Sonne: No, really… Because it’s amazing. It’s like. You know, I…
Victoria: No, it’s not amazing…I don’t know. I’ve been like sixteen and a half years practicing playing the piano every day, like seven hours every day. Seven is the maximum. You cannot play more, because you’re gonna hurt your arms. And it’s a really hard life, because you have no…you have no life. You have no friends. Well, the friends are like the other guys that are in the conservatory…but they are not your friends really. They’re like your enemies. Because they are fighting for your dream too.
Sonne: But was it your dream… to play?
Victoria: Not any more.No. Because it’s… You are… You… You can became a bad… I don’t know. I was just thinking, for my friends, they should fail in their exams… because then I would have, like, more opportunities for me! our teacher said to us that just the 90% of us, we are lasing our lime. It’s really difficult to became a real piano player. And it’s better like this. You know, when I was 12 I can remember, I was like an old lady…just playing always the fucking piano. [/b]

And then the fateful phone call…

[b]Victoria [after Sonne gets off the phone]: What? What happens?
Sonne: I have to do Boxer a favour. We have to go now to…do some work.
Victoria: Now you have to work with them?
Sonne: Yeah, I have to go. Yeah, yeah.

Boxer: Man! Just fuck it!
Sonne: Call him and tell him it’s off! Fuck it!
Boxer: We can’t!
Sonne: We don’t have to do it tonight!
Boxer: He wants four of us!
Sonne: But not tonight!
Boxer: I gave him my word!

Sonne: Just call him and postpone it!
Boxer: We can’t postpone! I owe him! You know what I mean![/b]

We know where this is going…

[b]Sonne: You know…You don’t have to do this. Really, you don’t have to do this. But…Boxer. He was in jail, yeah? And there was this guy giving him protection. Like…The guy do him a favour…Now he have to do something for him. For this guy. And now we have to go there with four guys…And Fuss is completely…You know…? You just have to…Please, can you help us?

Sonne: We just go there…And after this bring you back to the cafe no problem. We just need now help because…Boxer is in trouble if not, you know.
Victoria: And you need to be four?
Sonne: Yeah. I don’t know why.
Victoria: I just drive you there and then I come back?
Sonne: We bring you back. We bring you back, no problem.
Victoria: OK. No problem. It’s something bad to do, or…?
Boxer: We’ve got five minutes. Five fucking minutes!
Sonne: It’s something not… after, maybe it’s something bad. But it’s not about you. You know, we just go there and bring you back. Really, that’s not bad for you. OK? Really. I swear. It’s not bad for you.
Victoria: OK. I go.

Blinker: We’re meeting a real gangster. That’s interesting!
Boxer: Shut the fuck up!
Blinker: Got it, Boxer. Everything’s cool.
Boxer: Stop frightening the girl, retard!
Blinker: We’re not frightening her.[/b]

She doesn’t speak German.

[b]Andi: These are your boys?
Boxer: Yes.
Andi: Who’s the bitch? Are you guys fucking her?
Boxer: The bitch is our driver.
Andi: You don’t say. Get out. You’re the driver? Done this before?
Victoria: I don’t speak German.
Andi: What the fuck? She doesn’t speak German?!

Andi: I can’t force you.
Boxer: Then we won’t. We won’t do it.
Andi: Boxer, back in jail you enjoyed my protection. You owe me. Ten grand. And I want that money.
Boxer: I’ll get the money.
Andi: You had no money for cigarettes and now you’ll find ten grand?
Boxer: Give me a week, OK?
Andi: One week? OK. While you’re getting the money, I’ll keep the bitch.
[A thub grabs Victoria]
Sonne: We’ll do it. We’ll do it! Hey, we’ll do it, OK? We’ll do it, man!

Andi: Tilidine, cocaine. Take some. It makes you confident and aggressive. If you’re busted, you’ll do less time. Bitch, you too.

Boxer: I’ll do it alone.
Sonne: I come with you. I drive you…Guys, for once, everyone together. Come here. Blinker, come here! Blinker, come here, man!
Blinker: No, let’s go, let’s go!
Sonne: Relax, for once. But we’re taking her back first!
Victoria: Sonne. I want to go with you.

Sonne: Go! Go! Go! Go! Come on!
Victoria: The car, the car is not going on! The car is not going on! Boxer! The car is not going on! The car is not fucking going on!

Boxer: Let’s check what Fuss is doing, you stupid morons!
Victoria: Oh, my god! Fuss! He’s still in the car!
Sonne: I totally forgot about him! I completely forgot him!

Sonne [with the cops in pursuit and bullets flying]: Why’d you let me into your shitty apartment with a baby?
Mother: I don’t know…
Sonne: Are you stupid? You can’t let me in when there’s a baby here! How stupid are you? How stupid are you, man?!

Police [over a loudspeaker]: Attention, residents! This is the police! Please stay in your homes. Keep your doors closed. Don’t let anyone in! We will inform you once the situation is under control. Attention, residents! This is the police! Secure your doors and windows.

Victoria: Listen. Listen to me. I’m going to take your baby. Listen to me!
Mother: Not my baby! No!
Victoria: Come. Listen to me. Listen to me. Look at me!
Mother: Not my baby.
Victoria: We are good people. We need your help. Now. Right now!
Mother: Not my baby!
Victoria: Look at me! Your baby’s going to be OK! Your baby’s going to be OK. I promise. We need your help. We just need to go out. Your baby’s going to be in that store in five minutes. I promise. I promise to you. We need just your help. Please.

News reporter [on TV]: The police identified the getaway car, which led to the first thief’s arrest. There was a shootout between police and the thieves here in Kochstrasse… One of the thieves died at the scene, another one on the way to the hospital… Two suspects, a man and a woman in their twenties, are still at large.

Sonne: Listen, listen. You go… you go now…You take the money.
Victoria: What?!
Sonne [gasping for breath]: Nobody knows who you are. Take the money. Go to Spain. You go. Go!
Victoria: Sonne, I’m going to call a fucking ambulance, OK?
[she calls for the ambulance]

Victoria: Sonne. Sonne. OK, listen. Listen. They are on their way. They’re coming. Sonne, look at me! Sonne, look at me. Hey! Stay with me, OK? They’re coming. They are on their way. Stay. Hey…Look at me. Stay with me. Sonne, stay. Sonne, stay with me. Stay! Stay. Sonne, stay. Stay! Stay! Stay! Stay. No, stay. Sonne, stay. Stay with me. Stay. Stay…Stay.[/b]