The Nerdwriter Offers An Insightful Analysis of Bong Joon-Ho’s Science Fiction Film ‘Snowpiercer’
Filmmakers. Deconstructing 'Dr. Strangelove' In his post “Almost Everything in ‘Dr. Strangelove’ Was True,” Eric Schlosser describes how closely the events in Stanley Kubrick’s movie mirrored what could have actually happened to America’s nuclear arsenal. Additionally, he writes about the long-secret documents that help explain the many risks America took with its weapons, and comments on clips from a little-seen film about nuclear-weapon safety. Here he deconstructs scenes in the film which we now know came close to representing the truth. At the opening of the film, Kubrick included a disclaimer (“It is the stated position of the U.S.
Air Force that their safeguards would prevent the occurrence of such events…”). He then introduced the “doomsday device,” and turned the aerial re-fuelling of a B-52 into erotica. The President of the United States, Merkin Muffley, is upset that a nuclear strike has been ordered without his consent. Kubrick’s scorn is directed at the Soviet leadership, as well.
The Wachowskis’ World beyond “The Matrix” On the monitor screen, Tom Hanks’s eyes, in extreme closeup, flickered through a complicated sequence of emotions: hatred, fear, anger, doubt. “Cut!” Lana Wachowski shouted. The crew on Stage 9 at Babelsberg Studio, near Berlin, erupted in a din of professional efficacy, preparing for the next shot, while Hanks returned to his chair to sip coffee from an NPR cup. Lana and her brother, Andy, who are best known for writing and directing the “Matrix” trilogy, were shooting “Cloud Atlas,” an adaptation of David Mitchell’s 2004 best-selling novel of the same name. The novel has six story lines, and the Wachowskis and their close friend the German director Tom Tykwer, with whom they’d written the script, had divided them up. The filmmakers huddled near the monitor and in low, concerned voices debated whether to wait for Riach to recover or to hastily find a replacement and reshoot the scenes he’d already appeared in.
By August, the trio had a completed draft to send to Mitchell. The Fabulous Picture Show. The 2011 Geneviève McMillan Award: Rabah Ameur-Zaïmeche - Harvard Film Archive. March 2 - March 4, 2012 Each year, Harvard’s Film Study Center awards the Geneviève McMillan-Reba Stewart Fellowship to a Francophone filmmaker from Africa or of African descent. The latest recipient is Rabah Ameur-Zaïmeche, the French filmmaker born in Algeria in 1966. The Harvard Film Archive is welcome to host a retrospective of his work, with Mr. Ameur-Zaïmeche in attendance to receive his award. Spontaneity is the watchword of Ameur-Zaïmeche’s cinema. In a parallel fashion, the filmmaker’s career has progressed in stages. Though Wesh Wesh is an eye-catching debut in large part because of the breathless immediacy of its handheld camera, Ameur-Zaïmeche’s subsequent work is calmer and quieter.
Presented in partnership with the Film Study Center, Harvard. Special Event Tickets $12 - Rabah Ameur-Zaïmeche in Person Friday March 2 at 7pm Smugglers' Songs (Les chants de Mandrin) Directed by Rabah Ameur-Zaïmeche, Appearing in Person. Adhen (Dernier maquis) Sunday March 4 at 5pm. Award Winning Independent Films and Foreign Films on DVD | Movie Club | Film Club | DVD Club | DVD of the Month Club | Film Festival Winners. IndieFlix.
A Tale Of Two Sisters. Saving Face.