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The Holy Quran
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The Fourth Political Theory
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Posted : 5 months, 2 weeks ago on 6 January 2013 06:21 (A review of The Fourth Political Theory)
The fourth political theory from the great Alexander Dugin is a collaboration masterpiece also regarding the intellectual leader of la nouvelle droite, Alain de Benoist, whom Dugin reestablished his close relation and enriched intellectual rewards from such a bond. These two thinkers seem to have met for a prolonged period in Moscow to discuss the concept, and in connection with this, Dugin also published a Russian translation of a collection of essays by de Benoist, the title of which, in English, results in being Against Liberalism: Towards the Fourth Political Theory.
The Fourth Political Theory is an analytical triumph towards examining the problems we face today, a philosophical inspiration for spiritual warriors, and unrivaled creativity at the highest height, like Evola reborn and a reminder.
Dugin wades through the fog regarding modern political theory setting concrete foundations for a political philosophy that will ultimately challenge the global liberal paradigm stemming from western spheres.
The book reminds me of our dream and the reality we seek to accomplish for our people: One could say it is like our own choice for a symbol. The dragonfly. It is a result of change yet it is an old idea reborn. This is where Dugin reaches for the historic future and asks us to join him in fighting for a way of life free from oppressive liberal puppeteers. Primarily coming from the corrupt forces, not just in the West, but also some parts of the East.
Dugin examines the historical renderings, methods, systems and meanings regarding political theories.
1) Liberalism: This so called oldest and seemingly stable ideology.
2) Marxism: Opponent of liberalism via capitalism (artificial construct).
3) Fascism or National Socialism: Opponent of liberalism and Marxism.
Dugin dissects each of the three ideologies via organic attention. In the process he detoxifies those ideological opposition regarding liberalism.
The so called victory of liberalism has defeated and corrupted various western spheres, in fact, in the West it has ceased to be political, or ideological, but a false and decadent visage of modernity gone wrong.
Westerners seem to be slaves regarding liberalism, peace has sent these nations into a coma and robbed them of their uniqueness. The academic progressives are the problem. The educational systems in pace in these so called countries are poisoning the youth today and robotizing the majority.
Dugin states that liberalism and its historical subject is apparently the individual. The logic attached to liberalism was this strange aspect called “liberation” which the individual sacrifices the old ways towards an uncertain artificial future ( Dugin asks us: Where is faith, tradition, authority? Why is freedom from authority worshipped in many western spheres? Why do they want everyone to live this way of life? Dugin shows us the lies in place from the certain examples regarding oppressors we see in power today.
When you eradicate this transcendent, you end up with a world that is entirely rational...material...cold... disconnected.
Spanning several chapters, Dugin grants us this typology regarding these different factions placed in the mist of the modern political struggle.
fundamental conservatism (traditionalism), Left-wing conservatism (Strasserism, National Bolshevism, Niekisch), conservative revolution (Spengler, Jünger, Schmitt, Niekisch), New Left, National Communism, etc. It is essential that readers understand these so they themselves can wake up to the reality of the current situation.
Dugin reminds us as well that victorious liberalism is embodied by blindingly arrogant Americanism; The mental States of Amerika as some of us call it, through those origins as an Enlightenment game, and through its superpower status in the twentieth and twenty-first century, is the global pilot regarding this artificial liberal practice. After the defeat of Marxism, it has created, and sought to perpetuate, a unipolar world defined by American interests, or Atlanticist, a corrupt global liberal hegemony with their own self interest at the heart. This heart needs to be torn out because it is the worst kind of blindness and cancer in our World today: In essence slavery and brainwashing thus polluting the youth and upcoming generations. Dugin reminds us of our ongoing struggle our groups share in this regard.
Russia has been a long anti-Western, anti-liberal tradition, and for Dugin and for us this global liberal hegemony is the eternal enemy.
Dugin reminds us we want a multipolar entity, with Atlanticism counterbalanced by Eurasianism, and other “isms.” In geopolitics, the need for a fourth political theory arises from the ashes with a thirst to keep liberalism permanently challenged, confined to its native hemisphere, and permanently non-existent in homeland Russia!
Dugin’s project may be considered too radical, certainly for the majority, even at this late stage in the game—contemplating it would seem first to necessitate for us rare few who understand the significance.
Truly revolutionary thinking, the re-imagining and reinvention of ourselves, ultimately comes from the periphery rather than the enslaved center.
The Fourth Political Theory reminds us: We are spiritual warriors. We rare few are all Dugin, in a sense, and he is alive in our hearts, minds... souls. Always. This is a step towards the historic future.
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Posted : 5 months, 2 weeks ago on 30 December 2012 02:10 (A review of Continuum)
The politics of (against) Time.
Kiera Cameron (Rachel Nichols), a Vancouver City Protective Services officer, is transported from the year 2077 to 2012 when eight resistance members, known as Liber8, escape execution through time travel.
With the help of 17 year old tech genius Alec Sadler (Erik Knudsen) and VPD officer Carlos Fonnegra (Victor Webster), Kiera must survive in our time period, and pursue Liber8 as they battle to alter the course of history and change the future.
Tony Amendola: Edouard Kagame
Rachel Nichols: Kiera Cameron
So let us begin with creator Simon Barry who gives us Continuum: A political, revolutionary, thriller set in the past, present and future which also is a study and stab at the problems we face in our real world.
The year is 2077 - After corrupt governing bodies and greed obssessed corporations rule the entire known world thus turning humanity into slaves via the corporate congress. Sound familiar?
The main opposition to this is a group called Libert8, who will fight and use their lives to change the oppression and such slavery forced upon them.
Anyone taking any notice to our real life struggles will be reminded of real-life groups such as the great work in play from Open Revolt: New Resistance, Green Star, the great Global Revolutionary Alliance, are the real life equivalents, to name but a few legendary examples. Where such groups are fighting against injustice, corruption from the oppressors in power, and striving towards a better way of life. One where we preserve our cultures, traditions, national identity/sovereignty, and social justice. They are fighting and working not just to honour our ancestors but towards a better place for future generations. Continuum for those of us paying attention is a refreshing reminder of the struggles we face and that are still in motion today.
The leaders of this group on Continuum are arrested by the oppressive government(In a move reminiscent of what happened to the RAF) and are to be executed, yet during the execution they use a technological device to travel through time back to the year 2012, our protagonist Kiera (Rachel Nichols), one of these ''oppressive'' guards, attempts to thwart their plans and is transported back with them via the present time leaving her family behind in the future, Kiera has a powerful weapon a futuristic body suit armed with an array of powerful gadgets and weapons.
The group (Liber8) are determined to take down the manipulative corporations that will one day dominate the known human world. The series asks the question of how far would you go and how much would you pay for the greater good, and who is the real hero: Kiera or Liber8?
In the present Kiera makes herself a key ally in Alec Sadler (Erik Knudsen) a youth tech/I.T. genius who is destined to create the technology in the future setting, The future version of him is played by X-Files William Davis.
We see Kiera go undercover at the Vancouver Police Department. Having the resources and database access she needs to help her track the group. Working with front line cops, Kiera is positioned best to hear about whatever it is the group have planned and hopefully intervene. Kiera finds herself partnered with Detective Carlos Fonnegra (Victor Webster).
The series has excellent acting and set pieces, Tony Amendola and Roger R. Cross give extremely poignant, layered performances as the great leaders of Libert8. The series has a very realistic and revolutionary tone while Rachel Nichols and Erik Knudsen attempt to inject humour into the show. The pacing is very fast and there are plenty of action scenes but the highlight of the show is it's deep mythology and ethical questions. We rediscover our freedoms in the present through Kiera who grew up in the restrictive corporate society.
This is in the same league as Fringe and Caprica: Two of my other great loves. It is political. It is powerful. Plus it is imaginative, scientific and faithful.
Viewers must keep in mind that this is a budget Canadian cable series and not expect overblown effects.
On the whole, Continuum is most definitely one of the best series of the year and a must watch for any political radical, any lover of science fiction or psychological thrillers which take a stab at problems we face in real life. Continuum may or may not be a success for showcase. That does not matter. What matters is the inspiration it gives and light it bestows on the struggles ongoing in life. This is a reminder.
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Posted : 6 months ago on 15 December 2012 02:23 (A review of The Hobbit: An Unexpected Journey)
"I know you doubt me. I know you always have. I often think of Bag End. That's where I belong. That's home. You don't have one. It was taken from you, but I will help you get it back if I can."
From the smallest beginnings come the greatest legends.
A curious Hobbit, Bilbo Baggins, journeys to the Lonely Mountain with a vigorous group of Dwarves to reclaim a treasure stolen from them by the dragon Smaug.
Martin Freeman: Bilbo
The Hobbit: An Unexpected Journey the first part from Peter Jackson adapting Tolkein's loved book. A book for our youth and elders, capturing humour while attaining deeper meaning and significance.
This film not only captures the essence and greatness of the story but also goes many steps further.
At times with the details regarding the back story it is like reading The Silmarillion where we are treated to such impeccable sequences and roots. A radical return to form using all sources available regarding Tolkien.
Peter Jackson gives the film the masterful, visionary strokes it deserves and goes beyond even the book itself with even more analytical precision to paint a bigger picture.
Detailed, passionate and a perfect example of beauty and storytelling.
Certain stories focus on honour,
on courage, and on the struggle and fight for home.
The Hobbit: An Unexpected Journey is one of these rarities which will spark action and inspiration, in the sense, those few of us who can comprehend such a call to arms. That can appreciate and value the importance not merely regarding the destination or sentiment, but the enduring journey. This is an experience and a reminder that we must act and the story applies to our situation and reality. This is the beauty that stems from such a masterpiece and an adaptation worthy of such praise.
Our efforts, no matter how big or small, make a difference. The Hobbit reminds us of tradition, culture, and a social path more in tune with nature.
It is a beautiful escape from the artificial ugliness that we see in such tainted liberal societies, who are in a cocoon of complacency and undisciplined laziness.
This first part of The Hobbit does its uttermost best to wake up audiences by setting a glorious yet humble example. An example of brotherhood, comradeship, patriotism, loyalty, faith and spirit.
This is bravery and courage and it still exists even if many seem to have forgotten.
The Hobbit: An Unexpected Journey is truly acceptable for such a high standard, for such nobility held by virtues and for our people it is indeed appropriate. Peter Jackson crafts a tale of love, faith, strength, blood and honour.
Thus Jackson effortlessly puppeteers the cast seamlessly, like a spider meticulously spinning a web, immersing and blending all into middle earth.
Fran Walsh and Guillermo del Toro worked on the screenplay and it shows. High quality and their usual finesse is apparent in the glow of the storytelling and natural characters.
Martin Freeman as Bilbo Baggins and Richard Armitage as Thorin make the characters legends, strong and to be idolised for their enduring qualities.
Freeman's originating English properness and sheltered life growing into a revolutionary and adventurer a warrior is greatness: An evolution of Bilbo through experience, battles and travel. Armitage wonderfully projects royalty and authority while still being constrained of being a dwarf.
Ian McKellen's return as the wizard Gandalf is as always legendary, comedic and a prophet.
Andy Serkis's Smeagol is beautifully detailed and we see an example of Bilbo expressing empathy in sparing such a tortured soul. His schizophrenic tendencies reminded me of certain work in psychology and how such a condition can develop when faced with such an isolated situation and corrupting power.
Regarding others in the dwarf company conclude in being far too many for individual analysis.
As a group and collective they provide excessive amounts of humour and energy.
At the same time they endure the heavy burden, the ongoing hardship of having lost their home and are fighting to have their home back.
We see many Lord of the Rings characters return such as Frodo, Saruman, Galadriel, Elrond. It is full of detail which excels even the book yet keeping the playful nature in tact.
I loved seeing Radhagast the brown, the elves, a younger 'pure' seemingly good version of Sauron, the three trolls, teased with brief glimpses of Smaug, then witnessing those riddles in the dark where Bilbo encounters Smeagol... Breathtaking landscapes and architecture which resparks urges to travel and be in natural spheres once more in life.
The Hobbit: An Unexpected Journey is perfection and is one the best films to ever be made in this lifetime alongside the LOTR trilogy.
Great storytelling, amazing visuals, wonderful performances.
The film grips audiences via a multitude of levels in a relentless manner. This film is sending a clear message to those truly listening:
We are part of something greater than ourselves, fighting for something older towards a secured future. Striving now for a return to greatness, reforged and even greater upon realisation and action.
Our home and our way of life will be reclaimed. Order will be restored. This is the beginning.
"We will reclaim our homeland. I will take each and every one of these dwarves over the mightiest army. Loyalty, honor, a willing heart, I can ask no more than that."
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Posted : 7 months ago on 15 November 2012 04:59 (A review of Battleship Potemkin)
''Revolution is war. Of all the wars known in history it is the only lawful, rightful, just and great war. In Russia this war has been declared and begun.''
– Lenin, 1905.
A dramatized account of a great Russian naval mutiny and a resulting street demonstration which brought on a police massacre.
Aleksandr Antonov: Grigory Vakulinchuk - Bolshevik Sailor
Nazi propaganda minister Joseph Goebbels once spoke about Battleship Potemkin:
"A marvelous film without equal in the cinema ... anyone who had no firm political conviction could become a Bolshevik after seeing the film." That is a brief statement which partly sums up the power of Battleship Potemkin.
The film was not banned in Nazi Germany. Why? I feel it is because the content speaks for itself, it demands respect and attention from enemies and friends alike.
It is an example of perfected propaganda and glorifying art for the cause, capturing the storm of change and the ideological perfection captured upon the screen which invokes the masses to rise up against oppressors.
The mesmerising efforts, films and works of Dziga Vertov and Sergei Eisenstein in the early days of Soviet Union's cinema easily beats anything Hollywood made in the same era. The musical score is a tempest of energy and passion, the imagery retains an intense and avant-garde style and transitions smoothly allow the audience to absorb the clever storytelling.
For Director Sergei Eisenstein cinema was an art with a multitude of reflections thus his concluding montage fuses the meanings of images, words and music into a powerful piece.
A work and labour of ideological patriotic art depicting the struggle of overcoming the artificial confining class system.
Battleship Potemkin is split into five sections:
1) Men and Maggots: This chapter focuses on food and hygiene. The sailors are subjected to poor conditions while the higher ranking officers are not.
2) Drama on the Deck: This chapter focuses on morality and religion which it shows as a distraction or I should say as a form of control. The crew however dismiss superstition when used against their rebellion.
3) A Dead Man Calls for Justice: Addresses the death or martyrdom of the fallen leader/hero Vakulinchuk.
The funeral is used as a political demonstration against the rule of the Tsar.
Community being a potential replacement for an oppressive government.
4) The Odessa Staircase: Shows the evils of the soldiers and regime of the Tsar. Any uprising is killed or suppressed regardless of whether it involves men, women or children. This chapter clearly feels like it is provoking or enticing the audience, which I write about further on as well.
This scene has been an inspiration for many film-makers since this period.
A fine example and tribute from recent years is Terry Gilliam's cult classic Brazil which honours this scene.
Who can forget the pram with the baby descending faster and faster down the steps as the chaos continues to escalate? It is unforgettable.
Even a century after its creation, the chapter on the Odessa staircase is still highly impressive.
5) The rendezvous with the Squadron: The conclusion depicts the glory and patriotism in which the ideology allows freedom for the masses.
There is a sense of productivity, patriotism and unity. No oppression.
Battleship Potemkin offers many beautiful examples of detail and perfect cinematography: The audience are treated to the visual splendor of small and dark rooms where the sailors reside, then alternate between big and light rooms of the tsarist officers.
Beautiful dishes with religious inscriptions for the priviledged bourgeoise on board and the foul dead meat for the sailors (workers/oppressed).
We bare witness on another segment to the sadness of a despaired woman that loses her young child whom is coldly dispatched by gunshot while under the onslaught of pitiless, merciless imperialists. The resulting bloodbath attempts to touch a nerve and provoke the audience into waking up to such chains.
Eisenstein gives you an idea regarding the sheer enormity of these oppressive forces dressed with dramatization, relentlessly descending upon the suffering citizens.
The director and makers are constantly working to breathe life into the ideology by means of stirring up the emotions of his audience, especially in this chapter on the Odessa steps. It is a success in many ways.
Battleship Potemkin focuses on the rebellion and the solidarity of a collective crowd, effectively displaying emotion and expression when focusing on facial expressions or epic ongoings.
This film is a treasure filled with details and perfection from an artistic point of view. Ahead of its time.
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Posted : 8 months, 3 weeks ago on 28 September 2012 02:10 (A review of Looper)
"I work as a specialized assassin, in an outfit called the Loopers. When my organization from the future wants someone to die, they zap them back to me and I eliminate the target from the future. The only rule is: never let your target escape... even if your target is you."
In 2072, when the mob wants to get rid of someone, the target is sent 30 years into the past, where a hired gun awaits. Someone like Joe, who one day learns the mob wants to 'close the loop' by transporting back Joe's future self.
Joseph Gordon-Levitt: Joe
Bruce Willis: Old Joe
Wind the clock back to 2005 where we had Rian Johnson's Brick being released and new comer Joseph Gordon-Levitt giving an amazing performance in a complex puzzler within a mystery detective piece.
Thus comes Rian's latest work Looper: A sci-fi dystopian time travel piece set in the near future and beyond.
From just having seen it while being equally excited by the prospect, the film and experience, certainly lived up to expectations and beyond.
Looper is among the best films of 2012 and a science fiction marvel with a fascinating twist and examination of time travel.
Looper tells the story of Joe (Joseph Gordon-Levitt), a hit-man working for a professional crime syndicate whose primary function is assassinating targets sent from the future. After being confronted with his future self (Bruce Willis) and failing to kill him and close the loop, Young Joe is forced to track down Old Joe and finish the job before being tracked down himself by the nefarious mob led by Abe (Jeff Daniels).
The story however, as expected, results in being far more complicated and certainly not straight forward in the slightest.
Director Rian Johnson doesn't hesitate when it comes to keeping revelations secret from the audience until the plot develops and the film progresses. This helps build momentum and tension causing the characters and story to be fleshed out to the right degree.
Looper is action packed, thrilling, dark and thought provoking. An element of chase in the style of Logan's Run mixed with the time travel science fiction in the vein of 12 Monkeys;.
Many of the segments and processes put forth, although disturbingly graphic and violently explosive, are curiously unique, bringing light upon morality, greed, duties, and coming to a conclusion with regards to our past or with knowledge concerning our future.
Closing the loop by eliminating your future version, telekinesis, dystopia poverty with extreme divides between rich and poor, one way time travel, a film noir narration with serious undertones and unwavering meaning, executing bloody revenge in a semi-futuristic world, and the unforgiving, darkly serious tone of mistakes and redemption play out amusingly and unexpectedly. Looper isn't continuous action sequences and that is the biggest asset, reserving moments to create complex characters and time travel plot mechanisms.
In other words: It takes the time necessary painting a picture regarding the storytelling.
Looper has entertainment value, fascinating characters, ideas, concepts and powerful intent laced with intensity.
Overall, the film and story presents us with a deeper aspect: Choice. How purpose can be blinded by material gain and time can be taken for granted? Do we sell our souls for vast wealth even if it means we will only live for another 30 years? Then what happens if we find love in that time? This changes the whole picture as the protaganist must fight for this love aspect.
What are the limits or boundaries when it comes to what we would do for this?
Looper on another level shows our actions and choices have consequences and repercussions. In the present these future possibilities and that hindsight remains enigmatically unseen by ourselves because we can't see who or what will enter our lives to change our stance or view. Our perspective and persona is constantly learning and changing over time. Many years from now, and Looper is a reminder of this: Will you still be the same person? Let time change you in a way that benefits your way of life where existing isn't just a case of material gain. A life with higher significance. A higher purpose is acquired in time. Looper teaches us the importance of purpose and change. That our greatest enemy can sometimes come from within and to conclude this struggle is a matter of acceptance and balance.
"This is my life now, you've had yours already."
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Posted : 8 months, 3 weeks ago on 28 September 2012 01:06 (A review of Paprika)
"That's right, keep running. There are no boundaries to dreams. The spirit will be freed from the constraints of the body... and gain limitless freedom. Including me! I will also be free!"
When a machine that allows therapists to enter their patient's dreams is stolen, all hell breaks loose. Only a young female therapist can stop it: Paprika.
Megumi Hayashibara: Paprika / Chiba Atsuko (voice)
There comes these rare moments and times when life throws at you a film or artwork which screams freshness, overwhelms the senses and stimulates on an intellectual level which is complete and utter fun. The kind of craziness which maintains a high quality and visual sweetness laden with imagination.
Director Satoshi Kon's Paprika, adapted from Yasutaka Tsutsui's novel and combined with a killer screenplay by Seishi Minakami.
When a masterpiece like Paprika can inspire someone like Christopher Nolan to create a concept and film such as Inception, you know you've found the source and inspiration from where those roots originated.
Paprika is a Japanese anime film via subtitles which retains a plot and soundtrack which in my experience instantaneously ends up being addictive and likeable as soon as it begins. The music was written by Susumu Hirasawa: Beautiful yet quirky.
The storytelling and the infused artwork make this a treasure for audiences time and time again. How many films can boast a story which involves technology, dreams and higher concepts contained in an animation styled piece? What projects ooze a realism yet then have the dual pull of being surreal, eerily original and an examination of the subconscious and the psychology of the mind.
Not many if any at all come close to what Paprika succeeds in bringing to our attention.
So... A female research psychologist who goes up against thieves who steal dream technology and develops an alter-ego named Paprika... Yes, it had me at that.
It is truly thought provoking, for example, when a recurring corridor scene with the detective and you see some sort of murder and chase taking place...
The dream never lets the detective catch up with the mysterious shooter in the distance. He is always out of reach. This is one of many scenes which actually captures the uncontrollability of being frozen or trapped in a dream which truly scares us and renders us powerless. A dream which feels like a prison and when we wake up it actually comes as a relief to distinguish reality from dream.
The twist comes in the sense that later on, the detective is shown in a segment, actually being the victim and the shooter. A very strange case of him shooting himself. This was a fascinating possibility and totally disorientating in so many ways.
Paprika isn't afraid of letting loose all punches and shocks: It is a mind fuck and it doesn't pretend to be an easily travelled journey.
It is fun. It is crazy. It is thought provoking. Need I say more?
This is a film and story which will show how dangerous technology could be if it could allow others to access our minds and dreams.
What could doctors and scientists or anyone accessing your subconscious mind do or change inside your dreams? Would the dreamer have more willpower or control over proceedings? It would depend on who is stronger or weaker and this would determine the level of manipulation and danger involved.
This film comes highly recommended and without giving anymore away I can't stress enough how much I enjoyed it, with the added factor that you remain pondering and going over various concepts and ideas the film throws at you.
Paprika seems to be about human nature and control. What gives us the right to invade an individual's privacy? Is there any point when it can be justified? The questions stand and you can ponder them with me.
This journey then shows us how everyone wants something different and that sometimes these desires, aims or objectives conflict with each other.
The interesting conclusion is that light can overcome darkness and reality inspires our dreams where we can mutate and adjust them from our perceptions. Paprika makes dreams come true.
"I, who stand before you, am the protector of your dreams. I wonder what kind of punishment will befall the ignorant commoner who tries to enter this sacred dream?"
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Posted : 9 months, 1 week ago on 14 September 2012 09:44 (A review of A Separation)
"What is wrong is wrong, no matter who said it or where it's written."
A married couple are faced with a difficult decision - to improve the life of their child by moving to another country or to stay in Iran and look after a deteriorating parent who has Alzheimer's disease.
Peyman Moadi: Nader
Leila Hatami: Leila Hatami (Simin)
A beautiful film and story is born from writer and director Asghar Farhadi. It comes in the form of this real, moving masterpiece A Separation.
The beauty comes from the way it transports us and shows us a way of life and we the audience become part of this existence. It is intriguing. It is interesting. It is, in my opinion, very beautiful, painful and real.
The cast, all previously unknown to me, give performances which echo realistic and powerful resonance. The complex yet subtle tones of a couple struggling to stay together, breaking even under a traditional and strict system in Iran. Yet we have his father suffering from Alzheimer's accompanied by his daughter confused by the ongoing fragmentation of her parents marriage.
The later added conflict with a woman whom is caring for the elderly father and then the blame and distortion regarding the situation and truth behind it all.
A Separation succeeds in being a dramatic tempest, a storm of human emotion and social uncertainty. The film gives us at the same time an insight into life in Iran, not just the traditions, the disciplines, the everyday workings of everyday people.
As we the audience accompany the characters on their respective journeys and routines, we also see how fused the Law and Religion are in Iran. How pious and strict they follow their beliefs and how it guides them with rules, honour and respect. The Qur'an is followed and stands as a basis for all people.
Religion and politics are entwined in Iran. At times I felt that the West could learn from the positive aspects of having this: Respect, routine, tradition and discipline versus the evils of extreme, total, liberal freedom.
Life has taught me that people need balance. They need air to breathe and they need space to grow... Yet they also need a purpose to do so.
As the film progresses the film asks us: What is truth? Who is telling the truth? Are honest people sometimes blinded by confusion regarding lies? How do we deal with loss and change in a society or World that encourages everything to remain the same?
A Separation is a story and film which deserves all Awards it garnered. It succeeds in being a very moving, deep piece intent on playing with our emotions: The victory lies in realism. We can all relate to the dramatic proceedings and the struggles the characters face when in conflict with each other. This is the human condition. This is temporary. Yet A Separation teaches us that these negative times do not weaken us but in fact they make us stronger. We learn and strive to not just overcome these argumentative dramas, but we grow and leave them behind.
The ending leaves us with the couple, and the daughter deciding which parent she wants to live with as they separate:
Particular questions I end up asking are these, "Should a child, a son or a daughter even have to decide between her parents? How can we choose between loved ones? How can we have one moment to decide upon a life altering conclusion?"
The film leaves the ending up to us. An ambiguous conclusion where it is up to us to answer and decide for ourselves. Such is life.
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Posted : 9 months, 1 week ago on 10 September 2012 09:48 (A review of The Dark Knight Rises)
"I see a beautiful city and a brilliant people rising from this abyss. I see the lives for which I lay down my life, peaceful, useful, prosperous and happy. I see that I hold a sanctuary in their hearts, and in the hearts of their descendants, generations hence. It is a far, far better thing that I do, than I have ever done; it is a far, far better rest that I go to, than I have ever known."
Eight years on, a new terrorist leader, Bane, overwhelms Gotham's finest, and the Dark Knight resurfaces to protect a city that has branded him an enemy.
Christian Bale: Bruce Wayne
The trader states, "This is a stock exchange. There's no money for you to steal!"
While Bane coolly, resolutely responds, "Brother. Then why are you people here?"
The beauty is we can relate to many of the issues and problems within the story and this complex reality mirroring our own.
The Dark Knight Rises from legendary visionary Christopher Nolan succeeds in being a multifaceted epic piece which isn't just a dark, gritty graphic novel in the same vein as Frank Miller's books. It is a reminder about the problems we face in our World ranging from class struggle, greed and money, economics, politics... while the innocent are tainted by these factors with the label: Criminality... Then how we live our lives is ultimately engulfed within lies and decadence that surmount to our system of bondage. Truth is sacrificed because it is easier and cleaner to live a lie. The Batman has become the true vigilante because he wants Gotham to survive, he chooses the lesser of two evils... But The Dark Knight Rises asks us: At what cost?
The cast from The Dark Knight Rises is a sublime assemble with a few particulars whom shine and stand out. We have the old favourites: Micheal Caine and Morgan Freeman. Christian Bale as our dark vigilante and Bruce Wayne yet again.
Anne Hathaway as Selina with her Catwoman dual identity marks a memorable, sexy femme fatale professional thief. She perfectly captures and steals the audience with her curvy, seductive costume and her magnetic, unpredictable personality. Anne Hathaway makes her character truly believable and... adaptable indeed.
The antagonist of this piece Bane, played by an unrecognisable Tom Hardy, is another jewel in the crown. He is often seen as a stereotypical villain, yet also there are times where most of us can agree with his convictions and his views regarding the corruption and decadence which is spreading from a system and place rotten to the core in all fields: Whether it is a question of morality or economics, lies or truth.
His mask and physical appearance portray a powerful, muscular figure matched by an angry, extremely radical mentality wherein he knows what his goals are, he knows what his aims and objectives are... And he is the radical extremist whom is willing to carry out those revolutionary visions belonging to the group he is affiliated with.
As Bane makes his speech to the city we intently listen: "We take Gotham from the corrupt! The rich! The oppressors of generations who have kept you down with myths of opportunity, and we give it back to you... the people. Gotham is yours. None shall interfere. Do as you please. Start by storming Blackgate, and freeing the oppressed! Step forward those who would serve. For and army will be raised. The powerful will be ripped from their decadent nests, and cast out into the cold world that we know and endure. Courts will be convened. Spoils will be enjoyed. Blood will be shed. The police will survive, as they learn to serve true justice. This great city... it will endure. Gotham will survive!" He is becoming a revolutionary propagandist setting up his own lie before destroying it all. As the plot progresses we are given another question: Who is serving whom?
Cleverly, Bane is a complex and epic character who emulates the perfect mysterious leader and prophet like character: Ra's Al Ghul. Played by Liam Neeson in Batman Begins, he makes a welcome cameo in this third instalment.
Bane cannot be controlled by money, or intimidation, or anything or anyone: He is dedicated and driven. In those ways I find his character refreshing and inspirational.
"Oh, you think darkness is your ally. But you merely adopted the dark; I was born in it, moulded by it. I didn't see the light until I was already a man, by then it was nothing to me but blinding!
...The shadows betray you, because they belong to me!
...Ah, yes... I was wondering what would break first...
Your spirit, or your body?"
Upon reflection, and on a personal note, I found the love element, which presents a problem and conflict for Bruce Wayne to be distantly similar. I could relate to pain and suffering because some of us have had to deal with losing someone, with loss or heart ache. That point where we think we will never meet anyone else because that person we lost was the only person... That we would love for life. Like Bruce Wayne we cannot see at that point in time ever being able to establish that deeper connection ever again.
So when the audience, for example, sees that emotional scene with Alfred and Bruce having a heart felt conversation...
Alfred: [about Selina Kyle] You two should exchange notes over coffee.
Bruce Wayne: So now you're trying to set me up with a jewel thief?
Alfred: At this point, I'd set you up with a chimpanzee if it'd brought you back to the world!
Bruce Wayne: There's nothing out there for me.
Alfred: And that's the problem. You hung up your cape and your cowl, but you didn't move on, you never went to find a life, to find someone...
Bruce Wayne: Alfred... I did find someone.
Alfred: I know, and you lost her. But that's all part of living, sir. But you're not living. You're just waiting, hoping for things to go bad again.
When I listened to that you realise some of us can relate to this in so many ways: It's a painful reminder yet it is a hard lesson for those of us who find it difficult to let go because something or someone meant so much to us it takes a long time for change to come, to adjust to a life without them there. How can we live if we can't move on? The answer is we can't function, we can't live... It is hell. But we can overcome this ourselves, on our own. Then we are stronger for it.
The Dark Knight Rises is another unique masterpiece birthed from one of my personal favourites: Christopher Nolan. The inspirational legendary director seems to tap into what life is about, everytime he constructs and unleashes a story or film it concludes in being a puzzle. A puzzle full of twists, turns and perfected storytelling, where we are not just entertained, not just stimulated but made to think and indeed, he cleverly gives the mind lots to be inspired by regarding intellectual nourishment.
When we arrive at the end of The Dark Knight Rises it isn't the same as when we begun, nor was it what we expected. It is a beautiful example of love, light and hope.
The end shows us one person can make a difference. That happy endings do exist. That truth can triumph over falseness. Where light can triumph over darkness and where good and evil are clearly defined.
The Batman is a symbol and idea which isn't just restricted to one man. Like the phoenix rising and being reborn from the ashes so is a new hero rising within the darkness with water falling. A rising sun showing light will have its day... Or indeed Knight.
"Not a lot of people know what it feels like to be angry, in your bones. I mean, they understand, foster parents, everybody understands, for awhile. Then they want the angry little kid to do something he knows he can't do, move on. So after awhile they stop understanding. They send the angry kid to a boys home. I figured it out too late. You gotta learn to hide the anger, practice smiling in the mirror. It's like putting on a mask."
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Posted : 9 months, 2 weeks ago on 3 September 2012 11:53 (A review of Prometheus)
''War, poverty, cruelty, unnecessary violence. I understand human emotions, although I do not feel them myself.''
A team of explorers discover a clue to the origins of mankind on Earth, leading them on a journey to the darkest corners of the universe. There, they must fight a terrifying battle to save the future of the human race.
Michael Fassbender: David
After many years the masterful film visionary Ridley Scott has returned to where some of his original talents for capturing storytelling, inspiration and escapism originally lay: Science fiction.
Upon seeing his latest work I was impressed at the detail, the pace, the sheer audacity he displays in his end result. It's mesmerising and upon a personal note it makes a striking impression not just with it's immense cast and dazzling effects but with the most important aspects: The art and storytelling entwined in this particular medium.
It hits home from the addictive cast, one of my favourites from legendary new comer Micheal Fassbender to energetic chameleonic Guy Pearce injecting the film with pure professional believability and talent.
Prometheus is a science fiction piece. It is also a philosophical study capturing the fragility of human nature and our physical existence.
The film whispered to me that Weyland offer, ''If you'll indulge me, I'd like to change the world.''
We are insects becoming Godly within a rather large spherical universe where discovery and understanding collide at every moment. Nothing seems to be certain but changing... What I am definitely certain of, when it comes to Prometheus is that the film stimulates us as well as entertains the audience. It gives us something deeper for our minds to feed upon. Gives us questions to play around with and then smacks us with a few answers.
''T.E. Lawrence, eponymously of Arabia
but very much an Englishman,
favoured pinching a burning match between his fingers
to put it out.
When asked by his colleague William Potter
to reveal his trick,
how is it he effectively extinguished the flame
without hurting himself whatsoever,
Lawrence just smiled and said,
"The trick, Potter, is not minding it hurts."
The fire that danced at the end
of that match was a gift from the Titan Prometheus,
a gift that he stole from the gods.
And Prometheus was caught,
and brought to justice for his theft.
The gods, well, you might say they overreacted a little.
The poor man was tied to a rock,
as an eagle ripped through his belly and ate his liver over and over,
day after day, ad infinitum.
All because he gave us fire.
Our first true piece of technology, fire...''
At times the nostalgia elevates back to the days when Ridley was giving us Alien. It almost feels like being back home with Ripley with the female heroine Noomi Rapace playing Elizabeth Shaw. She makes the role faceted.
So we have a historical, prequel feel to proceedings while we are taken somewhere new and exciting which explores our origins. It is an imaginative game in the fashion of HG Wells, ''What if?'', regarding where we came from or where we are going.
Our creator: Was it an accident? Would they regard us as inferior? Would an extraterrestrial presence be hostile or peaceful? The truth is both possibilities are quite obviously correct.
The other interesting study and insight is with artifical intelligence and the robotic android David played by Micheal Fassbender. What would our creation think or feel or do if put in the same situation as us? Would our creation be disappointed to find out the limitations and flaws contained in its creator. Of course it would. How this being would react to such discoveries and revelations seems to faintly echo the days of Blade Runner.
You can almost hear, ''Revel in your time...'' and when we come to the ageing Wayland played by Pearce we have the stabs at mortality and our quest to either accept it or overcome it. Is death avoidable? Are we talking about the physical or metaphysical? Or is it something which remains unknowable until we arrive at the destination? My answer is the journey is what matters. If you spend all your time wondering about the destination how can you enjoy the journey?
Prometheus is a very enjoyable, thought provoking film. However you take it or experience it, whether the action or effects or horror elements are your cup of tea. Whether you value the storytelling or being transported to another time and place which in ways mirrors our own World, whether you enjoy asking questions and not being able to answer every single one. Despite all this to contemplate if you want a piece of deeper stimulation at a pace which isn't in a hurry, where the end is a beginning of sorts, Prometheus is worth the ride and is waiting for you.
Ridley Scott returns from his historical pieces and gives us his science fiction taste of a brave new world. The best is surely to come.
''How far would you go to get your answers?''
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Posted : 1 year, 4 months ago on 17 February 2012 12:51 (A review of The Artist)
''What I mean is it's either him AND me or neither of us!''
Hollywood, 1927: As silent movie star George Valentin wonders if the arrival of talking pictures will cause him to fade into oblivion, he sparks with Peppy Miller, a young dancer set for a big break.
Jean Dujardin: George Valentin
Bérénice Bejo: Peppy Miller
The Artist transports audiences back in time to the silent era of film. Director and writer Michel Hazanavicius effortlessly captures beauty with the rawest simplest way possible: By characters you can love and storytelling which flirts with our hearts.
The cast is phenomenal... Especially the two main leads: Jean Dujardin and Bérénice Bejo... And Uggie the dog. He deserves an award and recognition, a talent to be reckoned with, where every movement and action has its own meaning. We fall in love and can relate to the characters struggles, the highs and lows of our career and the fickle nature of the people whom surround us. It shows us one person can make a difference when love is involved.
The cinematography is creative and fresh... Reflections serve as symbolic majesty. Dreams serve as visions for the future.
This is truly art... Moving art which transports us back in time and injects freshness into an otherwise predictable world of cinema. A reminder of a golden age where expressions melt our hearts and mean something, where the eyes of characters and the smiles they exchange make us feel so much. They are believable and alive. What could remind you or awaken something long forgotten inside you? The Artist is truly that inspirational reminder. A reminder of creativity, love and change.
Any artists or writers whom have the luxury to watch The Artist will love the variety and poignant minimalism which reflects your own journey. We see our own lives and our own hopes and fears come alive.
Sometimes the film cleverly makes you want to reach out and tell the characters what to do when they struggle to make the right choice or when they fail to recognise how much someone can mean to you.
Whether the dog is saving his master or the clever twist where it is not the man saving the woman: It is her saving him. They keep each other safe and that in itself is beautiful. It touches your heart in ways that are so hard to describe.
All I can say is don't judge a book by its cover: The Artist deserves to be experienced and not to be missed. On a personal level it is a piece of inspiration and it allows us to travel back in time with many aspects still relevant to our modern era.
The Artist is certainly a change and a breath of fresh air in our effect laden film industry, where audiences are so zombified, they forget the most important thing: The story. That is all you need... And romance and emotion. The Artist makes you fall in love with not just silent film all over again... It makes you fall in love with life all over again. A universal love letter coming alive in our hearts, before our eyes, and in our souls.
This is where film and art originated and we need to remember how important that is. The Artist helps us remember that. Beautiful.
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