In the 2000s, more than 30 dystopian films were made in the U.S.: that’s double the number of dystopian films made in the 1990s. More than 20 dystopian films have already been made just five years into the 2010s. The Giver recently joined that ever-growing list. The dystopian film genre has been sustained in the past decade not only because it offers an action-packed narrative for children and adults alike but also because it makes viewers question government control in the post 9/11 world.
Known for their focus on the male perspective, Wong Fu Production’s newest short film, “After Us” takes viewers into the mind of a female protagonist communicating with herself in order to show audiences how to recover from the hurt and pain of a shattered romantic relationship through self-discovery that anyone, male or female, can empathize with and apply to any situation.
Pain and sorrow are the sweet rains flowing across the film of our lives. We dive deep through trust and into the heart of betrayal, twisting and turning along the strings of lies and illusion. Passion carries us across, and we hold to heart, afraid to break. But it’s the pieces of tragedy that tell the real stories, stories that we cannot turn away from; can we watch them again and again? Or as the screen fades to black, do we remain held within memory, forever touched by the film of their lives? It’s a simple turn of the page that can be ignored. We don’t want to hear about it. We don’t want to see it. We don’t want to know, but it still happened. One story always echoes across the news. A life was lost. Tragedy struck.
The year 2014 brings yet another twelve months of hyperbolic, and over stimulated cinematic spectacle. Following a year of Superhero re-hashes (Man of Steel), comic book adaptations (Kick-Ass 2, The Wolverine), darker themed sequels (Thor: The Dark World, Star Trek: Into Darkness) and over indulgent science fiction (After Earth, Pacific Rim), it seems Hollywood has lined up another round of expensive eye-candy. I recently had the pleasure of watching The Hobbit: Desolation of Smaug at the cinema, although I firmly place this film in the same category of over produced films listed above, its fantastical charm was difficult to ignore.
In Disney’s Frozen, the audience is introduced to a world that wields both the darkness of Hans Christian Andersen and the almost ‘unbearable lightness’ of the Disney Princess world, where characters spontaneously burst into song, though thankfully, they possess voices such as that of the inimitable Idina Menzel, the voice of the Snow Queen. The film is at once a feminist manifesto (i.e. sisterly love comes before romantic love) and a deeply romantic story, espousing the value of slow-growing sentiment based on truly knowing, understanding and complementing one’s other half, rather than on the typical Disney princess ‘love at first sight’ scenario. READ MORE.
John Carpenter’s films, known primarily for their horror themes, inevitably feature pulse-pounding soundtracks, slow-moving camera work and hair-raising jolts to the nervous system as evil pops into the foreground with unexpected intensity. However, while Carpenter’s films are also infused with a strong anti-authoritarian, laconic bent, those seeking a good scare tend to overlook the deeper, overarching themes that speak to the filmmaker’s concerns about the unraveling of our society, particularly our government. READ MORE.
In Artifacts of Idealism, director Sean Corbett paints a picture of idealized, obsessive love against the backdrop of Montreal’s Occupy movement. Simon Pelletier gets to show off his acting chops as the young Private Eye Charles who is recruited for a peculiar task by Robert, an eccentric older gentleman played by Nesvadba. Robert has fallen in love with an image of a young woman (Marshall) he saw at an art gallery and becomes determined to track her down, wondering if she is as perfect as her aesthetics suggest. Charles eventually meets the real life Marilee (after a particularly humorous run-in with the Quebecoise owner of the art gallery who tries to introduce him to “pleasures of life”), whom he finds even more enigmatic than her portrait. READ MORE.
Wildly popular in modern culture, the medium of film operates as a pseudo canvas upon which current and historical social issues can be portrayed, then discussed, via cinematic narratives. In recent times, the topic of immigration and ‘the foreigner’ have been addressed frequently. Given the global culture which exists today, the question of the “other” is an important matter, with very real ramifications. The “other” or ‘the foreigner,’ seeking a sense of home in an adopted land, is faced with a myriad of struggles and prejudices. Many films carefully scrutinize this issue, hoping to assess the inhibitions and stereotypes which we, as a global society, must overcome in order to universalize ourselves and bring an end to the mistreatment of the theoretical “other.”
Chronicling the tragic death of self proclaimed ecologist Timothy Treadwell, Werner Herzog’s documentary film Grizzly Man draws upon over one hundred hours of video footage shot by Treadwell himself. Having devoted more than the latter decade of his life to studying wild grizzly bears in their native Alaskan habitat, the circumstances surrounding Treadwell’s death by bear attack were, at once, both ironic and sobering. As Bill Nichols, in his essay Telling Stories with Evidence, states: all documentaries are, to a given extent, fictional. The truth in this pronouncement stems from the fact that filmmakers typically function as voices of authority and as narrators, and thus documentaries are fictional in the rather unique sense that the documentary brings to light a specific version (i.e. the filmmaker’s) of the real world…
As long as there are movies, there will be Westerns. A love letter to a time in America when heroes loomed large and men (and women) lived and died by a strict code of ethics, the Western genre never seems to wear out its welcome, re-appearing in the box office in one form or another every few years. Sometimes it’s a remake of a classic, as was the case with the Coen brothers’ 2010 nod to True Grit. Sometimes it’s a comic send-up to the best of the Wild West, as offered up by Mel Brooks in Blazing Saddles or the animated Rango. And then there are the movies that disguise themselves as sci-fi or horror but are Westerns at heart, such as the Star Wars epics and many of the films of John Carpenter, an avowed fan of the Western whose influence can be seen in everything from his The Thing to Vampires.