Cross Post from Mubi

Before Jim McKay jumped exclusively into directing episodes for television series (mainly The Wire and now Treme) he made a couple of my favorite women’s centric pictures in Girls Town and Our Song. Both are very naturalistic films that opt for emotionally and thematic honesty, rather than melodrama, when it comes to young women’s maturation and the issues they face. Bonus points for them actually being ethnically diverse and depicting characters that are not middle class. Even though McKay is stuck in TV Land he’s still helping producing films centered on female characters like Mosquita y Mari.

We have the lovely Ava DuVernay who posts on Mubi. She just won the best director’s feature at Sundance with her film The Middle of Nowhere which is being released in the coming months at select theaters. In 2010 she released I Will Follow which was about a woman coming to terms with the death of her aunt. There was also Dee Rees’ film Pariah that came out last year. It’s often lazily read as “just another coming out story”, but that’s almost always by (white) men who do not understand just in fact how radical it is for a Black person, ESPECIALLY A BLACK LESBIAN WOMAN, to openly explore the dynamics of sexuality. I mean it’s 2012 an they’re still asking Ain’t I a Woman?

I’ll let the other posters discuss films from around the globe (even though I do have a couple of my own examples in my pocket). Two I would like to mention are Satoshi Kon and Hayao Miyazaki. Two animation directs that consistently (Noooooooooooooooo Satoshi Kon :‘( RIP) put forth beautifully drawn (literally and figuratively) female characters of all ages. It’s interesting with all the talk of women’s pictures being unable to sell that Miyazaki constantly makes smash hits in Japan with almost exclusively featuring stories starring female characters of all ages that are beloved by males of all ages.

We can discuss more examples throughout the thread. As to answer the question that was prompted before stupidity ensued, a large reason there are far less films that directed about women is because they’re regulated to being ONLY for women (that’s not even before factoring things like race/sexuality that further other women). They are seen as specialty/niche films that do not deserve serious consideration. It doesn’t help that even when a great many men attempt to direct/write women suck at writing women because they only exist as hackneyed stereotypes rather than people. Even if they start out as people, as soon as they do something deemed uncomfortable by a male they are thrown into that stereotype. Doesn’t laugh at a joke she deems sexist? She is now a frigid humorless b****. I think Junot Diaz pretty much summed up my position in The Atlantic.

The Atlantic: It sounds like you’re saying that literary “talent” doesn’t inoculate a write—especially a male writer—from making gross, false misjudgments about gender. You’d think being a great writer would give you empathy and the ability to understand people who are unlike you—whether we’re talking about gender or another category. But that doesn’t seem to be the case.

Junot Diaz: I think that unless you are actively, consciously working against the gravitational pull of the culture, you will predictably, thematically, create these sort of fucked-up representations. Without fail. The only way not to do them is to admit to yourself [that] you’re fucked up, admit to yourself that you’re not good at this shit, and to be conscious in the way that you create these characters. It’s so funny what people call inspiration. I have so many young writers who’re like, “Well I was inspired. This was my story.” And I’m like, “OK. Sir, your inspiration for your stories is like every other male’s inspiration for their stories: that the female is only in there to provide sexual service.” There comes a time when this mythical inspiration is exposed for doing exactly what it’s truthfully doing: to underscore and reinforce cultural structures, or I’d say, cultural asymmetry.

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Great movies you can watch for free with zero commercial breaks!

Okay, I’m still having trouble getting back here everyday with topics. I’m going to stop promising stuff and  just get into the habit of writing instead of waiting for inspiration to strike me. Today is just going to be recommendations however because why the hell not? Note some of these movies are separated into multiple parts! Tomorrow I will do short films. It’s already queued up.

Cheick Oumar Sissoko – Genesis

(entire film available with English subtitles. Separated in 10 parts)

Genesis is a visually stunning film of the Biblical story of the house of Abraham, told from an African perspective. Based on chapters 33-37 of the book of Genesis, the film portrays the bitter rivalry between the brothers Jacob and Esau, which threatens to engulf both clans in a never-ending cycle of violence.

Jacob the Hebrew herder has tricked his older brother Esau (famed African musician Salif Keita) out of his birthright, so Esau and his tribe of nomadic hunters plot revenge on Jacob and his people. Their Cannanite cousins, led by Hamor, are drawn into the conflict. When Jacob’s daughter Dina is abducted by Hamor’s son Sichem, he allows them to marry. But Jacob’s sons are still angry, leading to further violence.

Unlike Hollywood’s sanitized versions of the Bible, Genesis shows men driven as much by greed and anger as by devotion to God. Using the striking African landscape, director Sissoko creates a powerful story of hatred and revenge that resonates in many parts of the world today.

Fernando E. Solanas – Social Genocide

No English subtitles for this one unfortunately.

After the fall of the military dictatorship in 1983, successive democratic governments launched a series of reforms purporting to turn Argentina into the world’s most liberal and prosperous economy. Less than twenty years later, the Argentinians have lost literally everything: major national companies have been sold well below value to foreign corporations; the proceeds of privatizations have been diverted into the pockets of corrupt officials; revised labour laws have taken away all rights from employees; in a country that is traditionally an important exporter of foodstuffs, malnutrition is widespread; millions of people are unemployed and sinking into poverty; and their savings have disappeared in a final banking collapse. The film highlights numerous political, financial, social and judicial aspects that mark out Argentina’s road to ruin. –Trigon Film

Sidney Meyers – The Quiet One

The story of a lonely young boy growing up in Harlem. Using a semi-documentary technique, the film-makers realistically capture the hostile environment which leads the boy to delinquency. The youth is sent to Wiltwyck School for rehabilitation, where a psychiatrist and counselor try to break through the wall of silence which the boy uses to hide his fear and bitterness. —IMDb

Bert Stern – Jazz on a Summer’s Day

In 1958, Bert Stern took a film crew to Newport, Rhode Island for the Newport Jazz Festival. No film has ever presented a greater array of talent in a more complementary fashion. Thelonious Monk builds a lovely version of “Blue Monk” and Anita O’Day sings “Sweet Georgia Brown” and “Tea for Two,” with Jack Teagarden and Louis Armstrong performing “Rockin’ Chair.” Eric Dolphy plays with the Chico Hamilton Quartet, and Mahalia Jackson, Dinah Washington, Chuck Berry and the George Shearing Quintet also perform. What a movie! –Telluride Film Festival

Charles Burnett – Nightjohn

Sarny, a 12-year-old slave girl in the ante-bellum South, faces a relatively hopeless life. Then Nightjohn arrives. A former runaway slave who bears telltale scars on his back, he takes Sarny under his wing and, in exchange for a pinch of tobacco, secretly begins to teach her to read and write, a crime punishable by death. “Words,” he says, “are freedom. Slavery is made of words: laws, deeds and passes.” –IMDb

Haile Gerima – Harvest: 3000 years

I’m always moved by films made out of necessity, by people who simply had to pick up a camera and shoot, to tell a story that no one else was telling. Particularly when those films are made under challenging circumstances. It’s easy for us, in the United States and in Europe, to take our systems and traditions for granted. Making a movie is always hard, but making a movie in an undeveloped nation, during a state of unrest, for and about a population that will have little chance of ever seeing it, is next to impossible.

The great Ethiopian filmmaker Haile Gerima came to UCLA to study filmmaking in the early 70s, and it was during that time that he conceived and made the film that you’re about to see, in a beautiful new restoration from the Cineteca di Bologna. Harvest 3000 Years was shot on black and white 16mm, over two weeks during Gerima’s summer vacation, with non-actors speaking Amharic, during the civil wars. It was made on the run, right after the overthrow of Haile Selassie and right before the installation of a military dictatorship. On top of everything else, Gerima was prepared to adapt the theme of his film to the most recent political developments. Difficult conditions, you might say. I’d call them all but impossible.

That sense of impossibility pervades every frame of Harvest 3000 Years. It has a particular kind of urgency which few pictures possess. This is the story of an entire people, and its collective longing for justice and good faith. An epic, not in scale but in emotional and political scope. —Martin Scorsese, World Cinema Foundation

Harvest 3000 years (Mirt Sost Shi Amit) provides an epic and harsh picture of peasant life in contemporary rural Ethiopia, which despite a few indications of modernity still seems to be immersed in a different time. It is the description of the fight and resistance of a people against the abuse of large landowners, conveyed with the power of militant and avant-garde cinema. It evokes the history of Italian colonialism, which has left its indelible traces on the black and white of the frames.
Harvest 3000 years, filmed by Haile Gerima in 1976, is a timeless masterpiece, a visual poem that possesses the power, expressiveness and physicality of silent film. It represents a cry for help, a condemnation that shows itself through a clear and solid form of cinema in every frame.

Gerima narrates the days of the peasants, from when they awake at dawn to sunset, from their work in the fields to housework, with documentary precision and visionary intensity, from a viewpoint in which crude realism is contaminated by depths inhabited by nightmares, dreamlike and sometimes grotesque signs, and by a gallery of unforgettable faces carved in (cinematic) time.

With Harvest 3000 years, and his other works, Haile Gerima, Ethiopia’s most important filmmaker and an invaluable exponent of the African diaspora, has created an original and necessary genre, examining the history and memories of the Ethiopian people, of deported African slaves and the African-American community. —Giuseppe Gariazzo

Born in Flames – dir. Lizzie Borden

Set ten years after the most peaceful revolution in United States history, a revolution in which a socialist government gains power, this films presents a dystopia in which the issues of many progressive groups – minorities, liberals, gay rights organizations, feminists – are ostensibly dealt with by the government, and yet there are still problems with jobs, with gender issues, with governmental preference and violence. In New York City, in this future time, a group of women decide to organize and mobilize, to take the revolution farther than any man – and many women – ever imagined in their lifetimes.

Hour of the Furnaces: Notes and Testimony on Neocolonialism, Violence and Liberation.

Part 1 Neocolonialism and Violence.

“This legendary underground film criticized neo-colonialism and called for the overthrow of the Argentine government. Intended to be a film which “the System finds indigestible,” La Hora was made and distributed outside of the commercial film industry. Because watching the film was illegal, the film transcended bourgeois entertainment: “We also discovered that every comrade who attended such showings did so with full awareness that he was infringing the System’s laws and exposing his personal security to eventual repression. This person was no longer a spectator; on the contrary, from the moment he decided to attend the showing, from the moment he lined himself up on this side by taking risks and contributing his living experience to the meeting, he became an actor, a more important protagonist than those who appeared in the films.”

Note: The other two parts are also available on Youtube with closed captions in English, German, and French.

María Luisa Bemberg – I, the Worst of All

Set in 17th-century Mexico during the Inquisition, this tragedy chronicles the true story of a rebellious, highly educated nun—writer/poet Sister Juana Ines de la Cruz (1651-1695)—who is persecuted for her radical ideas, after her mentors, the Spanish Viceroy and his wife, return to Europe

Full movie with English subtitles.

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I am back.

It’s been a really long time. I’ve missed out on so many updates that have happened to WordPress over the months. There will be film talk today, but I won’t discuss any film in particular. For those that may not know BFI’s Sight & Sound just released it’s 100 Greatest Films of All Time list a little while back. I’ll discuss my problems with that list over the next few days. Today, the individual lists have been released. Yay. Applause and all that jazz. In addition to going through my problems, I’ll always be giving praise to certain people as well as just pointing out random things about the list that I have looked over. Today is going to be one of those “look over” days. If I’m mentioning it, it is because I think these are great films and directors. It’s all positive and touchy feely today. I’m mostly going to concentrate on Latin America today. Over the next couple of days I’ll do some for the continent of Africa as well as for Japan because Japanese cinema was my introduction to serious films. If the director or film is mentioned below, please take it as a recommendation (after you personally read the synopsis of the film of course because of lot of these will be acquired tastes). Here’s the link!

  • Black God, White Devil is the most popular Brazilian film with it appearing on 6 lists.
  • Glauber Rocha is the most popular Brazilian director with 4 of his films having been voted on at least once.
  • Nelson Pereira dos Santos is the only other Brazilian director to appear more than once on the list (How Tasty Was My Little Frenchmen and Barren Lives)
  • Tomás Gutiérrez Alea is the most popular Cuban director with appearing on the most lists with Memories of Underdevelopment (12 lists) and The Last Supper (1 list).
  • Patricia Guzman’s Battle of Chile was featured on 3 lists and would have most likely been on more had they decided not to count it as 2 separate films
  • Pan’s Labyrinth was one of the most recent films (2006) to appear on any of the lists (only on 2).
  • Ignoring Luis Bunuel, the most popular film directed by a Mexican was Carlos Reygadas’ Silent Light which appeared on 5 lists.
  • The only film from Peru that received any representation was Werner Herzog’s Fitzcarraldo which is about a European conqueror.
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African Film Library (like Netflix/Hulu except with all African films)

http://www.africanfilmlibrary.com/

I know a lot of people complain, including myself to various degrees, about the lack of knowledge people have about Africa. Considering that I love films, I’m always fixated on learning about Africa through their film productions. There have been various DVD companies that have put out a handful of African films and even American distribution to theaters has gotten better, there hasn’t been a major database/collection for African films online easily and readily available for the majority of people though. Thankfully, I stumbled about African Film Library which has over a hundred films across the continent easily downloaded or streamed. Personally, I’d recommend starting with Ousmane Sembene and Djibril Diop Mambety.

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Beens gone so long didn’t even know they changed wordpress

So, I’ve been really slacking here guys. Extremely. Which is even more of a shame because I’ve actually been watching a shit load of movies since end of January. I can’t promise that I’ll write about all of these, but here are a handful that I’ve seen fairly recently.

  • Orphee
  • Synecdoche, New York
  • Che
  • Brazil
  • The Red Angel
  • Primer
  • Vagabond
  • Naked Lunch
  • Le Bonheur
  • The Faith of the Century
  • Le Jetee
  • Sans Soleil
  • Oliver’s Shakespeare (Henry V)
  • Nine Nation Animation
  • Giant
  • Rebel Without a Cause
  • Woman is the Future of Man
  • The Battle of Algiers
  • Chico & Rita
  • Beats, Rhymes & Life: The Travels of A Tribe Called Quest
  • Only When I Dance
  • The Blood of the Poet
  • Cleo from 5 to 7
  • Punishment Park
  • East of Eden 
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Anime Beyond Miyazaki III

Woo, another Anime Beyond Miyazaki post. This one is slightly different though in that it has theme. The theme is going to be anime for people who don’t normally like anime. That means no super kawaii or dozens of girls falling in love with one guy, no mechs, and I’ll try to stick to anime that doesn’t traditionally look like how anime is ‘supposed’ to look. I’m also going to abstain from mentioning Mamoru Oshii and Satashi Kon films because I want to them their own entries. A handful of the anime series mentioned are actually available for free on Hulu. Just posting content at the moment so I won’t do any individual reviews for each series. Trying to get back in the habit of posting.

Barefoot Gen, Zipang, Mushishi, BECK: Mongolian Chop Squad, First Squad, Monster, House of Five Leaves, Golden Boy, and Rainbow: Nisha Rokubō no Shichinin.

http://wildgrounds.com/2011/01/31/alternative-japanese-animation/

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Cinema…brought to you by the Wu-Tang Clan

Jesus, I haven’t posted anything in months. I have nothing at length at the moment, but I will start writing lengthy posts again soon. For really! As for now, here is a quick list instead showing a short sample of the sample of Kung-Fu films used on Wu-Tang Clan and solo albums. I restricted it to tunes produced by the RZA. The list is written this way because I copied it from my Mubi profile.

Shaolin & Wu Tang
The Master (3 Evil Masters)
4 Assassins
Wu-Tang vs Ninja
Two on the Road (Fearless Dragons)
The Killer
Shaolin vs. Lama
Shogun Assassin
Mystery of Chess Boxing
Avenging Warriors of Shaolin

01
The 36th Chamber of Shaolin
Liu Chia-Liang
02
Five Deadly Venoms
none
03
Ten Tigers of Kwangtung
none
04
Executioners from Shaolin
Liu Chia-Liang
05
Holy Robe of Shaolin Temple
Siu Ming Tsui
06
Shaolin Temple
Chang Cheh
07
Duel to the Death
Ching Siu-Tung
08
Invincible Armor
See-Yuen Ng
09
The Unbeaten 28
Joseph Kuo
10
Iron Monkey
Yuen Woo-ping
11
The Avenging Eagle
Sun Chung
12
Flag of Iron
Chang Cheh
13
Shogun Assassin
Robert Houston
14
Dragon on Fire
Godfrey Ho
15
Invincible Shaolin
Chang Cheh
16
Shaolin Martial Arts
Chang Cheh
17
Kid with the Golden Arm
Chang Cheh
18
Shaolin Temple Strikes Back
Joseph Kuo
19
The Masked Avengers
Chang Cheh
20
The Buddha Assassinator
21
Dragon on Fire
Godfrey Ho
22
Scarface
Brian De Palma
23
The Education of Sonny Carson
Michael Campus
24
The Mack
Michael Campus
25
Carlito’s Way
Brian De Palma
26
Fresh
Boaz Yakin
27
J.D.’s Revenge
Arthur Marks
28
The Usual Suspects
Bryan Singer
29
Crying Freeman
Christophe Gans

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Raiding the Archives: Milk of Sorrow

Apparently there are going to only three installments of me raiding the archives because I overestimated how much I have actually written. I do have things to catch up on writing about though WOO!

The Milk of Sorrow is simply about a woman who must get a job in order to pay for her mother’s funeral. Or as the tagline puts it “A journey from fear to freedom”. Fausta is a young woman who is consumed by fear to such an extent that the majority of her dialog is either spent with her singing to assuage her discomfort or to speak about death. The rest of Fausta’s movements are her sitting through uncomfortable silence because of her uneasiness with those around her or attempting to communicate something or just anything to a few of those around her.

The movie begins with Fausta’s mother singing to her as she lays on her death bed, after this brief scene, it’s cut to her cousin who whines and begs to her uncle about the fact that she needs the dress to be longer. The uncle constantly replies and phrases the fact that he has no money for any extra clothe. And this is how much of subplot is presented, juxtaposing weddings that attempt to be extravagent while they suffer in abject poverty. There is a sadly ironic scene where there is a fake backdrop positioned so a new couple could take a couple photos to a vacation that they could never afford, and the picture is shot so far out that the majority of background consists of the housing and poverty they live in. Another marriage sequence in movie takes place in a mass wedding where there are roughly two dozen couples who get married en masse in hopes that one couple will win a prize “starter marriage kit” which consists of a new bed, television, rug, and other furnishing.

After her uncle finds out his sister is dead, via Fausta passing out while trying to tell him, he takes her to the hospital. Before finding out the answer her uncle attempts to explain that she has always been a sick child because when she was young she was breastfeed by a fearful woman (friend of her mother’s) in order to not be raped by the terrorists. Her uncle concludes that her behavior her entire life is based on this, calling it the “milk of sorrow”. The doctor stares at him in a moment of confusion before revealing to him why she was there.

Doctor: Did you know your niece had a potato in her vagina?
Uncle Lúcido: No, I didn’t know about that. It must have gotten in there by itself. There’s lots of food at home.

Why did she stick a potato in her vagina? Fear. When she was a child, her mother would constantly tell her stories about the terrible things that either happened to her or other Indigenous women. It can be assumed that somewhere along the line she was told this particularly potato story about a woman who though was not able to escape rape, she was at least able to forego the possibility of becoming pregnant as result of the rape. And with these, is the result of her entire character and little quirks like never wanted to walk by herself. Or constantly walking by the walls in her village, according to her, her brother died as a result of walking in the middle of the road and he became so ill that he was as thin as a skeleton before death.

The rest of the movie takes place as a critique between maybe not the European bourgeious, but certainly Europeans within Peru, and their relation with the Indigenous. Fausta is hired as a maid for a well-to-do European woman who essentially lives in a castle compared not only to Fausta far off home, but directly contrasting against the market place where the poor shop just literal footsteps outside of her home. Fausta is often asked to sing for woman in exchange in payment for her pearls, which become the equivalent of her selling her soul as she is often goaded into singing to get her payment. Unfortunately, she is fired and never paid after the European woman uses he music for her concert. Going so far as to kick her out in the street on the ride back.

A quick sidebar: One thing that I noticed in the film and wasn’t spoken on was the inclusion of all 4 racial factions in Peru. Granted this didn’t have any plot or thematic purposes, but I felt it was a nice subtle reference to the people of Peru and a nice hint at the socio-economic factions that reside. All four of the normally impoverished  groups in Latin America: Black Hispanics, Natives, Hispanics and Europeans. The first three all worked for the Europeans within the mansion set in the middle of the market place.

I know people have a natural aversion to knowing the ending of movies, so I won’t go into it even if I divulged far more of the plot than I wanted to. So I’ll just leave with my favorite second favorite shot in the movie.

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Raiding the archives: How Tasty Was My Little Frenchmen

When I don’t have any topic on hand, I’m going to go back to posts I’ve already written elsewhere and placing them on my blog because the majority of people that visit my blog haven’t read these before so it’s new content for them. Nice to stock up on topics before I take my hiatus.

How Tasty Was My Little Frenchman is a Brazilian film set during France’s and Portugal’s early trading with Brazil’s natives. The film is essentially about how a Frenchman gets confused as Portugese because he’s found with Portugese men when this the Tupinambás attack. In actuality the Tupinambás trade with the French, but do not know how to verify whether or not he is French (not understanding the difference between French and Portugese) and the issue isn’t helped by the Frenchmen that trades with the villagers who tells them that the captured Frenchman is indeed Portugese. So he’s giving 8 moons (months) to live in the village until he is cannabalized. Before then though, he is given status as any other villager including a wife.

For those who’ve seen the any movie about or with Native Americans or “tribal” people in general, you’ll be happy to know that there isn’t any noble savage tropes in this movie. Everything is as it was. A few reviews/discussions I’ve read about the movie has described it as a black comedy or satire and using some variation of it being shot like a documentary. I do not believe it resides in either camp. While you might laugh at some cultural misunderstandings between the two, the movie is largely played as a matter of fact between the two cultures about what they do and do not understand about each other.

Also, I can’t say it is shot like a documentary because documentaries are shot in a myriad of ways. The most fitting way to describe it to myself at least would be non-sexual voyeurism. Obviously, voyeurism is defined by the fact that what you’re seeing is sexual in nature, either by the person being watched or intended affect on the watcher. However, nothing is sexual about the movie even though all the indigenous people are naked throughout the film. I would be hard pressed to say I didn’t constantly look onward. Maybe not as a pervert (or maybe so), but because the idea of being constantly naked is alien to me and it never really settled in my mind. Everyone is shaved too which is extremely odd, but all the characters are Europeans and it was filmed in 1971 so it really isn’t surprising from that front.

The movie didn’t strike me in any particular way while watching it, however in one of the extras a professor offered something completely obvious that I had missed. It’s a critique of not only the first encounter of Europeans with Latin America, but also colonialism and neo-colonialism. The Frenchmen was happy enough to be with the Tupinambás. He would go so far as to fashion his hair like the natives as well as partially (un)dress like them. But when speaking to the captive Frenchmen who would only refer to them as “savages” and scoffed at the prospect of giving them gunpowder. He would only trade for triquets like beads or mirrors to the women in exchange for Brazilian wood. Obviously setting forth the chain of events that still continue to this day of trading valuable natural resources for a price worth far less.

As for the ending? He does indeed get eaten. With resistance only insofar as he expected to give because part of the ritual entails that he must attempt an escape. Once captured, he must hurl rocks or fruit at his captures as they prepare to eat him. The Frenchmen doesn’t seem to resign to his fate because with as little as one month left he attempts to make an agreement for gunpowder in exchange for his freedom. This falls on deaf ears because even though the gunpowder is delivered, his freedom is not given. On the otherhand however, he has grown to accept his fate in several ways with him going on completely along with the ritual and attempting to take his wife with him in his brief attempted escape.

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Apollo 18 and Empathy (really short post)

My sister dragged me to see Apollo 18 today because nothing of interest came out this weekend. I was pretty ambivalent towards it considering I’m scarcely a fan of horror films as is and I’m even less of a fan of ‘found footage’ horror films in particular. So I likely wasn’t going to be moved by the film in the slightest regardless of whether the quality was exponentially higher or lower. It doesn’t have the benefit of Blair Witch Project in that it’s incredibly formulaic (based off of the aforementioned formula of BWP) and the ‘weird stuff REALLY does happen in real life’ doesn’t carry over because the setting is so far detached from any human beings day-to-day life. It also doesn’t help that no one is interested in the moon, the Cold War, or anything involving NASA right now either. On the positive side, it did manage to capture the look of the era it attempted to emulate.

I ran over to RottenTomatoes to read critic and fan reactions and they were far more negative towards the film than myself. One thing that stuck out to me was the claim that was brought up was that there wasn’t enough information given on the characters for us to care. This has always struck me as odd. Do you need biographical information on ever human being that you set your eyes beyond before you can extend the gift of empathy upon them? There are many situations in life that individuals don’t have the live experience to do a parallel emotional leap to, but can you not be happy for another’s happiness? Can you not feel their pain? Shouldn’t the only concern be whether or not the character is recognizable as a human?

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