In a remote wintry forest, a hunter discovers the mummified corpse of a 40-year-old man. A diary is found near the body, detailing the man’s everyday thoughts as he commits suicide through self-imposed starvation. Based on an incredible true story, and adapted from the novella “Until I am a Mummy“ by Shimada Masahiko, Peter Liecthi’s THE SOUND OF INSECTS is a stunning investigation into the mystery of the man’s enigmatic self-destructive motivations. Taking on his point-of-view, the film presents the notebook entries as stream-of-consciousness musings on the world around him as his body dissipates, an attempt to piece together the causes of his disillusionment. With luminous cinematography of the vaulting trees that surround his tented tomb, and of hallucinated memories of the cities and people he left behind, THE SOUND OF INSECTS is a hypnotic and transcendent meditation on how the renunciation of life paradoxically reveals its beauty.
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In Emmanuel Laurent’s new documentary, “Two in the Wave,” the “two” are the filmmakers François Truffaut and Jean-Luc Godard. The wave, needless to say, is La Nouvelle Vague, a journalistic name that not only stuck to Truffaut, Mr. Godard and their colleagues, but that also changed the way film history is understood.
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In 2006, The Public Theater in New York City mounted an outdoor production of Mother Courage and Her Children, which boasted a new translation by Tony Kushner, featured Streep and the great Kevin Kline, and was directed by the Public’s George C. Wolfe. Written in 1939 largely in response to the invasion of Poland by Hitler’s German army, the play is about the devastating effects of war and the blindness of anyone hoping to profit by it. Nearly seven decades later—as the war in Iraq wages on with no discernible end—Brecht’s play has a lamentable resonance. That is, it rhymes.
Walter takes us behind the scenes, including unprecedented access into Streep’s artistic process. He interweaves these scenes with enthralling details about the play’s author, including a pivotal moment of Brecht’s brilliant testimony before the House Un- American Activities Committee, when he gave a brilliant performance and quickly departed the stage and the country.
THEATER OF WAR is more than a backstage pass. It’s an engrossing and fiercely intelligent look at war and capitalism, and their regrettable dependence on one another. But even more, it’s about the power—if not responsibility—of art and artists to cast a light on that which we prefer not to see.
Starring: Meryl Streep and Bertolt Brecht
Directed By: John Walter
Most Americans have no trouble believing that God exists, but they are uncertain about whether an American ruling class exists. They seem to think the idea of a ruling class is restricted to European aristocracies of yore and assorted eastern potentates of today. In The American Ruling Class Lewis Lapham takes a wry trip across America, ostensibly to educate two fresh-faced graduates about the ways of power and privilege. Some of their interlocutors express puzzlement about the very idea of a ruling class in America, while others seize on the phrase with palpable disdain for anyone who has doubts about the concept. The result of these conversations is instructive and sobering; I was particularly struck by the sheer difficulty of living in America on a standard working wage—the kind a waiter might expect to earn. Clearly, some people earn too little, while others “earn” too much. Surely there can be no serious doubt that a minority of the population commands more power per capita than the majority: some people own disproportionately large amounts and have access to political power that is commensurate to their wealth. If that is what we mean by a ruling class, then there indubitably exists one in America. Read more on Colin McGinn Blog
Related: The American Ruling Class
In Religulous, Bill Maher was on a satirical quest to find God and understand religion while laughing at the extraordinary claims by the religious. The advertising guru, Simon Cole, took a completely different approach in his documentary film "So Help Me God." It’s not a comedy, but rather it is a drama – portraying a real spiritual quest to find God.
Instead of laughing at the religious and what they say, he listened and asked questions trying to understand God. Going from one religion to another, from one denomination to another, he begins to realize that the question is not only where God is, but who’s God is the right one. Everyone is convinced their God is the one, but how can you truly believe it if there are so many religions in the world?
It was delightful when occasional, genuine humor would distract you from the truth. While talking to Presbyterians about homosexuals one of the older guys, probably in his 70 said, "Don’t you love that all these fundamentalists quote the King James Version; and he was as queer as three dollar bill."
You can’t help but laugh.
If you want something refreshing, something personal, and powerful – watch "So Help Me God." As an atheist you will see religion from a different perspective and as a theist you will enjoy Simon’s search for God. It’s very healthy to search for the unknown as it takes courage, especially when the unknown defies the mainstream status quo.
A personal master piece that will leave your mind in a deep thought contemplating about your own spiritual state of mind. You owe it to yourself to watch it.
Read the original article here or watch «So Help Me God» trailer.
1 comment ( 2132 views )Posted by Mark Zhuravsky
You might think you know what to expect of this film on the basis of the title. Yet, shoehorning So Help Me God into the category of spiritual documentaries would not be quite right, as the film is a highly personal story of exploration, brisk yet thought-provoking, not to mention visually captivating. Our protagonist is one Simon Cole, a well-off man, happily married and seemingly economically unburdened. Simon however carries a load he regretfully cannot drop off his shoulders--he greatly longs for a connection to God. This is a presence Simon does not have in his life and he is driven to at the very least understand it.
As such, he strikes out on the journey that will be the subject of the documentary, done in collaboration with his two brothers Ben and Nigel Cole. With a background in commercials, the brothers bring a visually expressive eye to the proceedings, adding a new dimension of sight and sound that keeps the documentary from slipping into dry discussion. It helps that Simon is a personable and earnest interviewer who does not hesitate to bare his regrets and fears to the camera. The film also benefits from a variety of religious figureheads who share their opinions with a candid openness that echoes throughout the film.
This is an honest attempt to explore one man’s religious conundrum, yet Simon personifies those of us who have questioned their faith or lack thereof. He is earnest and steadfast, a narrator without a shadowy agenda to ridicule or challenge the beliefs of those he encounters and questions. He is burdened by his dilemma and seeks an answer to it in any way he knows how. The final scenes of Simon isolating himself to the desert for some serious soul-searching are among the most emotionally affecting in the film – you can see the exhaustion and difficulty to cope transcribed on Simon’s face. So Help Me God is his story, and it is an exhilarating one.
The enthusiasm of Nollywood Babylon is infectious. Focusing on the widely unknown (in the U.S., at least) Nigerian film industry, this documentary speeds its way through seventeen years of their film history. Starting in 1992, the video market in Lagos has provided financial opportunities for hundreds of actors and directors making thousands of films. Clocking in at about 2500 films a year, Nigeria has the third largest film industry (the first and second being the U.S. and India, respectively). Seeing the passion that these artists share for films showing the real experiences of Nigerians, and the love of Nollywood itself, is inspiring for independent filmmakers everywhere, struggling to get their little pictures made.
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