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Critically acclaimed documentary about the dramatic performance of one of the reigning queens of contemporary theater and film, Meryl Streep, as she interprets the role of Mother Courage in Tony Kushner's The Public Theater/NY Shakespeare Festival in Central Park production of Mother Courage and Her Children.
This inspired doc investigates the power of theater to provoke its viewers out of their complacency in the midst of protracted war, and proves the urgent relevancy of the great 1939 anti-war play by one of the twentieth century's most renowned playwrights, Bertolt Brecht.
"...filmmaker John Walter jumps from art to history and politics and back again, from the theater of the streets to the theater of the stage, without pause. That makes the movie... tough to summarize, which is part of its appeal" - Manohla Dargis, The New York Times
Definitive film on the gypsy punk rock band and international sensation uncovers the insane party culture of the band and its leader and borderline movie star Eugene Hutz.
“In “Gogol Bordello Non-Stop” [Eugene Hutz] emerges as a passionate, articulate philosopher of punk’s democratic participatory aesthetic who espouses the rejection of social hierarchies in concerts that are raucous, bacchanalian performance-art carnivals.” — Stephen Holden, The New York Times
A vibrant chronicle of one of today’s most notorious and revered live bands, GOGOL BORDELLO NON-STOP follows Eugene Hütz’s gypsy-punk brigade around the world as they spread their liberating libertine musical gospel. Filmmaker Margarita Jimeno tracks their raucous gigs from 2001 to 2006, from NYC to Italy, as the band rises from dingy basements to festival main-stages. The cast is a rotating circus of polyglot personalities from Israel, Russia and America, who dish on their music, their heritage, and their favored vices. Hütz, a sardonic mustachioed Ukrainian immigrant and the group ringleader, fuses his gypsy heritage with a love of punk rock and burlesque. Part carnival barker, social organizer, and poet, he’s a mesmerizing presence on-stage and off.
GOGOL BORDELLO NON-STOP is an artful documentary that mixes flamboyant costumes, intricate dance choreography, a relentless beat and an explosive energy not seen since the dawn of rock ‘n’ roll.
Nice to see that Last Train Home from EyeSteelFilm, the same production company that produced Up The Yangtze and the documentary Taqwacore, is getting a phenomenal reception. Ella Taylor from NPR writes:
And the Chinese documentary Last Train Home ended up as my favorite film of the festival, bar none. Director Lixin Fan followed a migrant-worker couple trying to get tickets for trips home to their village to see the kids they left with their grandmother years ago in order to earn a meager living. Watching this devastating portrait of a family trying to glue itself back together, you wonder how China, on its way to becoming the world's richest nation, will avoid civil war if it doesn't also attend to the needs of the millions of poverty-stricken families like this one.
It won the IDFA Best Documenatary Award and is apparently poised to storm America.
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