Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and ... See full summary »
A war photographer who recently endured a brutal detainment in Libya holes up in Sicily to come to terms with her ordeal, not far from the home of her former lover and mentor. Soon she ... See full summary »
Emily, a troubled spirit, haunts her own house every day, wondering why she can't leave. With the help of Sylvia, a clairvoyant hired to rid the house of spirits, Emily is forced into a '... See full summary »
In World War II, the widow Barny sees the Italian soldiers arriving in occupied Saint Bernard while walking to her job. Barny lives with her daughter and works correcting tests and feels a ... See full summary »
The boy Krishna is abandoned by his mother at the Apollo Circus and she tells him that he can only return home when he can afford 500 rupees to pay for the bicycle of his brother that he ... See full summary »
Through flashbacks, Full English Breakfast follows the violent career of Dave Bishop (Dave Courtney) a small-time London villain who kills his way to the top of Britain's drugs empire. Now ... See full summary »
A portrait of the dark and tortured world of artist Matt Elliott, who opens up in rehearsals, interviews or writings. With disturbing clarity of expression, Elliott discusses his depression... See full summary »
The Green Wave is just a taste of what documentary filmmaking might become in the era of social networking. The film is a collage of real life footage and animation, based entirely on blog posts that were written by a number of anonymous Iranians who experienced the aftermath of the election chaos in Tehran. Aesthetically there are certain parallels that can be drawn between The Green Wave and another political animation film, Waltz with Bashir. But unlike Wlatz With Bashir, The Green Wave uses its animation segments not to make intellectual statements on the terrors of war, but to fill in holes between the personal stories of showcased bloggers and the footage that the director of the film managed to access over the internet. The narrative is powered by the blog updates in a very un-cinematic way and so the images are merely the illustrations of the terror the Iranians had to embrace.
The collection of different personal takes on the political situation in Iran although not quite imaginative in its use of cinematic language, is definitely needed and was certainly appreciated by the audiences at Sundance. The bravery of the people who agreed to show their faces on the screen and make clear statements against the Ahmadinejad's regime are admirable; Ali Samadi Ahadi uses the means of social networking as a crucial tool in obtaining information about the abuse caused to the Iranian people during the unfair election of 2009 and does it very poignantly and with heart. He proves that even such atrocious regime as the one conducted by Ahmadinejad cannot withhold the truth completely in the era of facebook and Google. Most importantly though, Ahadi shows that as the means of communication change rapidly so does the language of cinema and so the political filmmaking must remember to reach for new sources of information and look for new forms of expression.
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