Category Archives: Video

Saturday Matinee: 99 Homes

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By Sheila O’Malley

Source: RogerEbert.com

Ramin Bahrani makes films about the American Dream as seen through the eyes of those on the margins of the increasingly unrealistic “mainstream” life: immigrants, children, transplants, or those too damaged to participate anymore (like the grizzled old dude played by Red West in “Goodbye Solo“). For the most part, these people still believe in the American Dream. They hope, strive, plan. But the system has failed them. The system is broken, and never more broken than in Bahrani’s latest film, “99 Homes,” starring Michael Shannon, Andrew Garfield and Laura Dern.

“Don’t get emotional about real estate,” warns real estate broker Rick Carver (Shannon) throughout “99 Homes,” as people are forcibly evicted after defaulting on bank payments. Carver’s may be practical advice, considering the economic crash and the housing crisis, but it is also heartless. Real estate to Rick Carver means money and opportunity; real estate to everyone else means “home,” and what is more emotional to human beings than the concept of “home”? 

The film opens with a brutal eviction sequence, filmed in one take. Blood spatters the bathroom walls as the resident commits suicide, all as the sheriff’s department swoops through the house, overseen by Rick Carver, a shark-eyed man in an ill-fitting blue suit, smoking a glowing-blue electric cigarette. The story shifts to Dennis Nash (Andrew Garfield), a single dad living with his mother (Laura Dern) and his little boy Connor (Noah Lomax) in the family home. Mom works a hairdressing business out of the living room. Dennis works construction but jobs are hard to come by. Nobody’s building anymore. Bills pile up. They are in danger of losing their home. Dennis goes to court to fight for more time, he tries to get a lawyer to work pro bono.

One day, the reckoning arrives. The sheriff’s department shows up, led by Rick, to evict them. In a harrowing scene of mounting panic, Dennis and his mother protest as Rick drawls, both easily and with enormous aggression, “This isn’t your house anymore, son.” The fight that ensues is acted and filmed with almost unbearable immediacy (cinematographer Bobby Bukowski does superb work throughout). Given two minutes to vacate, the hyperventilating family pile up whatever possessions they can fit into the back of a pick-up truck, and head to a cheap motel, filled with people in the same situation. “We’ve been here two years now,” says a woman.

Dennis will do what it takes to get his home back, including accepting a job working construction for his nemesis Rick. It’s a deal with the devil, and all that that implies. Dennis gets sucked into Carver’s circle of easy cash, shady deals. Within almost no time, Dennis is on the other side of those evictions, standing in the doorway, waiting for the confused angry residents to vacate. The door-to-door sequences are masterful. These people don’t seem to be professional actors (although they may be), their reactions are so raw and real. The audience is placed in the uncomfortable position of voyeurs, eavesdroppers, on a human being’s lowest moment. 

“99 Homes” operates like a thriller (from its stunning opening one-take sequence), with elements of melodrama to heighten the stakes. (Some of the melodramatic elements don’t work as well as the rest, relying, as they do, on coincidence, racing against the clock, etc; the reality is horrifying enough.) Held together with Antony Partos and Matteo Zingales’ portentous original score, thrumming underneath almost every scene, “99 Homes” represents a shift for Bahrani. His other features have been small dramas, filmed accordingly: lots of hand-held camera work and a naturalistic approach. “99 Homes” has a strong look, a bold mood, with attention-getting shots like that opener, as well as a couple of aerial shots showing homes stretched out below. From that vantage point, homes look generic. To those on the ground, of course, it’s a very different story. 

Andrew Garfield, as a man who has “failed” in his duty as protector and provider, has an almost constant sense of panic throughout, catching his breath in his throat, his posture tight and alert. Tears threaten to overwhelm him, but Dennis does not have time for self-pity. Nobody does. His one goal is to get his house back, the crevasse of permanent instability opening beneath him and his family. Bahrani keeps that heat turned up in the machinations of the plot, as Carver seduces Dennis with offers of wealth (meaning, in Carver’s world, self-respect). “America doesn’t bail out losers,” Carver tells Nash. “America bails out winners.”

Michael Shannon is both ruthless and strangely tender in his seemingly irredeemable character. Carver explains his background to Dennis, his humble roots, his roofer father, his jobs in construction. Up until the crash, his job was putting people into homes. It’s not his fault that his job has now become throwing people out. Any hard economic time will create a man like Rick Carver, determined to make more money off the slump than the boom. It’s a very honest performance. 

Reminiscent of the films of Jafar Panahi (which also focus on those on the margins), Bahrani’s films are a critique of the very concept of “mainstream.” If there is to be a mainstream, then the boundaries must be more inclusive. Bahrani’s films represent an urgent demand that audiences pay attention to the world and the people around them. His films insist: Look. See. Bahrani accomplishes this not by making “message” films, but by focusing on individual characters, whether it be a Pakistani former singer who now pushes a food cart in Manhattan (“Man Push Cart,”) a little Latino boy working in an auto-body shop (“Chop Shop,”) or the optimistic Senegalese-American who drives a cab and dreams of being a flight attendant (“Goodbye Solo.”) Through these characters, Bahrani critiques American life, its economics, its class divides, its assumptions and social strata. Like Panahi, he is a humanist. The dignity of the individual is all. 

“99 Homes” is a ferocious excavation of the meaning of home, the desperation attached to real estate, the pride of ownership and the stability of belonging. The pace never lets up. Once a person slips below the mainstream, it is nearly impossible to gain a foothold again. These characters struggle like hell to survive.

Saturday Matinee: Prescription Thugs

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By Zach Hollwedel

Source: Under the Radar

In 2008, Chris Bell’s Bigger, Stronger, Faster* plunged into the (un)surprisingly rampant reality of athletic doping. Never a fly-on-the-wall documentarian, Bell organically infuses himself into his films, rendering them particularly potent. In the case of his fascinating 2008 exposé, Bell turned his lens on American bodybuilders’ use of steroids, with a particular focus on his own brother, Mike. Mike “Mad Dog” Bell was an aspiring WWE wrestler who, while struggling to achieve the stardom he so fully desired, took to using performance and muscle enhancers.

Now, seven years later, Chris Bell returns with a natural follow-up. Prescription Thugs examines the fallout of another substance abuse problem all too common in, though far from exclusive to professional sports. Perpetually banged and bruised in the ring, Mike Bell took to prescription drugs as a means of curing—or at least numbing—his ailing body. He was by no means alone. Chris Bell and his co-directors, Josh Alexander and Greg Young, interview a number of athletes whose dependency upon over the counter medications got the better of them.

Immensely relatable and genuine as the face of the film, Bell sheds tremendous light on America’s dependence on prescription medication, an addiction which he indicates was largely born in the Reagan years. Given his brother’s history—and, it turns out, his own—Bell approaches the problem from an extremely personal angle, and the honesty pays off in spades. We feel for Bell and his friends and family, as they break down—or defend—their perilous reliance upon pill popping. One of the most extreme cases is Matt “Horshu” Wiese, who at the acme of his addiction, was taking upwards of 90 pills a day. Horshu admits that part of his regimen included two Viagra each morning, “just in case.” Through interviews with his burly subjects—and also with homemakers and students, who inadvertently and unintentionally got hooked—Bell reveals how easily one pill can lead to two, can lead to ten or more. The genesis of the addiction often comes in the form of the “just ask your doctor” Rx ads that inundate television these days. Big pharma colludes to sell medication for virtually any and every imaginable symptom (some of which they basically fabricate), and when side effects present previously unfelt problems, they develop a secondary drug for those. So on and so forth, until consumers are hooked to a habit Bell reveals to be little different from a legalized form of heroin in some cases.

With Prescription Thugs, Bell again proves a consistent, affable filmmaker well versed in investigative filmmaking with a penchant for the personal.

www.prescriptionthugs.com

Watch Prescription Thugs on Kanopy here: https://www.kanopy.com/en/product/582224

Saturday Matinee: Dark Clouds Over Elberton

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Source: Vimeo

In 1979, a mysterious stranger appeared in the remote town of Elberton, Georgia. The man introduced himself as R.C. Christian, but admitted this was not his real name. He claimed to represent a small group of loyal Americans who wanted to erect a monument they hoped would inspire “the Age of Reason.”

The monument was named the Georgia Guidestones, and since its completion has spawned a host of conspiracy theories about who or what was behind it. Written on the great granite stones are ten commands or “guides” that were intended to provide wisdom for mankind. But the first of them calls for a reduction of the world population to a mere 500 million. In order to achieve this, billions of people would have to die. Many have wondered: is the monument designed to inspire wisdom? Or to launch a global genocide?

Researchers have wondered for decades about the identity of R.C. Christian and the purpose of his mysterious structure. Was he part of a globalist group? Was he working with the United Nations? After a five year investigation, this powerful documentary presents groundbreaking information, and dares to solve the mystery of who R.C. Christian really was.

This film is a must see for those who wish to learn more about the globalist use of environmentalism towards the cause of population control.

An ADULLAM FILMS Production
Written & Directed by Christian J. Pinto
Produced by Christian J. Pinto, Dr. Mike Bennett
ADULLAMFILMS.com

Bonus Short

Saturday Matinee: Lo and Behold

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Lo and Behold, Reveries of the Connected World

A bold and multidimensional documentary about the glories and the drawbacks of the Internet.

By Frederic and Mary Ann Brussat

Source: Spirituality & Practice

Werner Herzog is an inimitable documentary filmmaker whose curiosity, wonder and awe for the mysteries and eccentricities of our world is unbounded. One of the hallmarks of his work is his unmistakable voice-overs (with a distinctive German accent) which serve as the narrative threads holding the materials together. Here are five of his most recent documentaries which illustrate the diversity of themes that interest him:

  • Cave of Forgotten Dreams: A 3-D tour of the Chauvet Cave which houses art that is 30,000 years old.
  • Encounters at the End of the World: A visually stunning documentary about the scientists, dreamers, adventurers, philosophers, and creatures of Antarctica.
  • Grizzly Man: A mesmerizing documentary about a young man obsessed with grizzly bears in the Alaskan wilderness.
  • Into the Abyss: A daring examination of capital punishment filled with small and humble human touches.
  • Wheel of Time: An exotic look at a Buddhist ritual held in Bodh Gay, India, and Graz, Austria in 2002 that attracted thousands of pilgrims.

In Lo and Behold, Reveries of the Connected World, Herzog tackles the complex, controversial, and mysterious Internet. He refers to this technological tool as “one of the greatest revolutions” in human history. This bold and multidimensional film is divided into 10 chapters:

  • The Early Days
  • The Glory of the Net
  • The Dark Side
  • Life without the Net
  • The End of the Net
  • Earthly Invaders
  • Internet on Mars
  • Artificial Intelligence
  • The Internet of Me
  • The Future

Here you will discover a breadth of material that ranges from the very serious to the extremely quirky and odd. Herzog begins with a terse history of the Internet’s beginnings at U.C.L.A. during the 1960s. Leonard Kleinrock, a professor of computer science, takes us into the “holy room” where the first Internet computer remains. He recalls his feelings when a message was transmitted from this computer to the Stanford Research Institute on October 29, 1969. Programmers were on the phone confirming that the login was happening. Stanford replied that they had received the “L” and the “o.” Then its computer crashed. So the first Internet message was “Lo.” This documentary chronicles what happened beyond that.

Danny Hillis, another scientist, reminisces about a time when all the users of this technology could be identified in one directory. Now, he states, the global directory would be 72 miles thick. Another statistic which stands out is: “Today, about 3.2 billion people use the internet around the world.” Herzog chimes in that CDs containing a single day’s worth of global data would stretch “to Mars and back.”

Here are some observations made in interviews with computer and robot specialists, hackers, technicians, programmers, gamers, and professors.

  • Elon Musk, the entrepreneur behind Telsa, is now interested in colonizing Mars; he also reflects on cyberwarfare or other earth catastrophes.
  • Kevin Mitnick, a legendary hacker, reveals the mayhem and the mischief that can take place by those who can get into large computer systems; cyberwarfare now puts smaller states on the same level as larger ones.
  • Joydeep Biswas, an engineer who has put together a robotic soccer team, shows how they work together and even reveals his favorite robot player.
  • Sebastian Thrun, an online-learning pioneer, notes that self-driving cars can all learn from the collective experiences of other cars and their mistakes, unlike human drivers.

Also included is an account of abusive cyber behavior ending with a mother calling the Internet “a work of the Devil” after pictures of her dead child were widely circulated online. Herzog talks with several persons who are sensitive to electromagnetic waves and get radiation sickness; they now live in an isolated area totally off the grid. A segment on video-game addicts reveals that many of them have completely stopped being present to the real world; some have developed blood clots in their legs after sitting so long at their computers. Astronomers explain that a large solar flare, which has not happened in many years, could disrupt Internet communication worldwide, affecting all the food supply, water and other systems supporting modern life.

In a telling scene, we see a group of Buddhist monks standing in front of a city skyline and the question is posed, “Have the monks stopped meditating?” We see that they are not bowing their heads in prayer or meditation. All of them are totally focused on their cell phones. Herzog quotes a startling statistic: There will be 31 billion devices connected to the Internet by 2020.

A famous New Yorker cartoon by Peter Steiner shows two dogs by a computer. The caption reads: “On the Internet, nobody knows you’re a dog.” It’s good for a laugh, and it’s also a reminder that Internet technology is raising many spiritual questions. Who are you? Where do you really live? And who are your companions? Don’t miss this thought-provoking documentary!