lnp3
A rejoint le janv. 2006
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Note de lnp3
I was somewhat amused to see the "leftist" criticism of this movie by Barry Freed. I have been involved with Marxist politics since 1967 and can assure IMDb readers that the movie is based on Marx's theory of primitive accumulation. My review begins here:
Scheduled for theatrical release in September 2009, Philippe Diaz's "The End of Poverty?" was a feature presentation at the 2008 African Diaspora Film Festival. After watching this documentary last night, I feel confident in stating that there is no sharper critic of the capitalist system in the film world than Philippe Diaz. This amazing movie not only explains how global inequality has its roots in 1492, but also allows the victims of "Western civilization" to speak for themselves. Indeed, the movie will remind you of Mahatma Gandhi's famous rely to a Western reporter who asked him what he thought of Western civilization. He answered, "I think it would be a good idea."
full: http://louisproyect.wordpress.com/2009/02/26/the-end-of-poverty/
Scheduled for theatrical release in September 2009, Philippe Diaz's "The End of Poverty?" was a feature presentation at the 2008 African Diaspora Film Festival. After watching this documentary last night, I feel confident in stating that there is no sharper critic of the capitalist system in the film world than Philippe Diaz. This amazing movie not only explains how global inequality has its roots in 1492, but also allows the victims of "Western civilization" to speak for themselves. Indeed, the movie will remind you of Mahatma Gandhi's famous rely to a Western reporter who asked him what he thought of Western civilization. He answered, "I think it would be a good idea."
full: http://louisproyect.wordpress.com/2009/02/26/the-end-of-poverty/
Set in 1976 in some unidentified midsize city, "Peacock" tells the story of three young adult members of the Gao family trying to make their way in post-Cultural Revolution China. This is very much a fleeting moment in time when Chinese society is still marked by the austerity of the Maoist era and when foundational beliefs in communism have all but vanished--soon to be replaced by consumerism.
Structured as a kind of trilogy that puts each child successively into the foreground, it begins with the tale of Weihong (Zhang Jingchu), the daughter and youngest child. Returning home one day on her bicycle, she experiences an almost mystical encounter with a group of male and female paratroopers parachuting into a nearby field. When the parachute strings of the squad leader, a handsome man with a Beijing accent (as the subtitle indicates), gets tangled in her handle-bars, she resolves at that moment to become a paratrooper herself. That decision has more to do with the romance of the uniform, an attraction to the squad leader and the esthetics of the blue silk parachute than it does with the legend of the Red Army. Furthermore, the Beijing accent has a certain cachet for Weihong, which for denizens of her city must have the same class connotations that an Oxbridge accent has for somebody living in the East End of London.
After the Red Army rejects her application, she carries a torch both for the handsome squad leader and the numinous parachute. At home she sews together her own parachute, attaches it to the back of her bike like a kite and rides through the streets until unceremoniously crashing into another bike. While she lies semiconscious on the street, an admirer, whom she has rejected in the past, takes the parachute hostage. He will only release it after she has had sex with him in a nearby forest. In this film, love--like all other ideals--comes in short supply.
full: http://louisproyect.wordpress.com/2006/06/16/peacock/
Structured as a kind of trilogy that puts each child successively into the foreground, it begins with the tale of Weihong (Zhang Jingchu), the daughter and youngest child. Returning home one day on her bicycle, she experiences an almost mystical encounter with a group of male and female paratroopers parachuting into a nearby field. When the parachute strings of the squad leader, a handsome man with a Beijing accent (as the subtitle indicates), gets tangled in her handle-bars, she resolves at that moment to become a paratrooper herself. That decision has more to do with the romance of the uniform, an attraction to the squad leader and the esthetics of the blue silk parachute than it does with the legend of the Red Army. Furthermore, the Beijing accent has a certain cachet for Weihong, which for denizens of her city must have the same class connotations that an Oxbridge accent has for somebody living in the East End of London.
After the Red Army rejects her application, she carries a torch both for the handsome squad leader and the numinous parachute. At home she sews together her own parachute, attaches it to the back of her bike like a kite and rides through the streets until unceremoniously crashing into another bike. While she lies semiconscious on the street, an admirer, whom she has rejected in the past, takes the parachute hostage. He will only release it after she has had sex with him in a nearby forest. In this film, love--like all other ideals--comes in short supply.
full: http://louisproyect.wordpress.com/2006/06/16/peacock/
As part of First Run Features Global Film Initiative, "Daughter of Keltoum" is a worthy if far from perfect entry by Algerian film-maker Mehdi Charef, who has lived in France since the age of 10. It is an exploration of the class and gender oppression facing the Kabyle peoples, the Algerian branch of the Berber nationality that lives primarily in the mountainous region of the north.
It is focused on the relationship between Rallia (Cylia Malki), a 19 year old Kabyle who was adopted by Swiss parents as an infant, and her aunt Nedjma (Baya Belal). Rallia has returned to the village where she was born in search of her mother, who is now working as a hotel maid in a distant city. She is also in search of answers to the question of why her mother gave her up.
If Rallia does not understand why, the viewer certainly will. This is a land of grinding poverty, where women are treated as beast of burden. Nejma is in awe of Switzerland where water is readily available from a tap. In her village, she fills up plastic tanks from a remote well and trudges back several times a day. Nejma, who appears to have been driven half-mad by poverty, has very few pleasures in life other than a occasional visit from Rallia's mother, who brings candy and trinkets for the family. In a nearby abandoned religious shrine, Nejma has constructed her own altar out of empty cigarette packs and other colorful but worthless items found on the road beneath the village.
full: http://louisproyect.wordpress.com/2006/06/10/daughter-of-keltoum/
It is focused on the relationship between Rallia (Cylia Malki), a 19 year old Kabyle who was adopted by Swiss parents as an infant, and her aunt Nedjma (Baya Belal). Rallia has returned to the village where she was born in search of her mother, who is now working as a hotel maid in a distant city. She is also in search of answers to the question of why her mother gave her up.
If Rallia does not understand why, the viewer certainly will. This is a land of grinding poverty, where women are treated as beast of burden. Nejma is in awe of Switzerland where water is readily available from a tap. In her village, she fills up plastic tanks from a remote well and trudges back several times a day. Nejma, who appears to have been driven half-mad by poverty, has very few pleasures in life other than a occasional visit from Rallia's mother, who brings candy and trinkets for the family. In a nearby abandoned religious shrine, Nejma has constructed her own altar out of empty cigarette packs and other colorful but worthless items found on the road beneath the village.
full: http://louisproyect.wordpress.com/2006/06/10/daughter-of-keltoum/