Gaza, before and after aerial footage, presumably shot with a GoPro ‘copter.
A mind-bogglingly stupid waste. We waste the planet and each other for the dumbest, greediest, most grandiose fictions. For example, everywhere. It’s a form of collective insanity.
THE SAND STORM (沙尘暴)
Ai Wei Wei is a water smuggler who navigates a tumultuous, dystopian city on the brink of calamity in this lyrical “low-fi sci-fi” short, the implied set-up to an even bigger story.
Short film. Eco-futurist. China. Beautiful. Amazing art direction.
A proof-of-concept, short film narrative reference.
Ferguson Protests: Where Do We Stand? Russell Brand critiques Bill O’Reilly. Surprisingly good analysis of media, race and political economy. Funny.
Palestine. Tire rolls down hill toward Israeli soldiers. Hilarity ensues.
لحظه وقوع جندي صهيوني من عجل ههههههههههــ مسخرة
Or, according to Google translate: Moment and the occurrence of a Zionist soldier hastily Hahahahaha Masquerades
Fight to the Death in Gaza - Sehrank Retouched
A cartoon - via The Independent - amended to reflect reality. Children are not caught between a war machine and a war machine. Israeli children are not being bombed by the Palestinian Air Force. There is a single war machine. It is killing children. (And the brothers of the victims are bent on revenge, to the extent that it’s possible without an army, navy or air force - or even an official spokesperson to go on the news.)
I’m generally astounded so many young filmmakers want to make movies in the Hollywood production style today, but they do. At the very point where cinema becomes digital and democratised, people want to emulate industrial production methods. Visual effects became digital, editing and film processing became digital, projection became digital, and even hardware became digital. DSLRs made cameras digital and miniaturised all the grip gear. It took the people off the dolly and shrunk everything like a Japanese chihuahua. Even lights are digital now; tiny, low energy, computer programmable lights. It’s amazing all this stuff happened - it is a gift! And it’s equally amazing there are so many people that don’t seem to get it. For the first time, the idea of the cinematic auteur is inevitably the dominant form of production. It’s no longer a tendency or theoretical construct, battling the studio system. It is the new dominant mode. The film industry may be in trouble, but the cinematic auteur is a new, much more exciting possibility.