#Beyond Utopia

[sesiondemadrugada]

Beyond Utopia (Madeleine Gavin, 2023).

[odinsblog]

Usually, when refugees flee an oppressive regime, they know what they’re leaving behind; they can taste the freedom they’re searching for. But part of the story “Beyond Utopia” tells is that the citizens of North Korea don’t fully understand how oppressed they are. They can’t; they’ve never seen any other way of being.

In that sense, apart from Nazi Germany, the country that North Korea most resembles is Mao’s China during the insanity of the Cultural Revolution and the Great Leap Forward. Tens of millions of people died in China from famine, due to Mao’s disastrously unhinged economic policies. In the aftermath, partly to cover all that up, China became the first National Propaganda Media State, subjecting its vast populace to a daily brainwashing, with Mao held up as a living deity.

The North Korean regime, in many ways a depraved outgrowth of Maoism, goes even further. As the film shows us, it has taken its made-up theology from the Bible, with Kim Jong-un portrayed as a Christ figure, and we see footage of the great mass stadium exhibitions that the citizens, including thousands of schoolchildren, rehearse for a year at a time — displays that look like the opening ceremony of the Olympics staged on a mile-wide electronic billboard in which every LED light is a choreographed human being. All of this loony-tunes spectacle is meant to celebrate the “utopia” of North Korea, with the outside world, especially America, portrayed as such a demonic place that the only word used to refer to someone in the U.S. is “American-bastard.”

The joyless suppression of life in North Korea prompts at least some citizens to suspect that a better life must lay on the other side. The family of defectors in “Beyond Utopia” are like that; they’re ordinary people who have put themselves on a moving mission.

(continue reading) related ←

[lostinmac]

Beyond Utopia (2023)

Dir. Madeleine Gavin

[randomrichards]

TOP 10 BEST MOVIES OF 2023

10)                          BEYOND UTOPIA

Sometimes real life can be scarier than fiction, especially when it comes to tyrannical countries like North Korea as highlighted by the gripping documentary Beyond Utopia. Drawing from real footage, director Madeliene Gavin brings us into a North Korean’ family’s fleeing the country, a Pastor working to get them to safety and a human rights activist’s desperate attempt to save her son.

Gavin gives us a glimpse into the living conditions locals are subjected to in North Korea. You see the propaganda used to demonized “Western Countries” and manipulate its citizens. The Government’s attempt to glamorize their country’s contradicted by the hidden footage of citizens digging through wreckage for any scraps. That pales in comparison to footage of prisoners being tortured.

All of this makes you pray for the family as they stumble across forests in complete darkness with no certainty, they will make it to safety. Thankfully, they have an ally in Pastor Seungeun Kim. Through his non-profit organization Caleb Mission, Kim works hard to ensure the family gets to safety.

Gavin portrays not only the external struggle to escape but also the internal struggle. Even though they’re fleeing the country, the family still believes the anti-US propaganda taught to them. As defector/activist Hyeonseo Lee says “Imagine, waking up one day and realizing that you were born on a completely different planet.” But Lee embodies the hope that they can be deprogrammed.

Beyond Utopia keeps you on the edge of your seat.

9)            THE BOY AND THE HERON

Hayao Miyazaki once again comes out of retirement to create an animated feature destined to become a classic.

The Boy and the Heron highlights Miyazaki’s strength as a visual storyteller. He brings the same creative fantasy ideas that made Spirited Away, My Neighbour Totoro and Princess Mononoke. This time, he brings us an alternate world of anthropomorphic parakeets, marshmallow like spirits and the titular shape shifting Heron (Masaki Suba in Japanese, unrecognizable Robert Pattinson in English).

As always, Miyazaki and his animation crew lure us into fantasy through their dazzling animation. The Heron’s transformation is animated with slow detail, revealing one human feature at a time. That same detail goes toward the environments, which are animated with rich attention to detail. Whether it’s protagonist Mahito’s (Soma Santoki in Japanese, Luca Padovan in English) home, the underground library or the Gateway to the other side, every background is enchanting.

Miyazaki also has a knack for creating memorable characters. Mahito is not a bland boy hero but a troubled teen repressing his grief over his mother’s death. It gets to a point where he hurts himself with a rock. His personal life along has some engaging characters including his lovingly protective father (Takuya Kimura in Japanese: Christian Bale in English) and a group of nosy old women. And then there’s the Heron, a complicated untrustworthy character with uncertain motivations (at the start of the film at least) or a pyrokinetic girl (Yoshino Kimura in Japanese, Gemma Chan in English).

The film isn’t perfect. Miyazaki takes his sweet time before he gets to the plot, which may turn off some audience members not used to Miyazaki’s structure. The internal logic of the fantasy elements may be difficult to comprehend. Thankfully, that hasn’t stopped many moviegoers from enjoying the film.

At the core of the film is the lessons Miyazaki draws from the classic Japanese children’s book How do you Live? I won’t give too much away. I will say that the journey Mahito gives him an important lesson on accepting tragedy and how to move on with his life.

The Boy and the Heron delivers the enchanting fantasy that has made Hayao Miyazaki’s films so beloved.

8)            GODZILLA MINUS ONE

Godzilla’s film history is quite strange. The iconic Kaiju began as an allegory for the nuclear bomb, bringing destruction and death to innocent people. Then it’s flip flopped between being a source of destruction and being a saviour of humanity while fighting/teaming up with other Kaijus. Now writer/director Takashi Yamazaki takes Godzilla back to its original source material with his surprise hit Godzilla Minus One. This time Yamazaki uses the iconic kaiju as an allegory for World War 2’s aftermath. Taking the place in postwar, the film focuses on a small group of former soldier and locals forced to take on Godzilla as it brings destruction to Japanese towns already devastated by the war.

Yamazaki delivers all the destruction you’d expect from a Godzilla movie, with one gripping action scene after another. One notable standout is a scene where a tugboat tries to get away from Godzilla. Yamazaki draws the original film acknowledging innocents lost and homes destroyed in Godzilla’s wake. He also gives Godzilla regenerative powers to add more stakes.

A frequent problem with most Godzilla movies is the human characters. With rare exceptions, their story arcs are never as interesting as the Kaiju fight scenes. The Monarch-verse is most notable, with the most interesting characters being killed off too early. Yamazaki breaks that cycle by paralleling the Godzilla elements with a realistic depiction of Postwar Japan. The result is a full cast of complex, relatable characters whose struggles to find a life within the wreckage makes the human stories as compelling as the action scenes.

At the centre of the storyline is Koichi Shikishima (Ryunosuke Kamiki), a kamikaze pilot wracked with guilt for surviving the war and failing to save a crew from Godzilla. Kamiki gives a compelling performance as a man coming to terms with survivor’s guilt. He’s surrounded by an array of engaging characters including Koichi’s minesweeping crew and his embattled neighbour Sumiko (Sakura Ando). Even if you take out Godzilla, their struggles to pick up the pieces of their devastated homes are still incredibly engaging. Through it all is a surprising message about the importance of life.

Godzilla Minus One became a surprise box office hit alongside The Boy and the Heron and both are very deserving.

7)            FALLEN LEAVES

After a single date, Holappa (Jussi Vatanen) accidentally loses his date’s (Alma Poysti) phone number. To make matters worse, he doesn’t even remember her name. This sounds like a premise for a classic romantic comedy but, Aki Kaurismaki is not the type of writer/director who makes Hollywood romantic comedies. In fact, Fallen Leaves couldn’t be more different than said romantic comedies.

Kaurismaki brings his trademark style to create a deglamorized romantic comedy. While other romantic comedies star matinee idols whose characters have posh lifestyles and comfortable jobs, the leads in Kaurismaki’s films are middle aged, downtrodden folks working minimum wage labour. His date Ansa is a supermarket clerk who sorts recyclable plastic. Holappa is a construction worker who can’t keep a job due to his alcoholism. Plus, they live in run down apartments.

While other romantic comedies are filmed in glamorous locations shot with bright colours, Kaurismaki ‘s characters live in a world of run down apartments and seedy bars shot with muted colours. He also shoots at a distance as the leads stare off into sad sack space.

This may sound depressing, but underneath the droll look hides some serendipitous hope and dry humour. In a classic romantic comedy movie, Holappa spends evenings waiting by the movie theatre in hopes of finding Ansa. The journey also forces Holappa to confront his alcoholism. There’s also a delightful karaoke scene involving “Mambo Italiano.” 

Kaurismaki’s films have a unique sense of hope. While most films try to reassure the audience that these characters will escape their poor circumstances, Kaurismaki has faith in his character’s ability to endure their circumstances. For Fallen Leaves, he assures the audience that they don’t need a fancy condominium or grand gestures to earn romance. At the film’s core is a belief that middle aged store clerks and construction workers are as deserving of love as the Ryan Goslings and Chris Evans of the world.

6)            KILLERS OF THE FLOWER MOON

Martin Scorsese stares into the abyss that is American History with Killers of the Flower Moon, a biopic about the atrocious Osage Murders and the conspiracy behind it.

A lesser filmmaker would have gone the safe, white saviour direction by making it a crime drama centered on the agents investigating the murders. But Scorsese has always been a filmmaker who examined humanity’s dark side. So, he centres his film on an accomplice; Ernest Burkhart (Leonardo DiCaprio), war veteran who marries indigenous local Mollie (Lily Gladstone) whom his uncle William Hale (Robert De Niro) schemes to steal her fortune by murdering her family. While Ernest was worst in real life than portrayed in the movie, Scorsese and DiCaprio still makes a bold move in portraying Ernest as dimwitted moral weakling; a man repressing some guilt but is too easily manipulated to make the right decision.

De Niro delivers another masterful performance as the ultimate cinematic villain. He puts on a front of sympathetic ally for the Osage community but underneath his gentlemanly demeanor, he is a greedy, manipulative psychopath. The way he casually justifies his atrocious murder plot is disturbing. Just as disturbing is how many local authority figures were in on Hale’s plot as Scorsese and co-writer Eric Roth bringing hints through Ernest and William’s interactions. The normalization of white supremacy becomes disturbingly clear in one scene of Klan members marching in a parade.

But the key to the film is Mollie, who serves as a reminder of the human cost of Hale’s evil plot. As one family member after another is killed, Gladstone makes us feel Mollie’s pain. But through her ordeal, Gladstone maintains a sense of dignity for Mollie. It would have been appreciated if there was more of Mollie’s and the Osage people’s perspective. But again, Scorsese is more interested in people’s capacity for evil.

This film plays like a crime drama, but underneath the western demeanor is a horror film about a racist system designed to murder a group of people for the crime of striking it rich while Indigenous.

5)            PAST LIVES

Writer/Director Celine Song begins her directorial debut with a distant shot of Nora (Greta Lee), her husband Arthur (John Magaro) and her estranged best friend Hae Sung (Teo Yoo) conversing at a bar. We don’t hear what they’re talking about, but we do hear unseen strangers gossiping about the protagonists. We hear them assume that Nora and Hae are a couple since they’re conversing the most while Arthur seems to sit by himself. Just from this scene, Past Lives has us under its spell.

At the core of the film is Nora’s relationship with Hae Sung. We first see them as childhood friends in South Korea before Nora’s family moves to North America. Decades later, Nora and Hae Sung reunite via video chats. Their lives have taken different paths with Nora becoming a happily married playwright in New York while Hae Sung has stayed in Korea to become an engineer. In their meetings together, Nora and Hae Sung rekindle the special bond they had.

Most films with this premise centre would lead to Nora and Hae Sung ending up back together in the end (usually after a series of misunderstandings). But Song isn’t here to make a Hollywood romance. Instead, she’s created a mature drama about two people reconciling with the circumstances that led them in different directions. In their conversations, Nora and Hae Sung ponder over the circumstances outside of and within their control that led them to the lives they had now. This leads them to face the dilemma of whether either can leave their current life behind and live together.

The performances achieve the balancing act of being both grounded and engaging. Yoo makes an excellent romantic lead delivering excellent chemistry with Lee. Magaro also deserves credit for his performance as the other man who allows Nora to figure her situation out while secretly hoping he doesn’t lose her in the process. But it’s Lee who makes this move, letting the audience in on Nora’s inner turmoil.

Celine Song’s career has taken a fascinating turn from a staff writer for The Wheel of Time to creating a haunting romantic drama about accepting the paths you’ve left behind.

4)            THE HOLDOVERS    

Alexander Payne is an expert in finding comedy in misery. He certainly has lot of misery to work with in The Holdovers, a bittersweet dramedy about Scrooge-like history professor (Paul Giamatti) forced to watch over a rebellious student (Dominic Sessa) abandoned by his parents at their boarding school on Christmas.

This film feels like a time capsule from the 1970s with vintage looking camera work by Eigil Bryld’s cinematography making the snowy background pop. David Hemingson’s screenplay itself feels like the kind of dramedy that would have been made by Mike Nichols or Hal Ashby with its dry comedic focus on character’s inner turmoil over social expectations.

The strength of Payne’s direction is how he makes us feel for the characters even when we’re laughing at their circumstances. Professor Paul Hunham (Giamatti) certainly comes off as a total stick in the mud when he forces the students left behind to continue their schoolwork during the Christmas holidays, but you come to realize this is his way of finding a sense of order as the world changes around him. His student Angus Tully (Sessa) may constantly be at odds with Hunham, and yet he’s the only student passing Hunham’s class. Cook Mary Lamb (Da’vine Joy Randolph) has a tough time opening up after her son’s death. As the film progresses, they start to open to each other, gaining a better understanding of each other’s struggles and force each other out of their comfort zones. Thankfully, Hemingson avoids the shmaltzy ending in favour of a bittersweet ending.

Of course, none of this would work without the cast. A lesser actors would have made Hundham and Angus unpleasant jerks. Thankfully, Giamatti brings a world weariness and masterful comedic timing to Hundham that allows us to empathize with him. Sessa shows a lot of potential in this role, bringing out the pain underneath the snarky energy. But it’s Randolph who gives the film its heart as Mary uses her job to avoid confronting her grief.

In a time that makes many people feel lonely, Payne has created a Christmas movie that celebrates unlikely human connections that empathy can create.

3)            OPPENHEIMER

Nolan’s always been that rare filmmaker with the ambition to combine non-linear structures with labyrinth plotting while still being accessible to a moviegoer. Only Christopher Nolan could get away with making a 3 hour biopic about the theoretical physicist and then intertwin it with a courtroom drama about the senator who launched a smear campaign against him. If that wasn’t enough, he also shot half of it in black and white while making the whole movie on film. Not only does that but makes it a major event that results in a blockbuster. That is the miracle that is Oppenheimer, a compelling character study of the man who called himself the destroyer of worlds.

Half of the film follows J. Robert Oppenheimer (Cillian Murphy)’s journey from an arrogant Oxford student to the man racing against time to create the atom bomb to a physicist torn by the consequences of his action. In the process, we see many moments in Oppenheimer’s life including his attempted poisoning of a professor, his conversation with Albert Einstein (Bill Conti), his complicated relationship with his wife (Emily Blunt) and an interrogation by Roger Robb (Jason Clarke) just to name a few. And through it all, Nolan and Murphy reveal the many layers of this intelligent but conflicted man.

Oppenheimer’s story is intercut Lewis Strauss (Robert Downey Jr.), a senator who led a secret smear campaign against Oppenheimer over an apparent slight. While Oppenheimer’s section plays like a character study, Strauss’s storyline plays like a political courtroom drama of the 1960s complete with black and white cinematography. This serves as the central structure for the film as Nolan and editor Jennifer Lame intercuts between Strauss’s plotline and moments in Oppenheimer’s life. Downey Jr. truly shines in this performance as he reveals the deep seeded pettiness under Strauss’s polite demeanor.

Nolan balances these storylines with an intricate attention to detail that keeps the film engaging from beginning to end. He also surrounds Murphy and Downey Jr with an endless calvacade of stars including Matt Damon, Florence Pugh, Rami Malek and Gary OIdman just to name a few.

Of course, Nolan is known to avoid CGI whenever he can in favour of practical effects and he certainly keeps this principle with the testing of the atomic bomb, leading to a hauntingly beautiful scene.

Oppenheimer shines as bright as that atomic bomb, delivering an ambitious and haunting look at a man forced to live with creating a means of destroying the world he was trying to save.

2)            POOR THINGS

Yorgos Lathimos closed out 2023 with one of the year’s horniest films. What are the odds it would be a Frankenstein-like satirical epic called Poor Things?

From the moment she is resurrected with a baby’s brain, Bella Baxter (Emma Stone) regards life’s pleasures like a kid in a candy store. And involves sex (even becoming an escort at one point). Meanwhile, many of the men try to seduce Bella only to be driven nuts by her lack of social etiquette and cluelessness. And through it all, Lanthimos mocks and interrogates the ideas of social norms with a Bunuel-esque satirical tone.

Poor Things serves as Lanthimos’ most visually stunning movie. He sets most of the first act in black and white, mostly in mad scientist Dr. Godwin Baxter’s (Willem Dafoe) home. The setting resembles the kind of prim European settings of Luis Bunuel. It’s when Bella is taken away by playboy gambler Duncan Wedderburn (scene-stealing Mark Ruffalo) that the settings truly pop with grand buildings and neon-coloured skies that look like they came out of a Terry Gilliam.

Lanthimos uses these grand sets to sneak in Bunuel-like satire mocking social mores, class systems and patriarchy. Watching the film, I kept being reminded of a film trope that infantilized women that you see from the likes of Lolita, Leeloo from the Fifth Element and most Marilyn Monroe Characters.[1] Some men in Bella’s life seemed to be attracted to (or want to take advantage of) her childlike innocence. But Lanthimos and Stone push the childlike behaviour to its furthest conclusion forcing the men to put up with Bella’s temper tantrums and social cluelessness. That behaviour causes Duncan to become hilariously unhinged as she destroys his life.

It's easy for a maverick filmmaker to find their style restricted when given a bigger budget. Thankfully, Lanthimos maintains his boundary pushing satire even on the most epic stage.

1)            SPIDER-MAN: ACROSS THE SPIDER-VERSE

One can only image the pressure of making a sequel to an animated feature as groundbreaking and beloved as Spider-Man: Into the Spiderverse. Making a sequel already comes with its own challenge with the arduous task of expanding on the pervious material without becoming repetitive or losing the original’s appeal. It’s made more challenging when the first film changed the game of animated film. Spider-Man: Across the Spider-Verse not only meets the challenge head on but has elevated the franchise to create another action packed, side-splitting masterpiece.

Writers Phil Lord and Christopher Miller have long demonstrated a mastery with comedic storytelling through Clone High, 21 Jump Street and the Lego Movie. Even apart, they create unforgettable works with Lord co-writing Into the Spider-Verse with Rodney Rothman and Miller creating the criminally underrated series The Afterparty. All this work highlights their mastery of parodying genre tropes while creating compelling storytelling starring unforgettable characters. Joined by co-writer Dave Callaham, Lord and Miller take their boldness a step further by centering the first 15 minutes entirely on Gwen Stacy/Spider-Gwen/the Ghost Spider/Spider-Woman (Hailee Steinfeld). Her story arc would make an excellent movie on its own as she finds herself targeted by her father George Stacy (Shea Whigham), who blames Spider-Gwen for the death of her universe’s Peter Parker (Jack Quaid), not realizing that she and Gwen are the same person. And yet the writing trio manages to make this a compelling story while meshing it with the rest of Miles’ (Shameik Moore) storyline. Directors Joaquim Dos Santos, Kemp Powers and Justin K. Thompson also deserve credit for keeping the story focused while delivering pitch perfect entertainment from start to finish.

They all managed to do this while introducing an endless array of memorable characters from the damn near perfect Pavitr Prabhakar/Spider-Man India (Karan Soni) to snarky hologram Lyla (Greta Lee). Even the cameos are unforgettable with he likes of a live action Prowler (Donald Glover), Cowboy Spiderman called Web Slinger and even a Spider-Rex. But the most notable standouts are the villains. Miguel O’Hara/Spider-Man 2099 (Oscar Isaacs) starts out like an authoritarian who wants to maintain the status quo. But we come to understand his misguided need to maintain canonical events. And then there’s the Spot (Jason Schwartzman). He starts the film as a walking punchline but as he discovers his ability to travel across universes, he becomes an intimidating threat. And Kudos to the writers for turning a throwaway sight gag from the previous film into a character motivation.

Just as memorable are the gags, which come fast and furious in a variety of forms from easter eggs to one liner. You have Ben Reilly’s (Andy Sandberg) overdramatic moodiness, Pavitr’s calling out Miles over “Chai Tea” or Hobie Brown/Spider-Punk (Daniel Kaluuya) contradictory philosophy (“I don’t believe in consistency”). They work with every actor bouncing off each other with effortless timing.

And then there’s glorious animation. Directors Dos Santos, Powers, and Thompson along with their animators apply a variety of animation styles for each universe. They use a watercolor style that drips across Spider-Gwen’s universe. Spider-Punk is animated with a collage-like art style. There’s even a Lego universe animated by a 14-year-old. The directors and animators manage to keep a perfect balance of style and substance by using stylizations to enhance the story while delivering some awe-inspiring action scenes. That and the animation is so gorgeous that it must deserves to be in a theatre.

The writers and directors keep all the style grounded with parents and child relationships serving as the emotional core of the film. Miguel’s grief over the loss of his daughter unintentionally causes the destruction of a universe. Peter B. Parker (Jake Johnson) begins his responsibility as a father to Mayday who has inherited his powers. Of course, at the centre of it all is Mile’s and Gwen’s relationship with their parents. Miles need to hide his Spider-identity puts a strain on his relationship with his parents, forcing to face the dilemma of whether to reveal his identity. Unfortunately, Gwen’s story is more devastating when she’s forced to confront her father about her superhero identity.

Unfortunately, testimonies from former animators recently revealed Lord and Miller had led to a toxic work environment for the animators, forcing them to work 11 hours a day for 7 days a week, even overruling the directors. Consider this review a celebration for the directors and the animators. Hopefully, conditions are much better for the animators of the third film. This praise goes out to those animators who made this masterpiece work.

HONOURABLE MENTIONS:

ANATOMY OF A FALL

When her husband is found dead in front of their cabin, writer Sandra Voyter (Sandra Huller) finds herself charged with murder. We follow Sandra through a traumatic ordeal as every private problem is brought to the public eye and every little detail is scrutinized to make her look guilty. Huller gives a powerful performance as a grieving woman left with the painful task of proving her innocence.

BARBIE

In a summer overwrought with superhero movies and sequels, Greta Gerwig’s Barbie blew up the movie theatres like a pink-coloured supernova. About every element made this movie special from the colourful set pieces to the surprising commentary on the patriarchal society and performative feminism. Margot Robbie shines as a stereotypical barbie going through an existential crisis. Ryan Gosling steals the film as a childlike Ken desperate for Barbie’s attention.

It's not a perfect movie. It’s solution to undoing the Patriarchy is more of a first step than an actual solution.[2] The subplot with the Mattel businessmen gets resolved too easily. Beyond this, it’s still an entertaining movie.

STOP MAKING SENSE

The main reason this one’s not on the list is because this is a reissue of a 1984 concert movie. But it’s hard to leave out one of the greatest concert movies of all time.

Late director Jonathan Demme and David Byrne structured a Talking Heads concert in a unique and engaging manner. They start with a minimalist design by having David Byrne perform “Psycho Killer” alone on a barren stage with only a guitar and a boom box. Byrne manages to hook the audience with such a bare minimum. Then each band member appears on stage after each song. Before long, the one-man show becomes a New Wave orchestra complete with chorus girls, an array of keyboards and three giant screens.

Every band member is on their A game, bringing a lot of energy to all the songs. And let’s not forget Byrne’s iconic giant suit.

[1] Here’s a video that does a better job explaining this trope than I could.

[2] To be fair, this message could be meant for the younger audience.

[chinchillasorchildren]

Films of 2023: Beyond Utopia (dir. Madeline Gavin)

(3/5)

[awardswatcherik]

Producers Guild of America Reveals 35th PGA Awards Nominations for Documentary

[floorman3]

Beyond Utopia Review (Doc NYC 2023- The Documented Journey of These People Escaping A Communist Regime Is As Good As Any Film You'll See All Year If Not Better

Beyond Utopia premiered at this year’s Sundance Film Festival. It garnered a lot of critical acclaim from those who saw it, but it wasn’t bought right away out of the festival. Eventually, Roadside Attractions bought the distribution rights and now it’s getting an American-wide release. I’ve wanted to see it ever since I heard about it out of Sundance and it was worth the wait. It’s one of the…

[oldfilmsflicker]

new-to-me #69 - Beyond Utopia

[denimbex1986]

'...“Oppenheimer” is currently expected to clean up with nine (including Best Picture), whereas our users think “Killers of the Flower Moon” will only take Best Actress (Lily Gladstone) and “Poor Things” will be blanked. If accurate, “Oppenheimer’s” win total will be the highest for a film since “The Lord of the Rings: The Return of the King” went 11 for 11 in 2004...'

[awardseasonblog]

(via Oscar 2024: i 12 migliori documentari da tenere d'occhio (previsioni novembre))

[joebustillos]

Beyond Utopia: A Brief Reflection 

2023-10-24 Beyond Utopia at Cinemark Orleans My usual MO when it comes to movies is escapism, thus all the sci fi and fantasy movie watching. It’s going to take me a while to process what I just saw… I knew going in that it was a documentary about North Korea, but I had no idea how the filmmakers were going to tell their story… my heart breaks for how much needless suffering there is in the…

[here-there-were-dragons]

i have to wonder what super hardcore militant vegans think should be done about obligate carnivore animals, because in all my painfully-rapidly-approaching-30-years i've literally never actually seen anyone give a clear consistent much less halfway feasible answer on that

[nifflering]

THE BUMBLING FOOL - an essay/rant

(contains spoilers for The Wizard of Oz and Doctor Who episodes “Utopia”(s3/ep11) and “Sound of the drums” (s3/ep12))

To begin, I present to you some context…. So, recently I saw a post by @monica00 who posted an excerpt from the Master’s diary. The “MASTER OF ALL I SURVEY” is composed of several diary entries written by Simm!Master. In one of them, Day 42, he mentions carving the faces of several of his regenerations (Delgado, Ainley, himself and the “Wizard of Oz”) into Mount Rushmore. This led me to ponder who he’s referring to when talking about the wizard of Oz.

So, after thinking a bit, I finally figured out that he was talking about the Master as portrayed by Sir Derek Jacobi / the War Master. And that led me to composing this handy (and probably not that well written) list? Analysis? Essay? About the parallels between the character of “The Wizard of Oz” and Professor Yana/the Master.

Note: My information on the wizard of Oz is partly taken from deep crevices of my brain and the “Wizard of Oz” wiki, so I might be mixing up several portrayals of the character. Also, this is my personal interpretation, so yeah…

Enjoy, I guess…

This rant is dedicated to my current Doctor Who obsession and of course to @roxannepolice, my motivation for writing/ actually publishing this. Many thanks to you for feeding my thoschei obsession with your content and (ask game answers) and exsisting.

After Dorothy arrives in Oz via hurricane, she desperately “wishes” to get back home to Kansas. The Good Witch informs her about the approaching threat of the Wicked Witch (who is going to chase her down and try to kill her because she crushed her sister, the wicked witch of the east, with her house and stole her magical shoes. Which are all pretty valid arguments If you ask me.). Glinda says that in order to go home she should ask the “Wonderful Wizard of Oz” for help. Dorothy (having just killed someone) and her dog, Toto, go on their merry way, following the yellow brick road to the Emerald City.

On the way there she meets several other characters who also have a deep wish they want fulfilled by the wizard. There is the Scarecrow who wants to have a brain, a tin man who wants a heart and a Lion who wants courage.

After some tribulations they are finally able to have an audience with the Wizard, who appears as a giant floating head – in return for fulfilling their wishes the Wizard demands the Wicked Witch`s broomstick. (Character who appears as a giant floating head - Just like, oh, I don’t know a certain other character played by Derek Jacobi, cough cough the Metatron, cough, cough)

They defeat the Wicked Witch and return with the broomstick; he tells them to come back tomorrow – but Toto pulls back a curtain and the group discover that “The Great and Powerful Wizard” is just a guy operating a projector machine. He is projecting an image of himself, the image of a giant powerful magician capable of doing almost anything. When confronted with the fact that he is a humbug, he admits that he is but says that he’s – still a good man at heart. Although he promised to grant their wishes, he merely gives them “tokens” of the things they actually wanted. For example, a heart shaped clock for the metal man and a diploma for the Scarecrow.

The wizard finally decides to go home to Kansas, the same way he got there - in a hot-air balloon. He also offers to take Dorothy with him, fulfilling her wish. This ultimately doesn’t work as Toto runs off and Dorothy goes after him. Just before departing he makes Dorothy’s companions the rulers of Oz – effectively dumping all responsibility on them. In the end Dorothy manages to get back home with her magical shoes. However (depending on the version) Dorothy has fulfilled her wish on her own, none of her other friends have actually gotten their wish granted.

------------------------------------------------------------------------ Let’s take a look at the parallels between Yana and Oz.

“Utopia”, is the only episode Yana and Jacobi!Master appear in, it takes place on a desolate planet called Malcassario at “the end of the universe”, a time not even the timelords have reached.

Ten, Martha and Captain Jack (don’t ask me why he’s here just roll with it) go to explore and find nest-like structures carved into stone. Remnants of a civilisation that used to live here long ago. They get wrapped up in a hunt, a (human) man is being chased by the Futurekind, a tribe of savage hunters with sharp teeth. They join him in running to the only safe place around – a silo. Later a guard confirms that this is the place to go if you want to go to Utopia – the ultimate salvation from the end of the universe and the infinite darkness that surrounds them.

They later find out that a scatterbrained scientist called Professor Yana (and in extension his malmoothian assistant, Chantho) are supposed to make the rocket that’s supposed to take them to Utopia (a call which “came from across the stars over and over again. Come to Utopia.”), fly. The thing is, they have no clue how to do that – not that they are not scientists – but they do not have enough energy to lift off.

The surviving humans yearn “to preserve [themselves], to find a way of surviving beyond the collapse of reality itself.” They have come so far, survived all these great hardships, lost their friends, family, lives, everything. They presumably see Yana as a saviour, the one who will lead them to Utopia “where the sky is made of diamonds”. Yana is even willing to sacrifice himself for them, staying behind as the rocket takes off.

Every single human left in existence is relying on them to survive. They all want something from him. He is their own personal version of “The Great and Powerful Wizard of Oz”, able to grant their deepest wishes/ they are projecting their wishes and hopes on him. They aren’t scared that the myth of Utopia isn’t true but they fear that they won’t survive long enough to reach it.

(As I’m writing this I kind of realize that the Doctor (or the Master) can relate to all these humans, just like them they have lost everything, their home plane and their friend. But the doctor still hasn’t given up hope he’s still running away, desperately clinging to any human who wants to travel with him and secretly wishing that the last words of the Face of Boe “Know this, timelord. You Are Not Alone.”, are true.)

There are also some parallels between Martha and Chantho. In a private conversation while the doctor helps Yana power the rocket, Chantho reveals that she has known the Professor for a long time and that she adores him but does not think he notices. This kind of parallels Martha’s relationship with the doctor, she’s also in love with him but knows that this love will never be reciprocated, she’s not even sure if he’s noticed it. But, ultimately the loyal Chantho gets electrocuted by the Master after he has recovered his memories – blaming her for not noticing or asking about the watch (which contains his true identity) sooner. She falls to the floor – seemingly dead – but manages to shoot him in her last breath.

Her wish for love has not been fulfilled.

Let’s get back to the humans for a second: as soon as the Master becomes himself again, he lowers the protective measures against the Futurekind, locks the Doctor and Jack in the control room and removes a circuit board from the navigational system to Utopia. The rocket’s flight path is interrupted in the fate of the humans is left unclear. (At least until Sound of the Drums but isn’t the toclafane’s existence, bound to a singular metal dome a never-ending thirst for blood ingrained deep within you, a fate worse than death? Are they even human?)

The Doctor’s next, we will ignore Jack because he doesn’t really fit into the grand scheme and he’s literally just forcing himself into the plot.

Throughout the whole of new who up to this point it has been established that the Doctor is completely and utterly alone in the universe. In the episode “New Earth” (s2/ep1) a Novice teases the last words of the Face of Boe which will only be given to someone like him “a wanderer. To the man without a home. The lonely God.” In Gridlock (s3/ep3) he tells Martha about the time war, “There was a war. A Time War. The last great Time War. [..] They lost. Everyone lost. They’re all gone now, my family, my friends, even that sky.”.

Like I already mentioned, The Doctor is constantly craving companionship – he has throughout all his lives, especially in the new series he wants to alleviate the pain of the time war, the crippling loneliness that claws at him every second of every day, no matter how much he tries to escape it.

When Yana hears of a scientist, “a doctor of everything”, he is immediately overjoyed, he rushes to greet the doctor and whisks him away to his laboratory. He quickly introduces him to all his equipment but despite the doctor’s massive intellect, he can’t even think of any solution. Yana is obviously sad but apologizes, saying that there’s been “so little help”. To me this immediate joy and desire to meet the doctor is also partly the masters. He feels lonely as well – as reflected by Yana’s own feelings - “Never could keep time. Always late, always lost. […] Time and time and time again. Always running out on me. […] Oh, it's only an old relic. Like me.” Yana desires rest – eventually his own wish gets fulfilled, just like Oz escaping from Oz and going back to Kansas.

Generally, the Chameleon Arch creates a personification of some aspects of the user`s personality, for the Doctor his “worse traits” get amplified, for the Master his “better traits” are amplified, he’s willing to sacrifice himself just to save someone he doesn’t know and is kind to everyone he comes across.

When the Doctor sees Yana’s inventions, he’s starstruck. He’s finally found someone like him – an equal. “Oh, it's easy coming in at the end, but you're stellar. This is, this is magnificent. And I don't often say that because, well, because of me.” He recognizes how underappreciated Yana is in this time – “If you'd been born in a different time, you'd be revered. I mean it. Throughout the galaxies.”

They briefly take a break to talk about the constant never-ending drumming Yana hears in his head and this iconic look™ happens.

When Yana opens the watch and turns back into the Master, ten rushes to get to him, he begs him to open the door, to let him in “I'm begging you. Everything's changed! It's only the two of us! We're the only ones left! Just let me in!” But, the Master, the only other person like him in the entirety of the universe, escapes with his own Tardis.

The Face of Boe’s prophecy and the Doctor’s wish have come true. He’s not alone anymore.

But it doesn’t last as the Doctor (not even two episode later) has to watch as the Master dies in his arms refusing to regenerate because it would mean having to spend the rest of his lives imprisoned wit” him.

He’s alone again.

Professor Yana just like the Wizard has a lot of responsibility. They are both good men at heart. But are still not able to fulfil the wishes of the people relying on them.

But at the same time, they are both humbugs.

A humbug, as defined by Miriam Webster, is “a false or deceiving person or thing, a fraud”. Both Oz and Yana are humbugs in both meanings of the word. They are both “false people” with the Wizard being merely a projection controlled by Oz and Yana literally being a “false person”, a fake identity created by the Chameleon arch. They are both good men at heart – they want to or at least try to fulfil the wishes brought before them – but they both deceive their “subjects” – so they’re more morally grey. Yana tries his hardest to build a rocket and a system to power it made out of food scraps. He’s using technology the Doctor has never even heard of. Yana may be a good person, but ultimately the Master is not.

In the end, Jack, Martha and the doctor barely manage to escape with Jack’s vortex manipulator – his red sparkly shoes.

And that’s it. If you’ve managed to make it this far, you receive a “virtual” participation trophy, congrats. 😊 Have a good day and....

Until next time (maybe?)

[randomrichards]

BEYOND UTOPIA:

A family flees

North Korea’s oppression

Pastor clears their path

[yarnclan]

Lysander does really piss me off tho

[mnemo-sick]

💞- Any Ships? Who's your current fav? 🍳- Character that you would go to Brunch with

for the tf ask!

omg my first ask aaaa!!!!

💞- Any Ships? Who's your current fav?

okay. well. first of all, I am a cdrw enjoyer. they are both assholes and I truly love them for it. idr who, but someone was talking recently about the cdrw dynamic - the mnemosurgeon and the archivist. forgetting vs. remembering. and how chromedome learns to hold on (to rewind, and also love in general) and rewind learns how to let go (of dominus ambus) and the succinct phrasing of that parallel I think struck me to my core.

I also think simpatico is cool. this one is simpler for me, I just like all iterations of percy and also happened to like brainstorm upon meeting him, and their dynamic being so classic and fun was just. the best of all worlds clicking together. the classic scientist ship: stoic scientist and zany inventor. (aside - but I'm also a mbti nerd and I saw somewhere typing perceptor as an INTJ and brainstorm as an ENTP, and their archetypes fit so perfectly it almost seems designed that way. this quote specifically: <<BS: got any theories, perceptor? P: one or two. BS: is that all? I've got hundreds. P: then you clearly have a lot of eliminating to do.>> is exactly INTJ (introverted intuition - Ni) vs. ENTP (extroverted intuition - Ne). end aside)

there are more but I must move on.

🍳- Character that you would go to Brunch with

this is such an interesting question. I think I must choose megatron (idw megatron, post joining the lost light specifically). I will explain why.

I, like many, find myself easily swayed by the trap of thinking the "Revolution" is coming soon. of course it's nothing but evangelism: "Rapture" reskinned. but in this mindset, the decepticons are the Good Guys (obviously). tearing down power structures is Good. fighting the system is Good.

but the hard truth might just be - and not to go glaringly political - maybe shattering society would leave it shattered. maybe the frustrating slow crawl toward equity and equality is really the only way to go. and it's hard. and it's slow. but there's real people to help right now, and many would be left behind if society were upended. even if it were for good reasons!

and with all that in mind, I want so bad to sit down with megatron and just. pick his brain. poke at his memories. his motivations, his regrets, what he learned, what he would change. yeah.