Showing posts with label films. Show all posts
Showing posts with label films. Show all posts

Saturday, October 4, 2025

‘Orwell: 2+2=5’ Review: How George Came to See the World as Orwellian; The New York Times, October 2, 2025

 , The New York Times; ‘Orwell: 2+2=5’ Review: How George Came to See the World as Orwellian

"“The opinion that art should have nothing to do with politics is itself a political attitude,” George Orwell wrote in 1946, a year after the end of the World War II. That line appears early in “Orwell: 2 + 2 = 5,” an essayistic documentary from Raoul Peck that surveys its title subject’s life and work, using them as a lens to explore authoritarian power in the past and the present. Densely packed, the movie is a whirlwind of ideas and images, by turns heady, enlivening, disturbing and near-exhausting. It’s a work of visceral urgency from Peck, who’s best known for his 2017 documentary “I Am Not Your Negro,” about James Baldwin.

Peck plucked that observation about art and politics from Orwell’s essential 1946 essay “Why I Write,” in which he lists “four great motives for writing” — especially for writing prose and, of course, aside from earning a living — including “political purpose.” Near the end of the essay, Orwell writes that he hopes to start a new book. What soon followed was “Nineteen Eighty-Four,” the seismic novel that helped turn his name into an adjective. Anchored by Orwell’s writing — and Damian Lewis’s calm, intimate voice-over — Peck charts the writer’s life in tandem with world-shattering events, focusing on when he was working on “Nineteen Eighty-Four,” which was published in 1949. Months later, Orwell was dead."

Thursday, July 6, 2023

What’s Lost When Censors Tamper With Classic Films; The New York Times, July 6, 2023

 Niela Orr, The New York Times; What’s Lost When Censors Tamper With Classic Films

"Censors, like overzealous cops, can be too aggressive, or too simplistic, in their attempts to neutralize perceived threats. Whoever made the cut in the precinct scene, sparing the hero from saying unpleasant things, did nothing to remove other ethnic insults, from references to Italian Americans to the cops’ code names for their French targets: “Frog One” and “Frog Two.” It also becomes hilarious, in this sanitized context, to watch the film’s frequent nonlinguistic violence: A guy is shot in the face; a train conductor is blasted in the chest; a sniper misses Doyle and clips a woman pushing a stroller.

Surveillance, as the movie teaches us, is a game of dogged attention; focus too much on one thing and you miss a world of detail encircling it. Nit-picking old artworks for breaking today’s rules inevitably makes it harder to see the complete picture, the full context; we become, instead, obsessed with obscure metrics, legalistic violations of current sensibilities. And actively changing those works — continually remolding them into a shape that suits today’s market — eventually compromises the entire archival record of our culture; we’re left only with evidence of the present, not a document of the past."

Monday, July 3, 2023

The best films about AI – ranked!; The Guardian, June 29, 2023

 , The Guardian; The best films about AI – ranked!

"Will artificial intelligence destroy humanity? That remains to be seen. For now, gen up on the dangers and delights with this selection of movies."