Word: cinema
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...Carpenter made for $100,000 in 1976. The plot imperative of both films is as simple as a shark's: one night, one setting; bad guys outside, good and bad guys in; last one not to get blown up wins. It's your basic claustrophobic nightmare, which theater and cinema have astutely exploited--from Sartre's No Exit and nearly any Pinter play or Roman Polanski movie to the old cliff-hanger serials, where the four walls of a cell would close in on our hero. Anyone under pressure has felt this contraction: the frazzled mind cowering, shrinking, as reality...
...four siblings. He was back two years later with Marooned in Iraq, about two brothers who follow their father on a journey from Iran to Iraq to help a woman they haven't seen in 23 years. To many Europeans, these films were a heart-wrenching introduction to Kurdish cinema and, with critical support, they won awards at festivals from Cannes to Chicago. Now he has made Turtles Can Fly - the name refers to the freedom that comes with death - which already has a place in cinema history as the first feature shot in post-Saddam Iraq to be released...
...according to the website Chalo Cinema, "one of his sisters fell seriously ill and numerous attempts to cure her failed. Her condition progressively worsened. The family had given up all hope when they came in contact with a Muslim Pir - Sheik Abdul Qadir Jeelani or Pir Qadri as he was popularly known. With his prayers and blessings, Dileep's sister made a miraculous recovery. Rattled by the bad experience and influenced by the teachings of the Pir, the entire family converted to Islam. Thus A.S.Dileep Kumar became Allah Rakha Rahman...
...modern example of the latter are Nixon itself and Y Tu Mama Tambien, by Mexican director Alfonso Cuaron, who is also one of the producers of Nixon. Cuaron laments the lack of genuine political fervor behind the majority of American cinema. In a recent interview he described various films by foreign directors who are trying to make a statement. What he disagrees with is the American notion that these filmmakers and their countries hate America. “We love America,” says Cuaron. “Most of us love America, what we don?...
Cuaron sees cinema as a powerful way to make a complex statement about politics, and he feels that a change is occurring in America and that soon American directors will be infusing their films with more political context...