'Rat Film' Review: In the End, Life's a Game of Human and Rat
I dream of a day where experimental, conversation-starting films reach the size of an audience that mega-budget studio films receive.
This is counterintuitive because the small nature of these films is what allows them to take bold direction, but nonetheless, these are the types of films that use art to generate greater conversation. Rat Film is not only to be seen and experienced but to be discussed.
Two topics that initially seem to have no overlap are fused in this film to generate said discussion. The first, as implied by the title, is the Rat, and specifically, its relationship with humans. As an experiment subject, as a pest, as a pet, and more. The second topic is the city of Baltimore, a neighborhood with a nationwide reputation for its endless cycle of racial and class divisions. What can rats teach us about Baltimore? You could argue this is the thesis of the film.
Juxtaposing two seemingly unrelated subjects is an undervalued, powerful technique, found most often in unconventional documentaries. Watching Rat Film I’m reminded of We Come As Friends, which compares South Sudan to alien invasion, and Heart of a Dog, which compares the director’s pet dog to New York City. To pull off these type of allegories takes a visionary director with a singular perspective. The company of films in this space is few, but the ones that are successful remain on the mental shelf long after the initial viewing. My gut reaction is Rat Film will be long remembered by those who choose to view it.
The initial reasons for comparing rats and Baltimore are literal. We meet residents of the central, black neighborhoods who have a rat infestation. As each analogy enters the film, they become more allegorical, allowing the viewer to see the comparison for themselves rather than be spoon fed it.
My gut reaction is 'Rat Film' will be long remembered by those who choose to view it.
Baltimore is home to the prestigious Johns Hopkins University, which we learn has a long history of using rats for human behavioral experiments. More than any other animal, they are the ideal test subject for doctors starting at the turn of the 20th Century to hypothesize on how humans react in various scenarios. Their experiments are low-risk (unless you're a rat of course). But the ‘experiments’ in place by city planners in Baltimore have continued to have massive ramifications for the poor and black communities who still affected by decisions made that many years ago.
The film jumps between two distinct styles and this intercut give it texture and range. In present-day situations, we are given a vérité style, following a myriad of city inhabitants or people somehow associated with rats. Equal or more screen time takes a massively different approach, using an omnipresent, almost electronic female narrator to tell us relevant information while overlaying more unconventional imagery onscreen. Like the humans that experiment on rats, this narrator gives us an unbiased, emotionless recounting of relevant events, and what we’re told is hard to forget. A description of one rat experiment midway through the film– that can serve as a metaphor for Baltimore, capitalism, or whatever else you want it to– is particularly show-stopping.
A last observation is that this film would make a fantastic double feature with Step, another one of the great documentaries of 2017. Also set in Baltimore, Step is the ultimate story of hope and inspiration. It shows change in action from the bottom up, a contrast to Rat Film’s commentary on top-down elements of Baltimore and human/rat relationships. Together, they give a dimensional look at a city rich in history but plagued with systematic oppression.
Director Theo Anthony has created something truly one of a kind with Rat Film. Much more effective than a formal education and ripe for generating engaging conversation, this is a small-scale film worth visiting. It will surely join the ranks of innovative, thought-provoking documentaries that are unforgettable for anyone who watches it.
'Rat Film' is not rated. 82 minutes. Opening this Sunday, October 15th, at The Downtown Independent for a two week run with a national release to follow.
'Crown Heights' Review: A Compelling True Story Taken from the Podcast 'This American Life'
This review previously ran on February 1st as part of the Sundance Film Festival
For years, podcasts such as 'This American Life' have reinvigorated audio-based storytelling as a vital medium for captivating audiences.
Inevitably, a few stories stand out as worthy of adapting into movies, and this year at Sundance, Crown Heights enters this foray.
Based on a true story that unfortunately feels more commonplace than it should, the film covers the life journey of Colin Warner (Lakeith Stanfield), a young immigrant from Trinidad who, in 1980, was arrested for a homicide that he clearly did not commit. With brutally cruel detectives and an unjust judicial system, Colin finds himself serving a life sentence for something he played no part in. His best friend, Carl King (Nnamdi Asomugha) unexpectedly finds himself as the only person willing to help Colin fight for freedom, no matter how much opposition stands in their way.
The film sheds light on a painful reality that many individuals, especially those who are poor and/or non-white, find themselves wrongly imprisoned. It’s been only a few months since I was floored by Ava Duvernay’s essential documentary 13th, which ends up being a comprehensive education that all Americans need, and hopefully many will take since it’s streaming on Netflix. It’s possible then, that the individual, personal nature of "Crown Heights" can serve as a nice companion to that film’s scale.
After the film was done, a well-deserved standing ovation greeted the real Colin Warner, and like many others present, I felt personally compelled to shake his hand after seeing his story.
Unfortunately, the film never knows how to turn the true story into a movie with any sort of journey. The danger of any film based on a true story, especially one that takes place over multiple decades, is that it easily falls into the pitfall of being a highlight reel of events that took place, instead of any sort of transformative journey. In this case, even the passage of time is not properly handled: we’re never given any visual cue that much time has passed, only through text cards do we understand just how long it has been. There are potential dramatic moments that fizzle because of a lack of energy or attempts to tell them in a new manner. The movie is heavily dependent on courtroom and legal drama, and yet nothing about the way these scenes are handled feels like anything we haven’t seen before. Ultimately, the film feels like an exercise in going through the motions, rather that fully capturing the emotional journey one must face.
I must reiterate that this review is by no means a reflection of the power or relevance of Colin Warner’s story. After the film was done, a well-deserved standing ovation greeted the real Colin Warner, and like many others present, I felt personally compelled to shake his hand after seeing his story. That being said, I expected more from such a powerful true story, and this film offers little to no innovation and follows too closely to other trappings we’ve seen before. Compared to say, The Hurricane, which covers similar territory, we’re given very little memorable or intriguing ways of telling this story. In the end, I’ve seen many more innovative and emotionally inspiring ways of telling a story than this one, and while I’m grateful to know who Colin Warner is and his story, the film on its own has a limited effect.
94 minutes. 'Crown Heights' is rated R. Opening this Friday at ArcLight Hollywood, in theaters everywhere September 8th.
Co-Directors Aaron and Amanda Kopp Talk Artistic Choices in 'Liyana'
In an orphanage in the southern part of the African country of Swaziland, students are brought together and given an extraordinary project.
They are going to forge the story of Liyana, a fictional heroine born from their collective experiences and imaginations. The film of the same title, “Liyana,” is both a telling of this original story, as well as the non-fiction story of its young creators who made it up. In our exclusive interview with the filmmakers, which took place just days before the film went on the win the Best Documentary award at the LA Film Festival, Aaron Kopp and Amanda Kopp talked about artistic choices in multimedia mixed formats, the process in how the kids created the story of "Liyana," and so much more.
A theme that permeated throughout the film is the power of storytelling. How did you use that in the film?
Aaron Kopp: We're both storytellers in one way or another- my background is documentary TV and Amanda is a photographer. Stories are the language of humans, the fabric of society. We came upon the story over time. Knowing the kids really well and becoming friends with them, we wanted to make a film that they could be proud of and feel good about.
The process of the actual filmmaking itself was a positive experience. Even if the film failed miserably and nobody ever saw it, the making of this film was still good for [the kids]. We just didn't want to put them in the position of being vulnerable or exposed. There are definitely enough documentaries about Africans and African kids in particular that, how should I say this, don't exactly evoke respect and dignity. We wanted to make the opposite of that. So after a considerable amount of research, we figured out that if we could use this fictional character, that would be the key to our success.
Were you directly involved in setting up the initial premise of the creative therapy?
Amanda Kopp: Aaron had been doing research for several months about creative therapy and art therapy techniques, and we wanted to incorporate it all somehow. We came up with this "class structure" where we created a template of the hero's journey story arc so the kids had the freedom to work together to vote on different plot points and versions.
Aaron Kopp: Unfortunately, this awesome storytelling exercise isn't happening on a day to day basis where the kids live. That's something we would love to make happen.
How long did it take for the kids to create the full "Liyana" story?
Amanda Kopp: The process took several weeks. Every day, we would start the morning with a class and then we would break them up into groups where they would rehash what they had talked about in class. They would talk about the story of whatever scene they were covering that day. One kid would come up with a great idea and would share it with the other children and they would expand on it, and they would just collaborate together.
Aaron Kopp: The collaboration took about three weeks, but there was a lot of filming before and after that. The very first shoot we did for "Liyana" was in 2009. That was my research and development phase.
The process of the actual filmmaking itself was a positive experience. Even if the film failed miserably and nobody ever saw it, the making of this film was still good for [the kids].
From the filmmaking perspective, what was it like making a film over such a long period of time?
Amanda Kopp: It took a lot of endurance, haha. It was much more ambitious than we realized when we first took it on. A lot of it was the fundraising that took a long time. In the edit, we didn't really have an example to go off of because the structure and the combination of fiction and reality is pretty new. So there was a lot of experimentation in the edit. And then, of course, the animation was very labor-intensive. It took a while for us to find the right animator, and once we did, he worked overtime for 2 1/2 years while leading a whole team of freelance artists across the world.
Aaron Kopp: It was definitely a long and tedious process, but it has honestly been the biggest joy of our lives. It's like we've had this secret all these years about this cool thing we get to work on, while still working on other things that we actually get paid for, haha.
Were there any stories that the children created that didn't make it into the final film?
Aaron Kopp: Yeah, most of them, the kids were just brimming over with ideas. We were running out of camera batteries. We wish we could've included all of them... It was so interesting to see how they would come up with [stories] with really profound simplification. But it was true to form because of their real life narrative, they have this knowledge that they probably shouldn't have at that age.
Yeah, they've been through a lot. Have the kids seen the film?
Aaron Kopp: We showed them the film two nights before the world premiere. It nerve-wracking because we really did make the film for them, we were hoping they would like it. The fact that they are proud of it and want to show it to everybody is the best possible response from them.
In the edit, we didn't really have an example to go off of because the structure and the combination of fiction and reality is pretty new. So there was a lot of experimentation in the edit.
There are a few moments when the animation crosses over with real life and I thought that beautifully tied in the universal nature of Liyana's story. Can you talk about these artistic choices?
Amanda Kopp: You get so many points for noticing that! Haha!
Aaron Kopp: We tried to keep that subtle but I'm really glad you noticed! We tried to have as much fun as possible with this mash-up of mediums. What is so interesting is the story the kids create takes on a real-life meaning, and the line between fiction and reality begins to blur. So it only made sense for us to dip back and forth with the animation and the doc footage. Like everyone always says, art imitates life, life imitates art.
Can you talk about some of the challenges you faced, specifically distribution?
Aaron Kopp: It's been such a dream to get it out [to festivals] and everything. It's been really humbling to know that people around the world are rooting for this film. But we are in the beginning stages of distribution- we don't have distribution yet. There are lots of conversations about it right now, and we will definitely keep you informed as details unfold.
Amanda Kopp: Getting reviews after our premiere has also been really exciting for us. Communities online are so enthusiastic about the film, it's really affirming to us because we feel like we're finding our audience there.
Aaron Kopp: Yeah, and thanks in part to you for watching it and writing about it in a way that's intelligent and insightful.
Thanks! Is there any advice you wish you could go back and give yourself at any point during this process?
Aaron Kopp: That's a good question. There's a lot we didn't know at the beginning but to be honest, I think that some of what we did at the beginning was a good thing. If we had known how long this process was going to take and how much work it was going to be, we might have been more daunted by the process as a whole. But we just took one step at a time. I think throughout the process, we just learned how to figure it out. Getting grants, finding funding, all of that. All of the hard lessons along the way were sort of necessary, in retrospect, I appreciate that.
Amanda Kopp: It's just hard work. Google or YouTube anything you need to if you [need help] with something. It's a fine balance between finding the right collaborators and the parts of filmmaking that you can just take on yourself and learn how to do. We became grant writers for this film, we became animators. I tried to get by with making contract agreements by myself but now that we're working with a lawyer, we have to redo all of them.
Aaron Kopp: Like Amanda said, I think the key is finding collaborators whose hearts are in the same place as you. When collaboration works, it's a thing of magic.
'Dunkirk' Review: An Epic Achievement Designed for the Big Screen
Film director extraordinaire Christopher Nolan has cemented himself as one of the few directors whose name alone not only draws audiences to see his films as fast as they can, but on the biggest screen that they can. The undeniable legacy of his entire filmography, including "The Dark Knight" trilogy and "Inception," has been immortalized in pop culture and for all of the right reasons: he makes great, expansive movies on the largest canvases possible.
Because of this, it’s likely that by the time of publishing, you may have already seen "Dunkirk," his latest film (in theaters everywhere now). The short answer is that "Dunkirk" is a must see experience, as much as all his prior entries are. But if Nolan’s name alone isn’t a draw, there’s plenty more to get excited about in this film.
Taking place within the World War II Battle of Dunkirk, the film depicts three intersecting perspectives related to a massive evacuation of Allied soldiers (primarily British) from the French coast of the English Channel. From the air, from the sea, and from the beach, we witness three contrasting vantage points in this massive conflict. Everything comes from the level of the soldiers, giving a grounded feeling of immediacy to the entire situation. There are no flashbacks or backstories, everything is in-the-moment-immersion into the conflict at hand. Each facet of this triptych is equally engaging, and watching them intersect is cinema at its finest.
Nolan has never done a war film before, nor a film based on true events but manages to apply some of his signature themes here still. A primary theme in "Dunkirk" is time, and specifically, the manipulation of it. Each of the three stories takes place over different speeds of real time that we’re told of at each of their beginning's. From each perspective, the tension lasts a different length (depending on their position), and without saying too much, Nolan addresses this head on.
While many films are re-formatted for IMAX as a way to fill the premium space, there is truly no other filmmaker than Nolan working today who has a mastery of how to fill such an epic canvas.
Movies themselves are a manipulation of time: they can take place in under 90 minutes or across decades, as even a single cut can move us millenniums (most famously in "2001: A Space Odyssey"). Nolan applies this exploration of moving time into a battle where time and escape were the most important driving forces on everyone’s minds, making him a perfect thematic match for "Dunkirk." I can’t think of another war movie before this that chooses to display a historical event in non-chronological order. This is just one of many ways in which the film stands out as unlike any war film I've ever seen before.
Much can be said about the experience of seeing this film in IMAX. The genuine IMAX screen at Universal Citywalk is where I was able to experience this film and it did not disappoint, as the visuals projected onto such a massive canvas are utterly breathtaking. Shots that would normally feel like conventional establishing shots play as jaw-dropping visuals on a screen so large you can’t see from top to bottom. Indeed, while many films are re-formatted for IMAX as a way to fill the premium space, there is truly no other filmmaker than Nolan working today who has a mastery of how to fill such an epic canvas. Many other films may market themselves as being needed to be seen on a big screen, but "Dunkirk" is one of the few that truly lives up to that promise.
At a lean 106 minutes in running time (his shortest by a margin, excluding his first feature film, "Following"), there is not a single wasted moment in "Dunkirk." It’s a captivating journey made unforgettable by how uniquely it’s told. It has been a great summer for independent film, but "Dunkirk" is a reason to believe in the power of a great blockbuster when made by a great filmmaker. It’s a great continuation of Christopher Nolan's legendary filmography, and easily one of the best films of the year.
106 minutes. "Dunkirk" is rated PG-13 for intense war experience and some language. Now playing in theaters everywhere.
https://www.youtube.com/watch?v=T7O7BtBnsG4
'Monkey Business' Review: The Story of Curious George’s Creators
For most people born in the U.S. over the last 50 years, the Curious George books are as ubiquitous as Beatrix Potter’s Peter Rabbit or Dr. Seuss's The Grinch.
Yet before Curious George's widespread appeal hit the mainstream, there was an extraordinary adventure from his creators, without which we would never know him and his unforgettable charm. The documentary "Monkey Business: The Adventures of Curious George’s Creators " is a mixed-medium look at the true story of the husband-wife team that created Curious George– Hans and Margret Rey.
The Reys were German Jews, born at the turn of the 20th Century in 1898 and 1906, respectively. Hans was the artist and possessed many of the personality traits that their fictitious monkey George did, most notably, of course, an insatiable curiosity and cheeky sense of humor. In contrast, Margret was the businesswoman, no-nonsense and always pushing for the best; like George, she always crafted solutions to challenging situations. Through the film, small details help us fully realize the shared traits in Geroge that come from both of these characters. Case in point, Hans’s biography (Selling Bathtubs on the Amazon) is revealed to be a tongue-in-cheek joke. Margret’s determination is comically blunt and allows her to succeed: she takes a boat all the way from Germany to Brazil to tell Hans that she is going to marry him, even though they have never dated. These are two of many anecdotes that make "Monkey Business" so enjoyable to watch. Each step of their journey, which starts as two separate ones but shortly becomes tandem, is a beautiful mix of whimsical and adventurous, even during the hardest of times like escaping Nazi France with George sketches in hand.
For the Reys, the children’s book-making that eventually led to the creation of their most famous character, Curious George, was a form of emotional release and a positive way to get through everything that they’d experienced.
For the Reys, the children’s book-making that eventually led to the creation of their most famous character, Curious George, was a form of emotional release and a positive way to get through everything that they’d experienced. Like another great documentary from this year’s LA Film Festival, "Liyana," "Monkey Business" is rooted in the theme that stories have the power to transform the world. Stories can offer an essential escape to those who need it, especially in times of tragedy and darkness.
I’ve saved the film’s highlight for last, which is its decision to incorporate the same animation style as the Curious George books to tell the Rey’s own story. The execution of this perfectly tailored animation is what makes the entire story shine. Despite living through hardships, the Reys chose to view life with this whimsy optimism. According to their neighbors who were interviewed for the film, they described escaping Europe on bicycles as the ultimate adventure instead of the harrowing task it most likely was. It’s easy to see that their relationship, a lifelong love and true partnership, allowed them to thrive in all situations, perilous or otherwise. With Hans’ jubilance and Margret’s stubbornness, their journey was never dull.
Like many of the great recent documentaries, "Monkey Business," narrated by Sam Waterston, is proof that animation in nonfiction filmmaking is a match made in heaven, and I frankly can’t get enough of these mixed-medium films. Director Ema Ryan Yamazaki clearly shows her astute knowledge of the source material and knows how to keep the story moving, again mainly served by the animation sequences. Some of the book-style transitions look a little too computer animated for my taste (it could’ve easily been done well using a mix of more actual books). But the animation that matters most, the story of the Rey duo, is impeccable– looking like another adventure in the Curious George series. This is a terrific documentary that’s simultaneously ground-breaking and uplifting.
"Monkey Business: The Adventures of Curious George’s Creators " will be released by The Orchard in theaters and on VOD this August, and I look forward to sharing it with storytellers and story lovers of all ages when it does.
'Liyana' Review: This Hybrid Documentary Proves That Children are Fantastic Storytellers
In an orphanage in the southern part of the African country of Swaziland, a group of students are brought together and given an extraordinary project. They are going to forge the story of Liyana, a fictional heroine born from their collective experiences and imaginations. The film of the same title, "Liyana," is both a telling of this original story, as well as the non-fiction story of its young creators who made it up.
Early on it’s established that, while the story of Liyana is fictional, it is born from a combination of every orphan’s experiences. In a traditional documentary, we’d be given backstory on each of our protagonists and how they ended up in the orphanage. Instead, through Liyana’s story, a few universal themes tell us all we need to know: parental neglect, HIV/AIDS, robberies, and abuse all play contributing roles. But the fictional story of Liyana is also unfiltered by adulthood and is a joyful odyssey of adventure and fable. It should come as no surprise that children are fantastic storytellers.
The documentary side of the film uses a mix of individual interviews and sequences with the orphanage. For Liyana’s story, beautiful, one-of-a-kind animation matched with the voices of various interweaved students tells her hero’s journey. It’s a true children’s story of overcoming obstacles and going on an adventure. As a fable, the story is able to incorporate exciting adventures for Liyana unrestrained by non-fiction (rich with animals, monsters, and other fantastical elements), but that clearly parallels the emotional journey each of these children has been on. The fact that "Liyana" is a universal tale so richly realized by children based equally on their unrestrained imagination and own experiences creates something truly special and compelling to watch given the context of its creation. This film is a testament to the power of story.
"Liyana" is a beautifully realized documentary from director duo Aaron Kopp and Amanda Kopp, and exactly the type of gem that represents the great stories LA Film Festival offers year after year.
A hero of the non-fiction story is the story advisor Gcina Mhlophe, described as a Swazi rockstar by the filmmakers. Mhlophe uses the power of ‘creative therapy’ to bring this story to life. A few great moments show her in action, discussing ideas for what should happen to Liyana next, not restricting any of the kids and their imaginations. One of the most powerful scenes is when the kids discuss how Liyana will start their journey, and without any backstory needed we understand this inciting incident is born from their own memories and past, resulting in a great launching point for the journey to come.
I love the power of storytelling and I find that films which address it can enhance our understanding of its capability. At LA Film Festival this year, both this film and "Monkey Business" address this topic with emotional resonance enhanced by the multi-medium elements documentaries are capable of. Stories (including movies) have frequently been a great means to understand cultures and experiences far from our own. Toward the end of "Liyana," one of the storytelling students says, “When people remember Liyana I want them to remember us, our words.” Hearing this story alone will not end poverty or empower the underprivileged, but is a necessary and powerful step toward continued worldwide empathy. "Liyana" is a beautifully realized documentary from director duo Aaron Kopp and Amanda Kopp, and exactly the type of gem that represents the great stories LA Film Festival offers year after year.
To learn more about the film, it’s extended journey toward release, and updates for future screenings, be sure to visit the film’s website and subscribe to their mailing list: http://www.liyanathemovie.com/#the-film
'Camera Obscura' Review: Implausibilities Plague This Indie Horror Film
An independent, low-budget horror/thriller is primarily judged by how well it can keep you on the edge of your seat.
Bonus points if it is able to make you forget that the film was made for a small fraction of the cost of what’s playing at your local AMC. The genre is a boom when done well, and entirely forgettable when not. Unfortunately, Camera Obscura falls into the latter camp.
Starting initially as a drama, the film follows Jack Zeller (Christopher Denham), a former war photographer, who struggles with PTSD. He is haunted by his past, taking photos of horrors without actually stepping in to help. His wife (Nadja Bobyleva) buys him a vintage camera and with her encouragement to get back into taking pictures, he books a basic photography gig to get him back on his feet. However, the camera has a mind of its own, turning out developed photos that feature deaths waiting to happen. In order to avoid tragedy, Jack finds himself trying to steer the camera away from showing the death of his loved ones. As it escalates, more people die and Jack goes further over the edge in an attempt to save people he loves.
There’s an immediate issue with the film’s premise that makes it impossible to suspend my disbelief. A present day, Middle East war photographer is using a film camera? It’s a tough, anachronistic sell considering the universal usage of digital in photojournalism for obvious practical reasons. It’s even harder to believe that he’d take a vintage camera to take corporate photos of a real estate development. Even letting this go, his photos come out on glossy, Walgreens style prints that look distractingly unprofessional. He goes to a “One Hour Photo” (another dubious plot element) to get them developed. We see them being developed in a brightly lit room. Even for someone who has never personally developed a film, it is widespread knowledge that photos are developed in a darkroom.
While this wouldn’t matter as much if the supernatural side of the story were effective, the film’s mythology is so implausible and confusing it’s hard to care.
These points may sound nit-picky, but every step of the way, Camera Obscura feels sloppy and poorly executed, making it impossible for me to overlook these fundamental mistakes in its foundation from which it is built. The movie’s handful of stilted supernatural sequences feel even more amateurish than if it had stayed grounded because they’re so poorly rendered. Even small components continually show a lack of attention to detail from the filmmakers. Take, for example, a news story on television has laughably bad graphics supposed to look like a news station. (For filmmakers out there, click here for a free template of an exponentially more realistic looking graphic than Camera Obscura sports). The fact that it’s so easy to point out these oversights constantly throughout the film is frustrating for me to watch as a viewer when there are similarly budgeted films that transcend their financial limitations. The one sequence that is supposed to take place in the Middle East features abysmally inaccurate production design (resembling my local grocery store more than a war zone) that again, I’m irritated at the lack of effort to immerse us in this story.
Maybe this is all tongue-in-cheek and self-aware? Catherine Curtin’s line about millennials indicates it could be, one of the few clear attempts at a laugh from the film. If that’s the case, the premise alone teeters on being offensive to war photographers and the great work that they do. War photography plays a vital role in capturing moments of anguish for the rest of the world to see, and here his backstory is continually handled with remiss. While this wouldn’t matter as much if the supernatural side of the story were effective, the film’s mythology is so implausible and confusing it’s hard to care. All of the originality is bogged down in confusion and overlooked details.
My respect for the challenges and tribulations of making a low-budget film remains steadfast, but when other contemporary films are able to pull off greatness, perhaps on even lower budgets than this film, it’s aggravating to see a movie that feels careless from start to finish.
"Camera Obscura" is not rated. 95 minutes. Opening this Friday at Arena Cinelounge Sunset, available on VOD Tuesday, June 13th.
Captain Fantastic Reading List: An Unofficial Guide [WATCH]
When I saw “Captain Fantastic” last summer, I was mesmerized by the number of books and other learning materials presented in the background as pieces of the character’s alternative education.
This helped the movie feel extremely lived-in and made me want to expand my educational horizons. Getting home from the movie theater, I immediately searched online for some form of a reading list and tweeted and reddit-ed at writer/director Matt Ross to ask for some form of a list. Even reading the screenplay was limiting given that so many were strictly in the production design.
Seeing a void, I created my own "Unofficial Captain Fantastic Reading List" to the film as an entry point to becoming a philosopher king. Few films have inspired education so much as this one, and while you won’t find me moving to the Washington State backcountry anytime soon, we could all take a few pages from the Cash family book.
Many thanks to the numerous branches of the LA Public Library, as well as eBay, for making this compilation a reality:
The Unofficial Reading List:
Captain Fantastic and the Dirt Brown Cowboy (1975) by Elton John
The Brothers Karamazov (2002) by Fyodor Dostoevsky
Guns, Germs & Steel: The Fate of Human Societies (1999) by Jared Diamond
The Fabric of the Cosmos (2004) by Brian Greene, Chapter 12: The World on a String
Middlemarch: a study of provincial life (1872)
by George Eliot
“No Fractura Hidráulica” T-Shirt
Marxism in Our Time (1973) by Isaac Deutscher
Trotskyism and Maoism: Theory and Practice in France and the United States (1989) by A. Belden Fields
Stalinism: Russian and Western Views at the Turn of the Millennium (2005) by Alter Litvin and John Keep
Maoism in Action (1974) by C. L. Chiou
Three "Whys" of the Russian Revolution (1997) by Richard Pipes
Scientific American - The Neuroscience of Habits (June 2014)
Scientific American - A Crisis in Physics? (May 2014)
E-Book - Fascism vs. Capitalism by Llewellyn H. Rockwell Jr. (2013)
Pol Pot: Anatomy of a Nightmare (2005) by Philip Short
Coolidge (2012) by Amity Shales
Lolita (1955) by Vladmir V. Nabokov
National Geographic - Wild Pets: The Debate of Owning Exotic Animals (April 2014)
Grammar - “Unique and other modifiers”
Titanic Soundtrack, “My Heart Will Go On” (1997) by James Horner & Celine Dion
The Hammer and the Cross (1980) by Michael Scott Rohan
Noam Chomsky has written many books and has contributed his views in countless places. Here are the books featured in the video:
The Chomsky Reader (1987) by Noam Chomsky
The Chomsky Effect: A Radical Works Beyond the Ivory Tower (2007) by Robert F. Barsky
Because We Say So (2015) by Noam Chomsky
Who Rules the World (2016) by Noam Chomsky
Noam Chomsky: Class Warfare, Interviews with David Barsamian (1996)
Understanding Power: The Indispensable Chomsky (2002)
The Joy of Sex (1972) by Alex Comfort
Nike, Goddess of Victory by Wikipedia
The Gods and Goddesses of Olympus (1994) by Aliki
Killer Instinct - Xbox One (2013)
Maus (1980) by Art Spiegelman
The United States Constitution (Book shown by Kristal Leebrick)
The U.S. Bill of Rights (1789)
The Story of Citizens United v. FEC by The Story of Stuff (2011)
ACLU Poster - Click here to buy
Samadhi: Personal Journeys to Spiritual Truth (2000) by Derek Biermann
Bach - Goldberg Variations by Glenn Gould
Yo-Yo Ma - Cello Suites inspired by Bach
Star Trek: The Original Series (1966-1969)
The Pocket Book of Baby & Child Care (1947) by Dr.
Benjamin Spock
The Indian Runner (1991) dir. Sean Penn starring Viggo Mortensen
Buddhism: World Religions (many different publications)
The Holy Bible (many different publications), Matthew 18 verses 15-20
Republic by Plato (380 BCE) - translated by Robin Waterfield (1993)
A cover of Guns N Roses’ “Sweet Child O’ Mine” from Appetite for Destruction (1987)
ACLU (2nd time seen in film) - Click here to donate
Jesse Jackson for President, 1988 by Wikipedia
The Nez Perce Indians and the Opening of the Northwest (1965) by Alvin M. Josephy
More context via NPS
Full transcript: Treaty with the Nez Percés, 1855