Author Topic: 11'09''01  (Read 2752 times)

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Jack Sparrow

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11'09''01
« on: July 22, 2003, 08:11:53 AM »
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Anyone seen it? Is it good?


©brad

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11'09''01
« Reply #1 on: July 22, 2003, 08:28:48 AM »
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huh. never even heard of it. would see it tho.

Pubrick

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11'09''01
« Reply #2 on: July 22, 2003, 08:36:06 AM »
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the only segment u need to see is the one by Alejandro González Iñárritu, "Mexico".
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Jake_82

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11'09''01
« Reply #3 on: July 22, 2003, 09:54:22 AM »
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I really want to see this. Has it been released on DVD in the US?
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TheVoiceOfNick

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11'09''01
« Reply #4 on: July 22, 2003, 12:15:23 PM »
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This reminds me... I saw the trailer for the first movie that mentions September 11th in it... I can't remember what it was (it was that forgetable!)... I know I just saw it recently... there was a big reference to how security has been beefed up after September 11th.

Nick

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11'09''01
« Reply #5 on: July 22, 2003, 02:13:15 PM »
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Quote from: TheVoiceOfNick
This reminds me... I saw the trailer for the first movie that mentions September 11th in it... I can't remember what it was (it was that forgetable!)... I know I just saw it recently... there was a big reference to how security has been beefed up after September 11th.


That was Bad Boys 2.

I really want to see 11.09.01...especially for Inarritu and Penn's contributions. Did anyone see The Boys? I thought it was pretty good, up until the awful ending.

TheVoiceOfNick

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11'09''01
« Reply #6 on: July 22, 2003, 02:22:57 PM »
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I'm seeing Bad Boys tonight at the Director's Guild.   :-D

Nick

modage

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11'09''01
« Reply #7 on: July 22, 2003, 02:40:25 PM »
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what is The Boys?
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

MacGuffin

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11'09''01
« Reply #8 on: July 22, 2003, 02:49:21 PM »
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I think Ghostboy meant:

“Don't think about making art, just get it done. Let everyone else decide if it's good or bad, whether they love it or hate it. While they are deciding, make even more art.” - Andy Warhol


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modage

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11'09''01
« Reply #9 on: July 22, 2003, 02:53:01 PM »
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oh, okay.  i saw a test screening of that.  it was the most boring piece of shit i'd ever seen.  if you're not going to adapt a play into a movie, then dont bother making one.  two characters in one room talking for 2 hours.  ugh, what a piece of shit.  the director was a real prick too, because they turned the lights on when the credits came on so people could fill out the forms and he started havinga  shit fit.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

Pubrick

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11'09''01
« Reply #10 on: July 22, 2003, 11:30:30 PM »
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yeah cos The Boys is an awesome australian movie about a bunch of deadbeats who drop acid and rape a chick.
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modage

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11'09''01
« Reply #11 on: July 23, 2003, 12:22:53 AM »
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Quote from: P
yeah cos The Boys is an awesome australian movie about a bunch of deadbeats who drop acid and rape a chick.


atleast that would have been SOMETHING.  that sounds way better than this sentimental piece of shit.
Christopher Nolan's directive was clear to everyone in the cast and crew: Use CGI only as a last resort.

TheVoiceOfNick

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11'09''01
« Reply #12 on: July 23, 2003, 10:23:56 AM »
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Quote from: Ma©Guffin
I think Ghostboy meant:



I thought he was trying to be hip and call Bad Boys 2 "the boys"...   :P

Nick

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11'09''01
« Reply #13 on: September 11, 2003, 06:59:41 PM »
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The Flawed Symphony

Perfection is a hard enough thing to obtain with only one director at the helm, and so it was only to be expected that 11'09"01 – September 11 probably wouldn't get there. Composed of eleven short films by eleven internationally acclaimed filmmakers, the film may not have achieved perfection, but it did get close, marred only by a few weak spots, becoming in its way the special kind of masterpiece that's actually that much better for its flaws. The films that miss the mark put the skill and poignancy of the others into perspective, and in the end that's what the project was all about in the first place – perspective. Without its faults and misfires, the film probably wouldn't feel as accurate a time capsule as it does.

The films are, as mentioned, of fairly inconsistent quality and of varying content. Made up of the sentimental, the humorous, the sympathetic, and the abrasive [and in one case, the pretty much irrelevant], the project's best contributions come from Mira Nair [India], Ken Loach [UK] and Samira Makhmalbaf [Iran], while its worst are far and away those of Egypt and [oddly enough] Japan.

One of the most impressive things about the films is that, even within the [admittedly very broad] limitations imposed upon the them [film length and budget being the most notable], the filmmakers have found the room for cinematic innovation.

Much has been made of the segment by Alejandro González Iñárritu [Mexico], which makes use of nothing more than a blank screen, archival sound and microsecond glimpses of bodies falling from the twin towers. Understandably, this segment makes for a wrenching eleven minutes – though it seems to me as though it fails to do much more than "recreate" the visceral sensation of September 11, where the better films have something more specific to say. To me, Iñárritu's segment feels more like a well executed film school project, whereas the use of sound [not only as a gimmick, but as a feasible storytelling device also] is much more refined and mature in the segment by Claude Lelouch [France], who creates a bittersweet romance around the idea of a deaf woman "not hearing" the attacks, which are directly affecting her tour guide lover at the WTC.

I was slightly disappointed by the Danis Tanovic [Bosnia-Herzegovina] contribution, especially after his Academy Award winning No Man's Land, and felt let down by the end of what had started out looking like a brilliant semi-satire by Amos Gitai [Iran], which unfortunately found itself concentrating on its least likeable [and least interesting] character.

With the exception of the Nair and Loach films [which were both outstanding], the piece that most deserved the "hype" surrounding it was the heart-warming segment by Idrissa Ouedraogo [Burkina-Faso], who not only proves that he can hold his own against some of the world's leading filmmakers, but that he can surpass them. As the lightest film in a fairly heavy canon, the Ouedraogo segment shows consummate skill and compassion, and while having read a number of reviews beforehand prevented it from being much of a "surprise", watching it was certainly still an "experience".

Which is, however, much more than can be said for the films of Youssef Chahine [Egypt] and Shohei Imamura [Japan], the first of which is a bizarrely self-important attempt at Fellini-esque autobiographical filmmaking, and the second of which is [simply put] about a WWII soldier who thinks he's a snake. That Imamura's segment was actually chosen to conclude the film is completely incomprehensible [and while there are a number of problems with the programming, this is clearly the most glaring].

What delineates the difference between the good, the bad and the ugly is the manner in which each filmmaker chooses to implement his or her freedom expression, and how strongly they believe in what they need to say.

Imamura's contribution lacks because it feels as though he had struggled to find something that he personally needed to express about September 11, and instead had just taken "any old story" and tailored its ending to seem vaguely relevant. Chahine's film fails because it's more concerned with how presents itself as "a film" than with how it handles its content. Personally, I felt this was also the case with the Sean Penn [USA] piece.

The best films are those that strike a balance. Loach, Nair and Makhmalbaf let their message dictate the technique, not vice versa. This is one of the basic theories of storytelling, of course, so it's surprising to see how difficult it can be to get right. But then of course, I may be wrong – everybody seems to love the Iñárritu piece, and that was nothing but technique.

Ultimately, the film is able to transcend its pigeonholed position as a "compilation" or "anthology" and make a comment on cinema, not only as an art [though it does that too, I think], but as a viable form of historical documentation separate to the documentary. The film is like a symphony – for all its flats and sharps and lulls in passion, at its core it is raw and compelling. 11'09"01 – September 11 can be considered a time capsule of international feeling at this point in our history – if not because the stories within it are true, then because the emotions behind them certainly are.

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cos The Boys is an awesome australian movie about a bunch of deadbeats who drop acid and rape a chick

Exactly.
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Just Withnail

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11'09''01
« Reply #14 on: September 12, 2003, 07:06:51 AM »
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Damn you Silver Bullet for posting such a long review. Well, saw it last night, and won't post a full review becouse #1: Silver Bullet was right in practically everything. #2: I'm lazy. Instead I will give you three keywords.

Good

Bad

Inconsistent

Edit: I hate spelling things right.

 

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