Old MCN Blogs
David Poland

By David Poland poland@moviecitynews.com

Screening Gotham: June 30-July 2, 2006

A few of this weekend’s worthwhile cinematic goings-on around New York:
–You should know going into Andrew Berends’ Iraq documentary The Blood of My Brother (opening today at Cinema Village) that the film takes itself almost too seriously to bear. But if you will allow me, I intend that as a compliment. Rather than reiterate another 90 minutes of counteracting platitudes from Americans and Iraqis thrown together by war, Berends walks into the maw of the insurgency and just rolls tape. His overriding conceit tracks Ibrahim, a young Iraqi whose life implodes following his brother’s death at the hands of coalition forces. Split between his family responsibilities and a febrile drive for revenge, he considers joining the Shia uprising. But while Ibrahim hedges, Berends follows the ragtag Medhi Army into and out of mass protests, funerals, prayers and, ultimately, gun battles with American tanks and helicopters.

Medhi Army fighters from Sadr City take up arms in The Blood of My Brother (Photo: Andrew Berends)

The tone and action supercede the icy cynicism of The War Tapes or mournful revelation of Control Room; it is the first Iraq doc I have seen in which death permeates every frame. That said, The Blood of My Brother is not quite a great film–it reflects a cloying political self-consciousness at times when it should let its director’s hard-won images speak for themselves. But to the extent Berends reveals danger as the only sense more resonant than hopelessness, you pretty much have a waking nightmare on your hands. And fair warning: Animals were harmed in the making of this motion picture.
–On a lighter, trashier note, the Pioneer is reviving Showgirls for one final June screening. I would elaborate on what a treat this is, but I doubt I can say it better than good old Jeffrey the projectionist (via Pioneer’s MySpace page):

Ladies, mention this mySpace blog post and get discounted admission. BITCHES TO THA FRONT. BITCHES TO THA BACK. BITCHES ALL AROUND BITCHES SMACK SMACK SMACK. I don’t know what that means, but it’s okay. You know what, anyone can just come and mention this mySpace blog and get discounted admission. That’s how we roll: GENEROUS.

Rumor has it that “discounted admission” means $6.50 instead of the regular $9. Which, you have to admit, is a small price to pay for such date-ready debauchery.
–You knew that last week’s rainout would not enough to break the spirits of the gang behind the Billyburg Short Film Festival, which unspools this evening with host Michael Showalter (Stella, The Baxter) presiding. Films include Braden King’s music video Bonnie “Prince” Billy: Horses and the 2006 BSFF Best in Show, Baby Eat Baby–”a film about war and truth starring nude babies and people made of clay.” Assuming you survive, an afterparty featuring live music by Japanther follows.

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“Any time a movie causes a country to threaten nuclear retaliation, the higher-ups wanna get in a room with you… In terms of getting the word out about the movie, it’s not bad. If they actually make good on it, it would be bad for the world—but luckily that doesn’t seem like their style… We’ll make a movie that maybe for two seconds will make some 18-year-old think about North Korea in a way he never would have otherwise. Or who knows? We were told one of the reasons they’re so against the movie is that they’re afraid it’ll actually get into North Korea. They do have bootlegs and stuff. Maybe the tapes will make their way to North Korea and cause a fucking revolution. At best, it will cause a country to be free, and at worst, it will cause a nuclear war. Big margin with this movie.”
~ Seth Rogen In Rolling Stone 1224

“Yes, good movies sprout up, inevitably, in the cracks and seams between the tectonic plates on which all of these franchises stay balanced, and we are reassured of their hardiness. But we don’t see what we don’t see; we don’t see the effort, or the cost of the effort, or the movies of which we’re deprived because of the cost of the effort. Paul Thomas Anderson’s Inherent Vice may have come from a studio, but it still required a substantial chunk of outside financing, and at $35 million, it’s not even that expensive. No studio could find the $8.5 million it cost Dan Gilroy to make Nightcrawler. Birdman cost a mere $18 million and still had to scrape that together at the last minute. Imagine American movie culture for the last few years without Her or Foxcatcher or American Hustle or The Master or Zero Dark Thirty and it suddenly looks markedly more frail—and those movies exist only because of the fairy godmothership of independent producer Megan Ellison. The grace of billionaires is not a great business model on which to hang the hopes of an art form.”
~ Mark Harris On The State Of The Movies