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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Imagining the Future Through Film

The site Futurestates, part of ITVS, is a very cool site that challenges students to think about what the future will look like 25, 50, 100 years from now. The site combines films on pertinent subjects with lesson plans that tie in and challenge students to think about what they’re learning and hypothesize about what consequences might result decades from now, from choices they’re making today.

One of the Season One lessons, for instance, used Ramin Bahrani’s terrific short film Plastic Bag, narrated by Werner Herzog, to illustrate the relationship between humans as consumers and how we impact the environment without thinking.

One of the season two episodes, Exposure, which releases April 4, was directed by Mia Trachinger, whose film Reversion played at Sundance a few years ago. Reversion was a trippy film about a group of people who lack the ability to travel linearly through time. Trachinger used this basic conceit to explore the idea that if we don’t experience life linearly, we don’t ever see the direct consequences of actions, as an allegory for consequential morality generally.

Reversion had some flaws in the execution (Trachinger just told me she’s recut the film, though, so I am really interested to see it in this new iteration), but it was a really smart concept and Trachinger herself kind of reminds me of a sci-fi Miranda July … very smart and passionate, with a particularly interesting and engaging way of looking at the world.

Here’s the trailer for Trachinger’s film Exposure, which imagines a future world in which teams of government workers are tasked with the job of inoculating the population against disease by exposing people to contagions, and a group of people trying to avoid being exposed.

I’ll be keeping an eye on this project, now that I know about it, and maybe using some of the lessons with my middle school youth group at the Unitarian Church to kick off some discussions about some of the issues addressed. Pretty cool.

One Response to “Imagining the Future Through Film”

  1. Donkeys says:

    Just shoot him and bury him with a pig.

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé