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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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“Let me try and be as direct as I possibly can with you on this. There was no relationship to repair. I didn’t intend for Harvey to buy and release The Immigrant – I thought it was a terrible idea. And I didn’t think he would want the film, and I didn’t think he would like the film. He bought the film without me knowing! He bought it from the equity people who raised the money for me in the States. And I told them it was a terrible idea, but I had no say over the matter. So they sold it to him without my say-so, and with me thinking it was a terrible idea. I was completely correct, but I couldn’t do anything about it. It was not my preference, it was not my choice, I did not want that to happen, I have no relationship with Harvey. So, it’s not like I repaired some relationship, then he screwed me again, and I’m an idiot for trusting him twice! Like I say, you try to distance yourself as much as possible from the immediate response to a movie. With The Immigrant I had final cut. So he knew he couldn’t make me change it. But he applied all the pressure he could, including shelving the film.”
James Gray

“I’m an unusual producer because I control the destiny of a lot of the films I’ve done. Most of them are in perfect states of restoration and preservation and distribution, and I aim to keep them in distribution. HanWay Films, which is my sales company, has a 500-film catalogue, which is looked after and tended like a garden. I’m still looking after my films in the catalogue and trying to get other people to look after their films, which we represent intellectually, to try to keep them alive. A film has to be run through a projector to be alive, unfortunately, and those electric shadows are few and far between now. It’s very hard to go and see films in a movie house. I was always involved with the sales and marketing of my films, right up from The Shout onwards. I’ve had good periods, but I also had a best period because the film business was in its best period then. You couldn’t make The Last Emperor today. You couldn’t make The Sheltering Sky today. You couldn’t make those films anymore as independent films. There are neither the resources nor the vision within the studios to go to them and say, “I want to make a film about China with no stars in it.”Then, twenty years ago, I thought, “OK, I’m going to sell my own films but I don’t want to make it my own sales company.” I wanted it to be for me but I wanted to make it open for every other producer, so they don’t feel that they make a film but I get the focus. So, it’s a company that is my business and I’m involved with running it in a certain way, but I’m not seen as a competitor with other people that use it. It’s used by lots of different producers apart from me. When I want to use it, however, it’s there for me and I suppose I’m planning to continue making all my films to be sold by HanWay. I don’t have to, but I do because it’s in my building and the marketing’s here, and I can do it like that. Often, it sounds like I’m being easy about things, but it’s much more difficult than it sounds. It’s just that I’ve been at it for a long time and there’s lots of fat and security around my business. I know how to make films, but it’s not easy—it’s become a very exacting life.”
~ Producer Jeremy Thomas