• How You Can Help Andrew Berends

    We spend a lot of time in this slot telling you, the loyal Screengrab reader, about the ups and downs of independent film.  We've also addressed, not always with tongue out of cheek, the travails of the documentary filmmaker.  But we're dead serious when we tell you that being a documentarian can be a dangerous, and even deadly, business.  That's where Andrew Berends comes in, and this is where you can really help.

    Berends is a documentary filmmaker who's never shied from going to dangerous places to pursue his art.  He's perhaps known for two feature films he did during an extended stay in Iraq:  When Adnan Comes Home and the deeply affecting The Blood of My Brother:  A Story of Death in Iraq.  (Berends also worked on "Gangs of Iraq", one of the more effective Iraq War segments of TV's Frontline program).  Recently, while researching a story on corruption and violence in Nigeria's oil-rich Niger Delta, Berends, his assistants, and several translators were arrested by the government and accused of spying.  Thanks largely to an outpouring of coverage in the film press and the assistance of the French organization Reporters Without Borders, the last of them were released last month.

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  • Morning Deal Report: Bollocks.

    Oh, the good ol', progressive ol' MPAA: they've rejected the poster (visible at right) for Alex Gibney's documentary Taxi to the Dark Side, about the U.S. military's torture of foreign detainees. No blood, no gore, what's the problem? Well, it might upset children. And remember, all American political discourse must be pitched (gently, underhand) to the comfort level of an eight-year-old.

    After the Fight-Club-reunion hype around State of Play, with Brad Pitt and Edward Norton sharing a screen once more, Pitt fled the coop. Now Norton has done the same, and Ben Affleck will replace him.

    Jerry Bruckheimer gets into video games. This probably won't be a very difficult transition.


  • Redacted Redacted

    Brian De Palma has always been fascinated by contrasting points of view, and by the way the media frames and filters complex events to serve its own purposes. His new film, Redacted, which got the sixty-seven-year-old director his first invitation to the New York Film Festival, is based on an actual atrocity committed by American soldiers in Iraq; it tells its story through mock-documentary footage, YouTube and video blog postings, and one soldier's video diary. It's clearly a staged and acted film; De Palma isn't out to fool anybody, though there have still been reports of walkouts during a couple of key, horrific moments. But the movie ends with a brief montage of actual photos of carnage from Iraq, photos that look like scenes that have come before them, yet are so much worse that they put the whole film into perspective.

    De Palma has great faith in the power of images to change the world; after Redacted won him the Silver Lion for best director at the Venice Film Festival, he confidently told reporters that "The pictures are what will stop the war," and he's chastised the media for not showing Americans the full awfulness of what has been unleashed against the Iraqi people. So it's an oddly apropriate sick joke — a De Palma-esque joke — that Redacted itself is being, as its director says, redacted: the movie's producers are insisting on "protecting" the anonymity of the dead and wounded in the photos by placing black bars across their faces, as if they were in a vintage stag film. De Palma has been using the bully pulpit of the NYFF stage to complain about this, and even to publicly argue with his backers. Blogger and critic Jurgen Fauth has posted video of a recent Q&A here. — Phil Nugent


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