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MovieGlobe: A Look Forward

Faisal Goes West

"Identity is only what we make of it." Bentley Brown.

Bentley Brown
This movie is not yet out!
Still in the rough cut and awaiting a soundtrack!
According to its maker, Bentley Brown, a Texan who lived in Africa for many years, "Faisal Goes West" highlights a more global story of human (in)equality, the dignity and indignity of the migrant experience, as you know — especially in the US and parts of Europe, people coming from Africa are often profiled in a negative light, never given the benefit of the doubt that they are intellectual human beings. This is something our film feel seeks to question. Specifically, in ‘this movie' we are focusing on a reality in America, on the absolute over qualification of immigrants.

"The film speaks to two kinds of audience in the USA. Firstly, to a generation of migrants, for whom there are direct parallels with the story told in the film. The second audience are the Americans who don’t really have a conception of their migration to the US: America is very quick to assimilate." Mr. Brown also raises the important issue of the fate of languages (and possibly cultures) other than English in the USA.
A medium length feature film, "Faisal Goes West" is at the end of its production timeline and is expected to hit the markets in African and Middle Eastern network channels. "In the US, it will be limited to smaller independent networks."
Read the important interview with the American filmmaker Bentley Brown in the link below:
Interview with American Filmmaker Bentley Brown





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Danny Boyle's Olympics

In case you are planning even just a peek at the Olympic Games in London
UK you certainly do not want to know who is running London but it might interest you
that Danny Boyle will be the artistic director for the games this summer of 2012.
While it is obviously a sports occasion, it is also an opportunity to stroll under the drizzle
of ecstatic glimpses of the human condition at its most positive, most joyous, peaceable and life-affirming moments, competitive sports.
Danny Boyle is no stranger here! His style of filmmaking is thought by many to be "engaging, fun and visceral!", no matter how gritty was his depiction of life in the slums
of Mumbai in his colossal success "Slumdog Millionaire, 2008".

Danny Boyle rehearsing
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A Look Back
Every Dogma Has Its Day

In 1995 a call for a kind of cinema dogma (named Dogme 95) found wide enthusiasm among critics and film makers in Europe. It was thought of as a movement to reconfigure cinema as pure art and enable the reception of cinematic expression by its audience without the influence of technical or industrial devices.
The founders of this movement, Danish director Lars von Trier (born 1956), Thomas Vinterberg (born 1969) and others, stressed the importance of relieving filmmaking
from any tools or devices other than the camera, film (the celluloid strip), natural light
and natural color! For example, it would be prohibited to use the camera on rails or 
mobilised by cranes. No filming in black and white and no use of extra lenses or filters
of any kind. Other sets of conditions and laws were suggested relating to the form and content of the movie and how to use music. Even that no mention of the director or filmmaker should be made anywhere in the movie!
It was funny from the outset this Dogme 95. It was labelled radical at times and at other times it was described as a continuation of the French New Wave (La Nouvelle Vague).
Altogether, Dogme 95 as a movement was not realistic nor was it able to achieve the aspired advances in filmmaking and yield significant parallels to hundreds of good movies made under 'normal' technical settings of production.

Vinterberg himself admitted that he was the first to break the rules of Dogme when he put a curtain on the window during the filming of "The Celebration" contrary to the condition requiring that nothing should be used to prevent or neutralize the natural light of the scene. In fact Vinterberg went further and used 'special lighting'!
As for Lars Von Trier, he had to use pre-recorded music whereas their manifesto required that music be 'used' during filming and recorded directly along with other sounds!
Nevertheless, some of the productions were considered good such as Kristian Levring's "The King is Alive". Lars Von Terier received the Palme d'Or, the Grand Prix and the Prix du Jury at the Cannes Film Festival!
Based on an article by Mohammed Rouda


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