Half Nelson 8/9/06
dir. Ryan Fleck
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class description
- project.film.school
- In the cinema we were re-born as global citizens in defiance of the tyranny of the time and the isolation of the space that sought to confine us. In cinema, everything was possible, and in that possibility we defied our paralyzing limitations. The cinema revealed our hidden hopes as nation. With all the political and religious censorship that brutally limited our visual pleasures and experiences, we reveled in the rainbows of images that colored our cinematic daydreams.” from Hamid Dabashi’s “Close Up Iranian Cinema ______ for project film school screenings info visit : http://projectfilmschool.org
previous lessons
electives
- project film school HOME
- takepart blog
- meerkat media
- day for night
- the auteurs
- film of the month club
- jonathan rosenbaum
- moving image source
- on film
- cinema scope
- animal sleep stories
- observations on film art and film art
- cinema stubble
- chained to the cinematheque
- film at 11
- lucid screening
- excavating aesthetics
- girish
- the criterion collection
- like anna karina's sweater
- film society of lincoln center
- film forum
- d+kaz
- masters of cinema
- IMDB
- D-Ali Amateur Sports NYC
2 comments:
I loved it.
The storytelling, cinematography, editing.
It was especially inspiring to me because these are 27 year olds who lived in Brooklyn and had a good idea and the balls to pull it off.
One of the major reasons I'm so excited by Project Film School is because we are exploring such a mix of films from throughout film history as well as new material that consistently inspires my own decisions and boosts my own confidence as a media maker.
Lets keep this up and let it grow.
What impressed me about this film was how it managed to stray from clichés that past films dealing with this subject matter ran into. I think this had to do with two things:
1) They weren't afraid to cross the line - the social/racial/cultural issues that face the characters were not packaged into a nice warm easy to handle package. Instead the filmmakers allowed the gray area to exist and for the complexities of the situation to manifest themselves.
2) The camera work itself was organic, and not smooth and polished. This is much more true to the story itself (and stories of this nature)- therefore you weren't faced with the contrast of a film that claims to be dealing with "tough issues" but is lit like a sitcom. I liked that we were in the characters' space - it seemed uncomfortable at times - but allowed us to really participate in the awkwardness of the characters in the film.
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