"Not Evil Just Wrong", ou em tradução livre: "Nada perverso, apenas errado", é um filme que estrela Al Gore, mas ele provavelmente não vai gostar muito. O filme apresenta a devastação e o pesado preço do interesse pessoal e alarmismo hipócrita de Al Gore.
Criado pela dupla de cineastas israelense Phelim McAleer e Ann McElhinney, que fizeram um excelente documentario sobre o "lado negro do ambientalismo", o filme fornece uma perfeita réplica para o filme do Sr. Al Gore "Uma verdade inconveniente".
O documentário “Food, Inc.” estreia nos Estados Unidos na sexta-feira, retratando esses perigos e as transformações operadas na indústria alimentícia norte-americana, afirmando seus efeitos prejudiciais à saúde pública, ao meio ambiente e aos direitos dos trabalhadores e dos animais. Matéria de Christine Kearney, da Agência Reuters.
Grandes corporações como a Monsanto, produtora de alimentos geneticamente modificados, as empresas de carnes americanas Tyson Food Inc. e Smithfield Fods e a produtora de frangos Perdue Farms se negaram a conceder entrevistas para o filme.
Mas a indústria alimentícia não se calou. Associações comerciais representativas da indústria de carne nos EUA, que movimenta 142 bilhões de dólares por ano, se uniram para refutar as alegações feitas no filme. Lideradas pelo Instituto Americano da Carne, criaram vários sites na Internet, incluindo um chamado SafeFoodInc.com (Alimentos Seguros.com).
A campanha delas afirma que os alimentos norte-americanos são seguros, abundantes e de preços acessíveis, enquanto o filme afirma que as imagens de animais pastando em fazendas verdejantes, impressas nos rótulos de produtos alimentícios, são enganosas.
“Food, Inc.” explora o argumento de que os alimentos não vêm de fazendas simpáticas, mas de fábricas industriais que priorizam o lucro, e não a saúde humana.
Scott Stevens de weatherwars.info, postou um promo de um novo documentário. E irá incluir as entrevistas que ele fez com o Dr. Bernard Eastlund, e outros cientistas que alegam ter criado tecnologias que estão atualmente sendo utilizadas para modificar ou manipular o clima global.
A capital americana está em polvorosa por conta de um documentário de 90 minutos que estreou no último dia 8 e se chama "Outrage", um substantivo em inglês que poderia ser traduzido como ultraje, tudo aquilo que provoca indignação, repúdio, horror e ofensa. O filme, dirigido pelo celebrado (e heterossexual) documentarista Kirby Dick - autor de "Twist of Faith", documentário indicado em 2004 ao Oscar e que retrata a pedofilia na Igreja Católica nos EUA - vem lotando os cinemas de Washington e virou motivo de apimentadas conversas nas recepções e bares da capital, como mostra Gilberto Scofield em reportagem publicada na edição desta domingo do jornal O Globo.
O documentário revela quem são os políticos gays que escondem sua orientação sexual e, do armário, comandam campanhas conservadoras contra gays e lésbicas nos Estados Unidos, votando contra os seus.
"As pessoas saem do cinema impressionadas com a hipocrisia de políticos gays que fazem o maior esforço para impedir a aprovação de direitos civis de gays e lésbicas"
'Inside Job' é o primeiro filme a apresentar uma análise abrangente da crise financeira global de 2008, que a um custo de US $ 20 trilhões, fez com que milhões de pessoas perdessem seus empregos e casas na pior recessão desde a Grande Depressão, quase resultando em um colapso financeiro global. Através de uma pesquisa exaustiva e entrevistas com os principais insiders financeiros, políticos, jornalistas e acadêmicos, o filme traça a ascensão de uma indústria de desonestos, que corrompeu a política, regulamentação e academia. O documentário foi filmado nos Estados Unidos, Islândia, Inglaterra, França, Cingapura e China.
'Trailer do terceiro documentário da série Zeitgeist, que será lançado simultaneamente em dezenas de países em janeiro de 2011.
Saiba mais em zeitgeist3.com.br e mzbr.com.br
'Going local' is a powerful strategy to help repair our fractured world - our ecosystems, our societies and our selves. Far from the old institutions of power, people are starting to forge a very different future...
In the valleys of Appalachia, a battle is being fought over a mountain, the consequences of which affect every American; it's a battle that has taken innocent lives and threatens to take more. It is a battle over protecting our health and environment from the destructive power of Big Coal. Mining and burning coal is at the epicenter of America's struggle to balance its energy needs with environmental and health concerns. Nowhere is that concern greater than in Coal River Valley, West Virginia, where a small but passionate group of ordinary citizens are trying to stop Big Coal corporations, like Massey Energy, from continuing the devastating practice of Mountain Top Removal. David, himself, never faced a Goliath like Big Coal. The group argues that Mountain Top Removal-using dynamite to blast off a mountain's surface-pollutes the air and water implicit in their neighbors' deaths, eliminates traditional mining jobs and spreads pollution to other states. Despite support for their claims, Big Coal repeats Mountain Top Removal daily, amassing huge profits that allow their Washington lobbyists to wield influence in both political parties, rewrite environmental laws and avoid violations. The desire to stop Mountain Top Removal comes from a belief that we share responsibility for protecting the air and water; its what drives the group and their supporters from outside of Appalachia, like Robert Kennedy, Jr., to keep fighting. Honoring ordinary Americans fighting for what they believe in, THE LAST MOUNTAIN shines a light on our energy needs and how those needs are being met. Their fight is for a future that affects us all.
"shot in black-and-white and running a haunting, emotion-drenched 75 minutes, [inni is] as pure an experience of the cinema as i've had." justin chang, variety
'inni' is either the first-ever sigur rós live album, or second live film (and follow up to 2007's acclaimed iceland tour film heima). in fact, it is both: a 75-minute film and 105-minute double live album of the band captured in full flow at the close of their last tour in november 2008, here housed within one single fat package.
filmed at alexandra palace over two nights by director vincent morisset (arcade fire's 'miroir noir'), the movie 'inni' could best be described as the anti-'heima'. whereas that film took a band about whom the world knew little, and placed them in the cultural, social and geographical context of their homeland, (with winning and humanising results); the new film strips away everything save the raw performance of the four musicians themselves. where 'heima' was widescreen and open, 'inni' is close and single focussed.
this is intentional. for while 'heima' was successful at "explaining" sigur rós, it was less so at conveying what it feels like to actually watch sigur rós play. that is the job of 'inni'. in order to accomplish this goal, morisset has taken his time and employed a number of different analogue post-production techniques to create an emotional understanding of being in the room with the band and going 'inside' the music. ("inni" literally means "inside").
unlike many concerts, watching sigur rós is seldom a communal experience; it is instead intensely personal. by almost entirely removing awareness of the crowd and any sense of place, morisset brings you closer than ever to the players, using multiple camera angles to reveal in sometimes minute close up the concentration and effort involved in delivering such a powerful rock show.
originally filmed on hd digital, 'inni' was first transferred to 16mm film and then projected and re-filmed once, sometimes through glass and other objects to give a strong impressionistic look, a feat accomplished with the help of godspeed you! black emperor visual collaborator karl lemieux. the film was then meticulously pieced together by 'heima' editor nick fenton, who chose to break up the flow with unexplained archive footage, including interview and concert material from before the band's exposure to the wider world at the tail end of the last century.
it's worth mentioning also that the film has only one song in common with 'heima' (the closing 'popplagið') and that it draws for the most part on the darker end of the band's material. the double live album by contrast, covers the entire sigur rós spectrum over its hour-and-three-quarters, the songs played in the same order as on the night. mixed by sigur rós house engineer birgir jon birgisson, 'inni', the live album, stands as the definitive sigur rós live recording.
the performance captures the band playing as a stripped down four-piece for the first time since they were joined by string section amiina at the start of the decade. this fundamental 'boiling down' makes 'inni' a more forceful and primal proposition, much at odds with the popular misconception of the band as purveyors of instant emotional heft for film-makers in need.
the album features 15 tracks, with songs taken from all five sigur rós studio albums. there is also the bonus of an unreleased studio track in the form of 'lúppulagið', which is used both over the credits of the film and as the final non-live track on the album. the dvd/blu-ray, meanwhile, also includes four extra songs from the night.
Um documentário e um ensaio fotográfico poderoso. Um alerta e uma denúncia: o problema do lixo sem controle, sobretudo do plástico, que acaba indo parar nos oceanos e em habitats naturais.
Chris Jordan captura meticulosas fotografias na Ilha Midway, no Pacífico Norte, e faz um registro impressionante da conexão interespécies, partindo necessariamente da irresponsabilidade humana e capturando consequências a 3,2 mil quilômetros da costa mais próxima, no meio do Oceano, a agonia na mortandade das aves que ingerem todo tipo de plástico não-reciclado, descartado.
If you have ever used the internet, email, a smart phone, iTunes, Google, Facebook, or almost any computer program, then odds are you have blindly agreed to a "terms and conditions" agreement. Director Cullen Hoback takes a microscope to these labyrinthine contracts of rules and concessions, uncovering an epidemic of nearly invisible data mining, which allows multinational corporations and government agencies nearly unlimited access to our personal information. Conferring with lawyers, consumer advocates, senators, and software engineers, Hoback takes us on what starts as an affable exploration that turns Orwellian as he discovers frightening examples of the slow, voluntary erosion of our privacy. A comedian finds a SWAT team at his door after quoting Fight Club on Facebook. A tourist cheekily tweets about a weekend of drinking, and then finds himself detained for suspected terrorist activities. As legislation like the Patriot Act continues to expand the level of surveillance that is allowed, usually under full cooperation of the corporations to whom we willingly share information, is there any hope for the future of privacy? This provocative, insightful, and unnerving documentary doesn't have the answers, but will make you think more carefully before clicking "I accept."