Film

'The Fifth Estate:' Is WikiLeaks Good for America?

 via The Fifth Estate Facebook Page: facebook.com/TheFifthEstateMovie
Still from 'The Fifth Estate' via The Fifth Estate Facebook Page: facebook.com/TheFifthEstateMovie

Am I the only one who finds it deliciously ironic that WikiLeaks founder Julian Assange objects stridently to how he is portrayed in the new movie, The Fifth Estate? The film, which hits theaters in wide release today, turns its attention to the organization best known for publicly sharing otherwise confidential information of various governments, including our own.

Assange is clearly a study in eccentricity. From his tow-headed locks to his lock-down work environment, he fascinates as often as he infuriates. To demonstrate their displeasure about the coming film, WikiLeaks actually leaked the screenplay to the public ahead of the movie release and has published numerous corrections they deem necessary to more accurately reflect history. They have also labeled the movie "irresponsible, counterproductive and harmful,” adjectives made that much more poignant, given that similar epithets have been leveled at WikiLeaks for their own work.

But despite this latest round of drama revolving around WikiLeaks and its lightning rod of a front man, the question still remains:

Is WikiLeaks good for America?

'12 Years a Slave:' A Film of Moral Gravity

'12 Years a Slave' still, Fox Searchlight
'12 Years a Slave' still, Fox Searchlight

I pre-screened 12 Years a Slave the same weekend I saw Gravity. The two films couldn’t be more different, although they do have some fascinating (if not immediately obvious) commonalities.

As for commonalities, they’re both powerful and both deserve to be seen. Both are about people trying to get home — one, in a harrowing adventure that takes several hours, the other in an agonizing 12-year struggle. The protagonists of both movies demonstrate heroic resilience and courage. One struggles with physical weightlessness, the other with a kind of social or political weightlessness. 

Although Gravity impressed and fascinated me, 12 Years a Slave affected me and shook me up. Now, several days later, scenes from the film keep sneaking up on me and replaying in my imagination — three in particular. 

'12 Years a Slave' — Could It Happen Again?

'12 Years a Slave' still, Fox Searchlight
'12 Years a Slave' still, Fox Searchlight

I watched 12 Years a Slave today. The film is based on Solomon Northup’s autobiography by that name. Northrup was a free black man living in Saratoga, N.Y. He was lured away from his home to Washington, D. C., on the promise of lucrative work and was kidnapped, transported to Louisiana, and sold into slavery. He was rescued 12 years later.

Some of the questions and issues that the movie raises are: What right do people have to own others? Do money and might make right? Unjust laws — such as slave laws — exist. It just goes to show that something can be legal, yet morally wrong. Still, laws come and go. We must not confuse laws with rights, which are universal and enduring truths that do not change. What is true and right and good is always so. So, too, that which is evil is always evil. Even if unjust laws are overturned and abolished, evil can still return in other guises.  

I asked myself as I watched the movie, “Could it happen again?” Some of us may think, “Surely, something like this could never happen in our day.” And yet, people are abducted and sold into various forms of slavery here and abroad on a daily basis. Granted — people are not publicly bought and sold on the slave block in America today because of skin color; however, people are enslaved based on race and class divisions.

Faith, Family, Latino, LGBT, All 'Before God'

Screenshot from 'Before God: We Are All Family'
Screenshot from 'Before God: We Are All Family'

As a boy growing up, Joanna Maria Cifredo wasn’t like her brothers.

“My brothers looked at females because they wanted to be with a female,” Cifrado says, in new video resource by the Human Rights Campaign that premiered Oct. 1. “I looked at females more like, ‘Oh, I wish I was her.’ ”

Now, Joanna has decided to physically identify as a woman full time.

Her voice joined many others in Before God: We are All Family, a new film focused on the experiences of Latina LGBT people. She also participated, along with her mother Maria Vega-Cifredo, in a discussion panel that included the filmmaker at the first public viewing of the resource at the GALA Hispanic Theater in Washington, D.C.

Focusing on the important role family and faith play in Latino communities, the video resource is the newest component to a bilingual discussion guide produced by the HRC and the National Latina/o LGBT Human Rights Organization, among others. The organizations developed the guide with the aim of helping Latinos have a conversation about faith and LGBT inclusion.

The guide, written by Rev. Dr. Miguel A. de la Torre, with help from Rev. Dr. Ignacio Castuera and Lisbeth Melendéz Rivera, gathers 14 testimonies into six chapters, each with stories, questions, and exercises focused on what it means to be LGBT and Latina. Inside the guide, created in 2011, are sections on family, the gift of our bodies, the Bible, and solidarity.

‘Gravity’ and the Unanswered Questions of Unbelief

Sandra Bullock as Ryan Stone in  'Gravity.' Photo courtesy Warner Bros. Pictures
Sandra Bullock as Ryan Stone in 'Gravity.' Photo courtesy Warner Bros. Pictures

Reviews of the new hit movie Gravity note that it’s an unusually fine science fiction film. What they don’t mention is that the main character represents an increasingly common theme in American religion: The spiritual “none of the above.”

Yes, the special effects are splendid. And I’ll take the word of astronauts who say the visuals capture amazingly well what it’s like to work in the microgravity of near-Earth orbit.

But there are moments where spiritual and philosophical themes take center stage.

(Spoiler alert: I’ll give no more away than I’ve seen in most reviews, but if you really want to know nothing about the movie, see it first.)

Complexities of Struggle and Love

LEE DANIELS’ The Butler, a century-spanning tale of race in the United States and service in the White House, is a dream of a film—by turns historically realistic and magically fable-like. It’s a perfect companion piece to last year’s Django Unchained, in that case a movie whose tastelessness wrapped up as fabulous entertainment forced audiences to engage with a deeper level of the shadow of U.S. history.

Based on the story of Eugene Allen, a black man who served multiple presidents in a White House that took its own time to desegregate its economic policies for domestic staff, The Butler begins with a rape and a murder of plantation workers by the son of the boss. The ethical quality of the film is immediately apparent. This horror is not played for sentiment, nor even spectacle, but to evoke the very ordinariness of monstrosity.

This makes The Butler a rare film: one more interested in confronting us with a kind of previously unspoken truth than in goading us to feel the catharsis of guilt-salving by association. (It’s the antithesis of films such as Mississippi Burning, which use white protagonists to tell black stories and appear to believe that we can somehow participate in the virtue of the civil rights movement just by watching a movie about it.) The makers of The Butler have told a kind of truth about the struggle for “beloved community” that has rarely been seen so clearly on multiplex screens. The film illustrates the serious and painful work of nonviolence and invites us to consider the political and cultural tensions within the black freedom struggle, while giving a more humane perspective on the presidency than is often the case. We can hope the door is now open to more reflective cinema about the unfinished business of the black civil rights movement, broken relationships, traumatic memory, and how we tell the story of who we are.

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Apocalypse Redux

EVERY SUMMER brings the end of the world. But not since 1998’s Deep Impact and Armageddon both threatened the end of the world with objects from space has there been such apocalypse redundancy in summer blockbusters: This year, class wars, real wars, ecological exhaustion, aliens, and zombie viruses destroyed our planet in as many different ways.

In her excellent e-book The Zombies are Coming!, Kelly J. Baker reminds us that apocalyptic fantasies have been part of the popular American imagination since at least the Puritan hellfire sermon. Even without a common religious narrative to guide them, end-of-the-world stories mostly function as a form of cultural critique and utopian longing. We can only imagine a desired future out of the ashes of the utterly destroyed present. In other words, things are going to have to get a lot worse before they get better.

If Baker is right that we seize on apocalyptic fantasies both to express a deep feeling that something is very wrong with our current state of affairs and to imagine some better alternative, then this summer’s world-ending movies display a profound lack of imagination. Most of them are not even particularly good at conceiving the end of the world, and none of them offer us a vision of how things might be different.

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New Comedic Documentary Explores Muslims in the U.S.

“The Muslims are Coming” tells the story of a group of comedians who take their
“The Muslims are Coming” tells the story of a group of comedians who take their show to the Bible Belt. Photo via show website.

Muslim stand-up comedy is nothing new. But what makes “The Muslims Are Coming” different is that it portrays what happens when a troupe of comedians performs before red state Americans in such places as Tennessee, Georgia, Alabama, Mississippi, Florida, Arizona, Utah and Idaho.

The documentary by Negin Farsad, an Iranian-American, and Dean Obeidallah, of Palestinian-Italian roots, opened in Chicago yesterday.

The Cardinal on Colbert: Dolan Does Comedy Central

Cardinal Timothy Dolan says Mass in Madrid in 2011, Jeffrey Bruno / Shutterstock
Cardinal Timothy Dolan says Mass in Madrid in 2011, Jeffrey Bruno / Shutterstock.com

Cardinal Timothy Dolan, archbishop of New York, president of the U.S. Conference of Catholic Bishops, and the most famous funny man in the American hierarchy, went on The Colbert Report Tuesday night to trade quips with another funny guy — and another well-known Catholic — host Stephen Colbert.

Indeed, as Colbert — inhabiting his onscreen persona as a blowhard rightwing pundit — said in welcoming Dolan: “You’re the second most famous Catholic in America – after myself.”

But it was actually Dolan who got the first gag, and giggles, as he walked onto the set and ostentatiously bowed and kissed Colbert’s hand as if he were greeting the pope.

“I’ve got to get a nice big ring if you’re going to be kissing my hand!” replied Colbert, who seemed — uncharacteristically —  unsure of how to play the exchange.

In fact, while Colbert was in full faux bloviating mode, he seemed to let Dolan set the pace of their chat; Colbert didn’t poke too hard on topics that could have prompted controversy.

Part of the relative deference may stem from the fact that Colbert is a serious Catholic who has taught Sunday school at his New Jersey parish. Or perhaps it was because Colbert knows Dolan personally, having appeared — out of character — at a forum on faith and humor last year at Fordham University. Or maybe Colbert was a bit out of practice: This was his first show after a two-week summer break, part of which he spent in Rome.

'You've Got Mail,' A Swedish Movie About Death, Kissing Dating Goodbye, and Finding Love Despite Pride and Prejudice

My husband and I basically fell in love via AOL instant message conversations that led to daily email missives and then to phone calls and then, you know, to actually hanging out in person.

We knew each other in ‘real’ life but I was so afraid of saying something stupid in front of him that I basically ignored him, which, as it happens, is not a great way to indicate that you actually really like someone. But IM-ing made me bold.

So, in a way, You’ve Got Mail feels like one of “our” movies since it parallels our story just a little.

“Our” real movie is Ingmar Bergman’s The Seventh Seal, which is a 1957 Swedish movie about a knight returning from the crusades during the Black Death who is engaged throughout the movie in a chess match with Death, so, yeah, basically the opposite of You’ve Got Mail.

We were both at a “movie night” at one of our professor’s homes. I’d known he was going to be there and wrote in my meticulous, OCD handwriting in my journal:

I’m so nervous because Tim Stone is going to be there and I don’t want to find him attractive.

Heaven forbid I find him attractive, right? I had clearly been a little too good at "Kissing Dating Goodbye" (thanks, Josh Harris!) In those days when someone asked me out for coffee I usually responded with horror, like they’d just ask me to help dispose of a body.

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