Entertainment
Thursday, 18 February 2016
Documentaries are boring? Not at all! Two Oscar winners make at the Berlinale before their new films. Michael Moore relies on humor and simplicity, Alex Gibney on voltage and meticulous research.
Michael Moore could not come. He just cured of pneumonia and was therefore not present when Wednesday evening in Berlin’s Friedrichstadtpalast his new documentary “Where to Invade Next?” its international premiere experienced. But he greeted – in a bathrobe – the audience by video message. Alex Gibney contrast was there – he presented at the Berlinale before his new documentary. “Zero Days” runs, unlike Moore’s film, even in the competition
One one two directors: Early Works have been awarded an Oscar , Moore got him for “Bowling for Columbine”, his settlement with the weapons hunt in the USA. Gibney was for “Taxi to the Dark Side” prize, which discussed using an innocent Afghan taxi driver the deadly torture of the USA in the war on terror.
“You must explain that in more detail!”
But both documentary have very different approaches. This is very evident when one sees now both films at the Berlinale. The one – Moore – is a political activist. He has dealt with about US gun lobby, with the economic decline of his home town of Flint, with the US health care system and the Iraq war. Always the film was there to convey Moores political opinion. This was especially in his sharp criticism of President George W. Bush in “Fahrenheit 9/11″ significantly. But Moore’s films are always entertaining, they have a childlike inquirers, ironic look. So he not only conveys his message, but always manages also impressive moments, as when he after opening an account with a US bank a rifle as a bonus gets.
Similarly, he goes to his new work ” Where to Invade Next? ” in front. Moore has as its object to tour European countries – to conquer it – in order to export from there social achievements in the United States can. He would be on paid holiday in Italy, on the excellent canteen catering in French schools over free universities in Slovenia or the culture of remembrance in Germany. For this he interviewed employees and entrepreneurs, prisoners and policemen, politicians and a head of state
To the delight of the audience, he plays again his astonishment ago when he reported the interviewees of their daily lives. In Portugal is not arrested if you take heroin? In Norway, even murderers are treated mild? In Finland, students have no homework? In Iceland, more women can be found in corporate elite than elsewhere? In Germany, you get paid for a cure? “You must explain that in more detail!” or “Why is that?”, then Moores unbelieving demands. For in fact he is concerned with the criticism of conditions in the US, which he presents with relish: police attacks, a drug policy, the Black disadvantaged A weak health system and fast food at school
aggravation and. populism
Yes, the movie is fun, it is even unusually optimistic. Because Moore’s cheeky appearance, the way he presents himself and because he has very unusual examples selected. But also because Moore remains its principle faithful and tapers mercilessly. Downright populist is his approach, never to show the whole picture, but always picking out only positive aspects. In France, school lunches may be excellent, but as justice is the education system? Germany likes to deal extensively with the Holocaust, but still takes the anti-Semitism. And it is really so easy to find in this country prescribed a cure
Moore praises all the accomplishments without dipping but deeper into the matter – as it did in earlier films entirely. He likes to show here what is so unique and worth preserving in Europe, but a Portuguese drug expert has rightly pointed out: You can not just export specific aspects of a country like that. The paid leave may be hard labor disputes preceded explains an Italian trade unionists. And the contributions of the German health insurance rise known. Yes, Moore’s film is very funny, but critical viewers are likely some aspects of his approach bitter belching
“We Steal Secrets”
Alex Gibneys approach works, however thoroughly journalist. He interviewed several people, juxtaposes opinions and tries to draw a picture that his subject approaches as objectively and comprehensively. In addition, quick cuts, scenes and especially animations that flicker computer code on the screen. He has already applied in previous reports this style: From him originate films over the previous under scandalous circumstances bankrupt energy giant Enron, abuse in the Catholic Church, Scientology and “We Steal Secrets” about Wikileaks and Julian Assange
. In “Zero Days” he now deals with the Stuxnet virus, which caused a stir a few years ago. Meanwhile it is certain that it was developed by the intelligence services of the US and Israel to sabotage Iran’s nuclear program. Only: Officially, there are no sure confirmation, not even hints. Gibneys displeasure is clearly noticeable at the beginning of the film. But while Moore often occurs as an opinion-strong protagonist in his films, is Gibney offering ultra-back, leaving almost all the statements his interviewees: IT and security professionals, journalists, military as the former NSA and CIA Director Michael Hayden and actress statements reproduces by CIA and NSA whistleblowers.
the installation makes the Thriller
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The composition of these statements is Gibneys actual art: By mounting the Quotes is from “Zero Days” an exciting political thriller that tries to combine different topics together. In just under two hours to go from the discovery of Stuxnet and its difficult decryption on the Iranian nuclear program to the future of warfare by global cyberattacks. Here Gibney operates a core thesis out: Through the use of Stuxnet, the US had a Pandora’s box opened because it justifies the use of sophisticated viruses by other countries – also against the United States. The result:. Uncontrolled, massive upgrade in global cyberwar
Without question Gibneys film is not only meticulous research, he also has a much stronger argument than that of Michael Moore. But the result remains somewhat unsatisfactory: Since no official expresses to Stuxnet, it stays with hints and statements of anonymous insiders – as an indication that Stuxnet is only a small part of a much larger cyber attack against Iran, called “Nitro Zeus”. But Gibney it comes up rather than credibility opinion. He asks the audience to follow the arguments on, even if he must renounce the Moores looseness.
“Where to Invade Next” starts on 25 February in the German cinemas. For “Zero Days” there is still no start date.
Source: n-tv.de
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