Ford Foundation’s Post

Last night I had the opportunity to watch Ava DuVernay's newly released film 'Origin', an impactful adaptation of the book 'Caste: The Origins of Our Discontents,' by Isabel Wilkerson. The film proposes an interesting thru-line between black slavery in America, Nazi Germany, and the caste system in India, effectively proposing an analysis that strips away color and ethnicity and looks at architectures of institutionalized violence as disembodied organisms - what feeds them, what sustains them, and what leads to their eventual demise. It was a chilling look at institutionalized barbarism, and the tactics it employs to develop and maintain these time-bound, human-enabled, societal movements, that are strategically designed to obfuscate mobility up and down Maslow's pyramid. Black history in our country is unique in its experience and expression, and should have space for its own voice. However, the power of this film, of its message, in addition to the beauty of its execution, leveraged that history as a forum within which to reflect on and transcend its own experience, to extrapolate learnings that can serve as a cautionary tale for the whole of humanity. It is a gift that we would do well to heed, as we were, with grace, reminded that underneath it all, our hearts beat the same, all around the world, - but also that the threat of fascism is always right around the corner. It is a message that also lives with full potency in my body right now as I bear witness to the brutalization of thousands in Palestine, Israel, and beyond, including children who are being punished for the crimes of adults who don't know how to regulate themselves. We are face to face with something so obviously wrong, where there's literally no way to reframe it at all, that pointing and calling should be enough. 'Hey world, you must not be aware of what's happening over here.' World says 'we saw', and then turned away. And that is what is scariest of all. If there's one thing that I took away from this film, it's that barbarism is a social cancer. That there are mechanics at play, and that if we pay attention to certain signals, and are firm in our yes's and no's, that we have a better chance of managing and mitigating erosive forces that lie dormant in every society, waiting for the right cocktail of environmental factors to surface, to emerge. As such, silence is complicity, and lays the groundwork for a mentality of ambivalence in regards to right and wrong - and therefore is a potential conduit to invite hate into our own homes. This country has catharsis to do, but we must do so together, and with courage. It must be clear and understood that our war is one with suffering itself. That we are united in the universal plight to be stewards of ourselves and others, with the alleviation of suffering, and emancipation to pursue self-actualization, as a leading value that unites all humans on this earth - and therefore, against any and all threats to it.

What am I to say here? What can I say? I feel as if I’m to say nothing at all. My mind has gone and I feel sick, and while that’s due to the film in question, another degree of it comes from a deeper truth. I feel wrong in my reaction to it; it can’t help but feel inadequate. The Zone of Interest has leveled me like few things ever have, but that’s not the point. That’s not its point. And yet, I can’t help but focus on what it’s doing to me. The Zone of Interest is Jonathan Glazer’s first feature in a decade. Like Under the Skin, it’s a loose adaptation, this time of Martin Amis’ 2014 novel. Its sights lie on Auschwitz Commandant Rudolf Höss (Christian Friedel) as he lives directly over the wall from the concentration camp. He and his wife, Hedwig (Sandra Hüller), live in an affluent home with their children, he works to dispose of prisoners’ bodies and she on her prized garden. The cobblestone pathways and the house’s ribbed exteriors catch all light and engulf all shadows. It’s all very bright, and their personal and domestic goals are, in a word, unremarkable. While its approach to the Hösses’ life borders on anesthetized, Glazer and cinematographer Łukasz Żal opt for a modern, crisp look almost unstuck in time. Combined with their predilection for static shots and Paul Watts’ editing, the pacing stays propulsive, a tone matched by the actors’ naturalism. (As it turns out, Glazer and Żal installed several cameras on set to avoid theatricality, similar to the hidden-camera approach of Under the Skin.) Performance is not a word that necessarily comes to mind here. So how are we to process this? Not by seeing, perhaps. Glazer and company make something clear: we’re not to rely on our eyes. We’re not even to use our ears so much as our bodies to digest what unfolds. The film begins with a three-minute overture courtesy of Mica Levi, whose score swings toward the eschatological. With its melting choirs and droning bass, their music is not the kind we hear. It’s the kind we sense. While monumental in its compositions, it only features a handful of times and is even more effective thanks to how sparsely the film uses it. Johnnie Burn’s sound design grants the residence an ambiance, the sounds of Auschwitz constantly floating through the house. The family barely registers the din—or perhaps they don’t anymore. It’s literally natural to them. Full review on The Spool: https://lnkd.in/gstPs7GJ

Thoughts on "Thelma", "Forrest Gump" at 30, "Blur: To the End" and "Hundreds of Beavers", plus "Little Sister" on demand, a Cheng Pei-Pei obituary, and the weekend charts and picks. Hoping for better in the repechage. https://lnkd.in/gfUUgWh #film #artsandentertainment #streamingmedia #documentaryfilm

What would you do, that one “thing,” if money were no object? It’s a simple, yet profound question—one I hope will encourage us to think beyond the proverbial four walls. On your journey, what truly motivates you most? No strings attached, what’s that true, singular “itch”? It takes grit, focus, and courage, sometimes, to let go and fly with your desire. But it’s worth doing for the perspective it brings and for the enrichment of our own lives. For many, money is an object that must be thought about, saved, spent, stretched, budgeted, and sometimes even feared. We all have responsibilities. It’s hard not to get attached to money, and often for the wrong reasons—whether we get caught up in our glittery, frenzy-festered world or are tempted by things that steer us off the right, Godly path. But it’s refreshing to step away from it all and RETHINK THE WORLD OF POSSIBILITIES IN OUR LIVES, unencumbered, even if for a short while, by a world that can so easily consume us. The fact is, it’s important not to lose sight of what matters most. For personal context, aside from my desire to support Kingdom-worthy causes, save lives, and conserve our planet, multiple things come to mind—things I love doing or would like to do more of, like visiting friends more often, traveling the world, building a philanthropic foundation to serve others, and caring for animals and our environment. Truly, the sky’s the limit. So, again, what would you do if money were no object?

It looks great, it sounds great, but still… Wenn the credits rolled I had the feeling that something is off here. I didn’t feel nearly the sensation I felt after Villeneuve’s first “Dune” movie. First thing that came to my mind is, that other than the first movie it felt like a short version of a much longer film. Villeneuve doesn’t do directors cuts, which is a good thing but this one definitely feels like it might need one. There’s a lot of short scenes that don’t come to an end a lot of jumping around between times and places. It’s so much that you lose touch with Paul as a main character. Whatever happened between: “He’s a spy, sent him into the desert to die” and “he’s our great leader” remains cloudy at best. Same with Jessica. The step between “what should we do with the woman” and make her the next Reverend Mother…? I really could not make the connection here. There’s no convincing development in the story. Good example is the scene when Paul is sent into the desert alone. There is a long speech of Stilgar about all the dangers that await him in the desert and then… nothing happens, nothing at all!! This is how you disappoint the audience. Big planting with absolutely no payoff.  Oh yes, Chani appears, teaching him things he already should know. And I thought: Do I felt a little “Barbie”-vibe here? Paul all of a sudden doesn’t know the basic stuff (although we saw he do it before) and then he even tries to do a little “mansplaining”… just to take it back the next moment. Even when watching the scene I thought: What’s happening here? After one night of sleep I think: That’s the core of the problem. Denis Villeneuve did not know which story he wanted to tell. Obviously he had a problem with Frank Herberts version of Paul as a person with super-human powers. (whether or not Paul is a real messiah is ambivalent even in the novel) But he could not make up his mind, which story to tell instead. The result is: He can ride the biggest sandworm that anyone has ever seen on the planet no problem, but he can’t walk correctly though a quiet desert night without a woman’s help. Maybe the idea was, to make Paul a helpless man, torn between his mother and his lover… but if so, it was a very halfhearted attempt that made Villeneuve and the audience loose the main character. https://lnkd.in/ejtzEt58

#history #1980s #music #bonds #werewolf #film #rules #forty #years Always stay on the path An unashamed 1980s mini retrospective follows. You are all too young. Me? I’m old enough not to care if I appear self indulgent. I know, you were so looking forward to all things Americana….have patience By and large I’m a rules follower. I blame 80’s horror-ish flick American Werewolf in London. TBH I don’t remember too much about it, other than its sage advice to “always stay on the path”. Bad things happen to those who don’t - which isnt really a spoiler should you by any chance be going to watch it tonight… What else do I remember of the film - a great soundtrack, the wonderfully named Slaughtered Lamb pub and winsome lead lady Jenny Agutter (see also Logan’s Run…although I drew the line at Call The Midwife - an almost contemporary reference I believe) Following rules has obvious, as well as hidden advantages. The day job demands rules i believe. Investment, regulatory, environmental. I don’t think I’d have it any other way. Certainly not when it comes to running a mutual fund destined to be PART, not all of a client’s investments. Plenty of people will tell you they manage money in an unconstrained way. My view? Nonsense. A solid process, a set of pre defined investment guidelines gives clients a guide to likely outcomes upon which to base investment decisions. Unconstrained? Just a smokescreen for lack of risk control Enough of that. What of the unintended benefits of following rules? Well, for one thing I know exactly where I was 40 years ago today. Probably an unproductive day at high school (too rule bound to skip class), then seeing the Eurythmics in concert - surely you’ve heard of them, if not ask your grandparents - for the first of many times, at the sadly long demolished Glasgow Apollo If you’ve heard of the Eurythmics you win a point - see #Twinkies in yesterday’s post If you’ve seen them perform live you can have three If by any chance you were in #glasgow that night, I think that’s worth one hundred and i would REALLY love to know - but can you prove it?? I can.. Back to that rules thing again. Stamped on the ticket are the words “please retain”. I did. Although maybe holding on to it for over 15,000 days is a tad excessive Ah 1983. One of my favourite years. #orange haired androgyny amongst other things. Memories, (as well as sweet dreams and a few regrets) were made of this

Excited to share my top picks for movie enthusiasts!  From timeless classics to mind-bending thrillers, these films have left an indelible mark on my cinematic journey. Here are my top 5 favourites: Psycho: Hitchcock's masterpiece that redefined the thriller genre. From its iconic shower scene to its psychological depth, this film continues to captivate audiences decades after its release. Reservoir Dogs: Tarantino's directorial debut that shook the world with its non-linear narrative and raw storytelling. With its ensemble cast and unforgettable dialogue, it's a must-watch for any cinephile. Inception: Nolan's mind-bending masterpiece that takes you on a journey through dreams within dreams. Its intricate plot, stunning visuals, and philosophical themes make it a true cinematic gem. The Godfather: A timeless epic that explores the dynamics of power, family, and loyalty in the world of organised crime. Brando's iconic performance and Coppola's direction make it a cultural touchstone. The Dark Knight: Nolan's gripping take on the Batman saga, elevated by Heath Ledger's unforgettable portrayal of the Joker. With its dark tone, complex characters, and gripping storyline, it's a superhero film like no other. Each of these films has had a profound impact on me, whether through their storytelling prowess, cinematic innovation, or memorable characters. What are some of your favourite movies that have left a lasting impression on you? Share them in the comments below!  #CinemaClassics #MustWatchFilms #Filmmaking #LightsCameraAction #Niche #TTT #TerriblyTinyTales #WTSPro #Communityhours

𝗠𝗼𝘃𝗶𝗲𝘀 𝗜 𝗦𝗵𝗼𝘂𝗹𝗱 𝗛𝗮𝘃𝗲 𝗦𝗲𝗲𝗻 𝗕𝘆 𝗡𝗼𝘄: Entry 18     𝗥𝗢𝗖𝗞𝗬 𝗜𝗜𝗜     𝗥𝗲𝗹𝗲𝗮𝘀𝗲𝗱: 1982 by MGM/UA Entertainment Co.     𝗗𝗶𝗿𝗲𝗰𝘁𝗼𝗿: Sylvester Stallone     𝗦𝘁𝗮𝗿𝗿𝗶𝗻𝗴: Sylvester Stallone, Talia Shire, Burt Young     𝗪𝗵𝗲𝗿𝗲 𝘁𝗼 𝗪𝗮𝘁𝗰𝗵: Prime Video & Amazon MGM Studios    𝗗𝗲𝘀𝗰𝗿𝗶𝗽𝘁𝗶𝗼𝗻: Rocky is challenged by an upstart fighter after learning that his record might not be as impressive as he was led to believe.    𝗤𝘂𝗼𝘁𝗲: “I pity the fool, and I will destroy any man who tries to take what I got!”    𝗪𝗵𝘆 𝗜 𝗦𝗵𝗼𝘂𝗹𝗱 𝗛𝗮𝘃𝗲 𝗦𝗲𝗲𝗻 𝗜𝘁: The fourth highest-grossing film of 1982 (behind 𝘌.𝘛. 𝘵𝘩𝘦 𝘌𝘹𝘵𝘳𝘢-𝘛𝘦𝘳𝘳𝘦𝘴𝘵𝘳𝘪𝘢𝘭, 𝘛𝘰𝘰𝘵𝘴𝘪𝘦, and 𝘈𝘯 𝘖𝘧𝘧𝘪𝘤𝘦𝘳 𝘢𝘯𝘥 𝘢 𝘎𝘦𝘯𝘵𝘭𝘦𝘮𝘢𝘯), at that time it became the highest grossing film in the franchise.  The film was also nominated for Best Original Song at the Academy Awards (“Up Where We Belong” beat out “Eye of the Tiger”, which is a CRIME).    𝗧𝗵𝗼𝘂𝗴𝗵𝘁𝘀: This is my favorite 𝘙𝘰𝘤𝘬𝘺 movie, period.  I truly don’t understand the negative reviews.  Creed and Rocky working on the same team?  Check.  The film debuts of both Mr. T AND Hulk Hogan?  Double check.  “I pity the fool” origin?  Check.  The best montage song ever? You best believe that’s a check.  No notes, I loved everything about this.     𝗙𝘂𝗻 𝗧𝗿𝗶𝘃𝗶𝗮 𝗙𝗮𝗰𝘁: The 1,500-pound bronze statue of Rocky was commissioned for this film.  After filming wrapped, Stallone tried to donate it to the Philadelphia Museum of Art, but they refused as they didn’t consider the statue “art”.  The statue was moved to the Spectrum (the setting of the first Rocky vs Clubber Lang fight), but since 2006 it has taken up residency at the bottom of the famous stairs leading up to the museum.     𝗥𝗮𝘁𝗶𝗻𝗴: 5/5 patriotic boxing trunks 🇺🇸 🇺🇸 🇺🇸 🇺🇸 🇺🇸   𝗪𝗼𝘂𝗹𝗱 𝗜 𝗪𝗮𝘁𝗰𝗵 𝗜𝘁 𝗔𝗴𝗮𝗶𝗻: Yes, emphatically 

The Empire Strikes Back: Is Another Movie Necessary? In this video, we discuss whether another movie in the Empire series is needed. We explore the possibility of adding new elements like philosophy and the messiah, while also considering the completion of the story. Join the discussion! #TheEmpireStrikesBack #MovieDiscussion #FilmDebate #Storytelling #SeriesContinuation #MovieSequel #PhilosophyInFilm #TheMessiah #SciFiMovies #GeekTalk