Movies

[disinfo ed.’s note: this original essay was first published by disinformation on February 12, 2001. Some links may have changed.] Neo: Right now, we’re inside a computer program? Morpheus: Wild, isn’t it?…



From art group Anti-Banality, the first segment of their new feature-length film Police Mortality. It was created by splicing together countless blockbuster action and cop movies, and tells the story lying underneath — a cop’s sudden existential crisis leads to the nation’s police turning on each other:

Police Mortality is Anti-Banality’s latest wish-fulfillment symptomology of, as one character hallucinates it, “a precisely formulated national conspiracy of police genocide.” It is a paranoid-schizophrenic blitz against police subjectivity, skimmed off nearly 200 movies by that other social superego–Hollywood.

In this opening scene, the immaculate suicide of one LAPD officer begins to reveal the contradictions of police existence to a force which, finding itself multiply irreconcilable with itself, resorts to terminal civil war, eradicating the prevailing organization of life in the process.





The art group Anti-Banality Union has created a feature-length movie which is impossible to stop watching. Fifty Hollywood blockbusters portraying the spectacular obliteration of New York City were cut up and interwoven (somehow fitting together seamlessly), revealing the meta-narrative running through them all — the “death-drive on the part of capitalist culture”:

Unclear Holocaust is a feature-length autopsy of Hollywood’s New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics…We see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World.

 






Here we go again, another Hollywood movie (well it’s sort of indie, but still being released by a big studio) making conspiracy theorists out to be completely crazy. On the other hand, the trailer makes it look a whole lot better than the Mel Gibson attempt at the same.

The Conspiracy is directed by Christopher McBride and features Aaron Poole, James Gilbert, Peter Apostolopoulos, Angela Besharah, and Laura de Carteret. The official synopsis: “A documentary about conspiracy theories takes a horrific turn after the filmmakers uncover an ancient and dangerous secret society.”


With election season in full swing it looks like the perfect time for some heavy-handed and poorly executed right-wing propaganda extolling the virtues of religious freedom. (You know, as long as you pick the right religion.) Last Ounce of Courage is the story of a Harley-riding small town mayor named Bob Revere (Revere! Get it? Get it?) standing up for the rights of a horrifically “persecuted” majority religion.

Watching the trailer leaves me with a couple of questions: First, how stupid do the producers think the public is that it won’t see Last Ounce of Courage for the ham-fisted propaganda it really is? Second, in this day and age of Koch brothers super money could they not even get enough funding for Kirk Cameron?



The Middle East is in uproar today after the US Embassy in Libya was bombed and the US ambassador, Christopher Stevens, was among those killed. The attack was apparently part of a protest against an obscure film, “Innocence of Muslims,” directed by California-based Israeli Sam Bacile and allegedly financed to the tune of $5 million dollars by Jewish supporters. There’s little doubt that the film is blasphemous so far as Muslims are concerned and will likely be offensive to most non-Muslims. It also appears to be an incredibly bad piece of filmmaking based on the trailer below.



We don’t often plug crowdsourcing projects on disinformation, but Planet Weird is one movie we’d like to see. The filmmakers, led by Who Forted‘s Greg Newkirk, have already met their modest funding goal, but the more money they raise, the better the film will be. You can check out their page at IndieGogo; this is the trailer:

… and this is their description:

Have you ever been curious as to why things go bump in the night instead of the day…



Yesterday Yahoo! released an exclusive trailer for The Master, Paul Thomas Anderson’s film about a troubled young drifter who develops an intense relationship with the leader of a new religion which according to most is a barely concealed Scientology.

As one of America’s most provocative contemporary filmmakers, Anderson certainly has the chops to examine the perplexing allure of Scientology, but given the cult’s religion’s ubiquity among Hollywood’s elite…


Disinformation author Ed Rampell (Progressive Hollywood) has an exclusive interview with Oliver Stone about his new movie Savages. The Oscar winning director of Platoon, Born on the Fourth of July and Wall…


What do you get when the Pentagon joins into a symbiotic relationship with our major entertainment industries? The birthing of the ever-growing baby that we call militainment. The military grants filmmakers access to high-powered technology and in return, Hollywood propagates films that make warfare seem legitimate. Al Jazeera discusses Act of Valor, an $80-million-grossing action film released earlier this year which was commissioned by the Navy’s Special Warfare Command and goes “beyond propaganda”:



In the mood for a lost landmark? The Smiling Madame Beudet, from 1922, may be the prototype of feminist cinema. Directed by Germaine Dulac, the lone female figure among the notable French avant-garde filmmakers of the 1920s, it’s an impressionistic, surrealist, silent tale of a woman’s psychological imprisonment. Her primary source of release is playing her piano, to which her husband holds the keys. Futher explanation available at The House of Mirth and Movies:


Why are comedians the only people brave (or stupid?) enough to stick it to the politicos in Washington, D.C.? Sacha Baron-Cohen’s latest stunt is reported by Al Kamen in the Washington Post:

Invitations have been arriving in mailboxes around Washington for an event that might raise eyebrows even in this invite-overloaded town.

Below an image of the flag of Zimbabwe, the script on the thick-stock paper reads: “President Robert Mugabe and the Ministry of Education, Sport, Art, and Culture invite you to the Premiere of The Dictator.”

That’s the new Sacha Baron Cohen movie in which the funnyman portrays a despot who rules over the fictional African nation of Wadiya. The name alone probably raised a red flag for savvy recipients, who recalled Cohen’s previous antics: He attempted to seduce Rep. Ron Paul (R-Tex.) in the movie “Bruno,” and fed cheese to former Rep. Bob Barr — and later informed the Georgia Republican it was made from breast milk — in “Borat”…


A trailer for the 2007 film Faceless, which includes Tilda Swinton in its cast and is comprised only of CCTV camera footage. The United Kingdom’s Data Protection Act allows people to access stored information on themselves, including surveillance video. Director and star Manu Luksch has explained that as a filmmaker, she realized it was pointless to bring her own camera since she and the other actors were already being filmed all of the time:

FACELESS was produced under the rules of the ‘Manifesto for CCTV Filmmakers’. The manifesto states, amongst other things, that additional cameras are not permitted at filming locations, as the omnipresent existing video surveillance (CCTV) is already in operation.