This film marks a new era in online content from both one of the worlds great broadcasters and filmmakers.
Rather than be constrained by the formats of television and convention of breaking things up into mini-series (Curtis has already made several of such landmarks), Adam Curtis has been given the freedom to make a lengthy, challenging feature documentary that has gone straight to BBC iplayer.
The result is a departure from his usual heavily-narrated work to a much more impressionistic piece of cinema that uses the metaphor of SOLARIS for the incomprehensible Afghanistan and related middle east conflicts. Raw footage is able to speak for itself. Typically cutting-room-floor material, such as shaky re-framing between shots is used to express something of complexity, like reading between the lines.
The BBC's job is to be relevant and provide what the market is unable to do. Here, the BBC triumphs, Curtis having the shackles taken off has delivered a giant canvas of grey with various drip patterns, which is the perpetual mess of foreign intervention in Afghanistan and western policy in the middle east. The closer you get, the more complicated it is.
Labor, Conservatives, Democrats and Republicans all get a hiding in the cyclical mess, which is examined via the extensive BBC archives to Which Curtis was given full access to.
Some highlights include:
Art teachers sent from England to the Afghan war effort to educate Afghanis about Marcel Duchamp and the early Avant-Garde.
British "supermarket" for high-tech weaponry, set out like a luxury department store of big-toys whose customers are wealthy Gulf states. In Thatcher-era Britain, this was one of the most thriving industries.
Highly recommended. This marks a new era because instead of bite-sized webisodes, this is a very serious piece of long-form filmmaking being made exclusively for what must become the main platform for public broadcasters world wide (online content). Though counterintuitive to what we perceive online content to be like, work like this is vital both in-itself but for breaking new ground and showing us what is possible with the relatively new platform/medium.
Mike Retter
Rather than be constrained by the formats of television and convention of breaking things up into mini-series (Curtis has already made several of such landmarks), Adam Curtis has been given the freedom to make a lengthy, challenging feature documentary that has gone straight to BBC iplayer.
The result is a departure from his usual heavily-narrated work to a much more impressionistic piece of cinema that uses the metaphor of SOLARIS for the incomprehensible Afghanistan and related middle east conflicts. Raw footage is able to speak for itself. Typically cutting-room-floor material, such as shaky re-framing between shots is used to express something of complexity, like reading between the lines.
The BBC's job is to be relevant and provide what the market is unable to do. Here, the BBC triumphs, Curtis having the shackles taken off has delivered a giant canvas of grey with various drip patterns, which is the perpetual mess of foreign intervention in Afghanistan and western policy in the middle east. The closer you get, the more complicated it is.
Labor, Conservatives, Democrats and Republicans all get a hiding in the cyclical mess, which is examined via the extensive BBC archives to Which Curtis was given full access to.
Some highlights include:
Art teachers sent from England to the Afghan war effort to educate Afghanis about Marcel Duchamp and the early Avant-Garde.
British "supermarket" for high-tech weaponry, set out like a luxury department store of big-toys whose customers are wealthy Gulf states. In Thatcher-era Britain, this was one of the most thriving industries.
Highly recommended. This marks a new era because instead of bite-sized webisodes, this is a very serious piece of long-form filmmaking being made exclusively for what must become the main platform for public broadcasters world wide (online content). Though counterintuitive to what we perceive online content to be like, work like this is vital both in-itself but for breaking new ground and showing us what is possible with the relatively new platform/medium.
Mike Retter