in the mood for love / 花樣年華 (2000), directed by Wong Kar Wai (王家衛).
Title: 周漁的火車 (Zhou Yu De Huoche)
The media is like the weather, only it's man-made weather.
—Mickey, Natural Born Killers (1994)
“Fuel,” Josh Tickell’s unabashedly intimate, 11-years-in-the-making attack on America’s addiction to oil, is not so much a green documentary as a red, white and blue alarm. But if you can resist the urge to run for the exit, you may leave the theater feeling a lot more hopeful than when you went in.
A sustainable-energy evangelist whose church is a van that runs on grease, Mr. Tickell contends that the oil industry poisons our environment, corrupts our government and cooks our planet. Galvanized by a childhood spent among the oil refineries and pollution problems of Louisiana, Mr. Tickell was an early adopter of alternative fuels. But his exhaustively wide-ranging film is more than an expression of personal affront: though his mother, Deborah Dupré, suffered nine miscarriages (“Factor that into the cost of gasoline,” he says), “Fuel” seldom feels vindictive.
Thanks to an informative, buoyant tone and the director’s own restless intelligence, the film preaches to the unconverted with passion, energy and graphics so clear that they would make Al Gore weep all over his PowerPoint.
Bustling with politicians, scientists and card-carrying green celebrities, “Fuel” reveals the terrifying complexity of our energy crisis, as well as Mr. Tickell’s commitment to the truth. (The film was completely re-edited to include recent biodiesel controversies.)
“We cannot drill our way out of this,” says one of the film’s many experts; but as “Fuel” zealously argues, our chances of thinking our way out are very good indeed.
FUEL
Opens on Friday in New York and San Francisco and at the Landmark Shattuck Cinema in Berkeley, Calif.
Tokyo is perhaps the most haphazardly arranged of the world's capitals, a place where flophouses nestle beside fashion boutiques, temples butt up against massage parlors and wildly disparate tribes live side by side yet often intersect only by chance."Living on Tokyo Time", article by Jeff Yang, SFchron, Asian Pop
These unlikely juxtapositions have turned the city into an ideal breeding ground for pop culture, but they also contribute to a social infrastructure that can seem exceedingly vulnerable. Friends who live there admit to a looming sense that Tokyo's cultural ecosystem is just one strong tremor away from collapse. They also fear that the global economic meltdown may be what ultimately turns its whimsical dysfunction into full-blown disaster. (continue reading)
Ehh I haven't been keeping with asian stuff at all. During the summer I'll watch more movies, including Asian ones. Not going to spend much time browsing the site, since I'm not even in the Bay Area now.
The whole movie seems like an acid trip - an Alice in Wonderlandish dream for a post-9/11 world where war is a constant - and that's the beauty of "Waltz With Bashir." Folman's work - which took two years to animate, and was done by a team of artists who combined hand-drawing with the latest technology - allows the audience to enter a kind of forbidden zone where the characters' fantasies seem as realistic as the deadly bullets they faced.WALTZ WITH BASHIR—official site rt
