To be as objective as possible and keep my subjective-ness removed, if possible. Beasts of the Southern Wild is a beautifully filmed, and well executed film. It is not my taste – I would much prefer to watch a romantic comedy where someone is in love and out of love and there’s something funny and lighthearted and a happy ending. This is not that movie.
Hushpuppy and her father live in the ‘Bathtub’ of Southern Louisiana, where life is hard and the people who live there are die-hards. They are born there, raised there, and die there, and it will take something terrible to get them to leave – and even then, a lot of them won’t go. This is somewhat realistic for a place like the Bathtub in real life – however, in the midst of a terrible storm (it is assumed it is a hurricane without actually being told that it is), it is time to go.
Hushpuppy’s father, who seems to be a relatively small minded, wife-beater, is raising this poor little girl on his own (and mostly she is raising herself) is adamant they will stay, and so they do. They stick out the terrible storm and get stuck in the ‘Bathtub’ with the other folks who refused to leave. They have none of the things they need to survive, and it is all too real to watch them struggle the same way as the people who in real life refuse to leave before a storm and then get trapped and are in trouble.
We also learn after the storm that Hushpuppy’s father is very sick, another thing to make this little girl’s life harder. The only redeeming qualities of this film (to me) are the beautiful cinematography and the fact that there is a semi-happy ending. I would actually recommend going to see it – if only for the beautiful camera work and the fact that it did win the grand jury prize at Sundance.
Is it weird to feel both somber and jovial at the same time? To laugh and smile while the world literally comes apart around you, while on the inside all you really want to do is cry? That’s the type of feeling watching Beasts of the Southern Wild, directed by Benh Zetilin, both encourages and evokes in its audience such as myself. Taking place in a post-apocalyptic setting where much of the world is being swamped by rising sea levels as the polar ice-caps melt Beasts of the Southern Wild focuses in on the story of six-year old girl named Hush Puppy and her life in a bayou community known as Bathtub. In between dealing with a sinking home and an ailing father, the melting ice-caps have also released prehistoric animals known as aurochs, which are incidentally migrating straight towards Bathtub.
It’s a bit more intimate then the last film I watched about global warming, which was Al Gore’s An Inconvenient Truth. Rather then discuss broad implications and general concepts, like Al Gore did, Beasts of the Southern Wild creates a microcosm for its viewers to absorb, watching the personal life of Hushpuppy play out in probably the worst case scenario of environmental disasters. And for the most part we see her and her companions confront said disasters with the kind of festivity that would make the orchestra in Titanic jealous. There is little or no somber remorse amongst the community of Bathtub, who live their lives like each day was there last… which it may in fact possibly be. But the good times do not in fact keep on rolling. Even the bubble of Bathtub, for all its lackadaisical resilience is not in fact anymore secure then the bubble of one’s childhood, which Hushpuppy must quickly grow out of in this harsh world.
By the end of the film audiences will be left with a simple but sobering message. No matter how much we run from out problems, whether they are our own individual tragedies or looming environmental disaster, one must have the fortitude and resolve to face them. Unless we can accept and embrace that message, we can never truly move forward. It’s not a new message, but Beasts of the Southern Wild carries it better through its ability to take complex issues and packaging them into an intimate and personal story. And the message resonates all the more because of it.
A young artist couple that moved into Detroit because of the cheap property prices.
America as a whole has seen better times. Cities that once were stand-up representations of America’s manufacturing power now lay in ruins as the economy is in turmoil and China’s cheap labor has taken away the same jobs that once made this nation great.
While there are plenty of stories and statistics about unemployment, Detropia, a film by Heidi Ewing and Rachel Grady, depicts the state of decay that has fallen upon the city of Detroit.
The film focuses on how a city that was one the fastest growing city in terms of population is now facing a declining populace.
Grady and Ewing are the founders of Loki films, which was founded in 2001. Since the creation of the indie film company, they have produced films such as Jesus Camp, Freakonomics: The Movie and Dissident: Oswaldo Paya and the Varela Project.
Each of these films shed light upon a facet of society that is normally hidden from the view of the public eye, and Detropia certainly is one of their greater projects in the sense that they personalize the sad story of Detroit, because it is one that may not be known to most Americans and other viewers.
The film was shot in various locales throughout Detroit, and it focused itself upon the lives of those who have been negatively affected by the economic downturn. Some of these downtrodden characters are auto workers and the union boss who vies for their rights to Mayor David Bing, who faces the daunting task of figuring out what to do with the growing number of unoccupied land.
The movie accurately portrayed a land that has definitely seen better times. A small backstory to the growth of Detroit is given to viewers as subtext while visual scenes portray the dilapidated structures and vacant houses that line entire blocks.
An aspect of the movie that aided the telling of this story is the various cast that the filmmakers followed during the production.
Instead of taking sweeping B roll of a destitute city and overlaying some expert’s opinion on the state of the city, Ewing and Grady employ people who are surviving in the city. One of these denizens is a video blogger who explores the ruins of this once automobile mecca.
Ewing and Grady also focused their feature to delve into the lives of those who were affected by association. One such example is a bar owner whose pub is down the road from a gigantic factory which used to be owned by GM and now is vacant. His customer base plummeted and the directing duo tell his story through a series of hazy bar shot scenes with old Motown music playing to remind the viewer of the better times that the dive had seen.
The movie leaves viewers off with a sense that the city could come back to the limelight, but the city will never hold the grandeur that it’s residents once believed to be the status quo.
I haven’t been thinking that this fantasy drama could carry the story out. This film was not really about a “Beast.” This independent film depicts Hushpuppy and her daddy’s life in isolated communities and their bestialities in the southern wild. But, the Director, Benh Zeitlin draws the picture of their lives as if they were from children’s book; Hushpuppy’s narrative and unique photographic techniques really shine in this movie. Hushpuppy’s fearless voice leads the story of the Beasts of the southern wild. Hushpuppy’s voice does not cause confusion to the audience, but rather gives them the idea that she wants to survive within the isolated island.
I see that I am a little piece of a big, big universe, and that makes it right.In a million years, when kids go to school, they gonna know: Once there was a Hushpuppy, and she lived with her daddy in The Bathtub.
Hush puppy is a little girl who already learned how to accommodate the harsh sides of the life. But, she would not give up the chance to live her life as strong as she can hold.
Beasts of the southern wild as a fantasy drama film bring the audience into the hushpuppy’s imaginary fantasies very often with her voice over.However, Hushpuppy’s daddy was trying to give Hushpuppy lessons so as to ensure that Hushpuppy could live without his protection, for he cannot able take care of her within short moments. Hushpuppy sensed her daddy’s heart is weak. “Strong animals know when your hearts are weak.” She loves to hear living thing’s heartbeats and concern about relationship with nature and people.
Unexpected storm and erosion occurred in the area of Hushpuppy’s living boundaries; water level rose up and covered the hushpuppy’s and her neighborhood’s houses.When the government worker was trying to help the residents of Bathtub, they refused to get help from the government. Not only did they refuse and try to run away from the refugee, but they also called the refuge as a “Prison.”
Calling a “Prison” for the refuge and hospital was shocking but made sense me in reconsidering the meaning of happiness and value of life that we are having. Are we really having and living in the world that makes us happy? Why were they eagerly trying to run away from the normal society? These questions arose while I was watching this film.
Hushpuppy finally followed the shining light off in the distance across the sea, in which Hushpuppy believes her mother exists. After this moment, this film touched me emotionally by showing father and daughter relationship and her daddy’s illness. She decided to bring her mommy’s dish (the movie did not tell that she was her mother, but I could tell by film’s plot) then shared it with her daddy to give him memorable last moments.
Beasts of the southern wild reminded me of a movie of Director Gabriele Muccino’s the pursuit of Happiness (2006). The point of view and many techniques were different, but contents were very similar in that they lived in same world, but the characters were struggling to live their lives.
They meet, they get along, they conquer the universe…or so I thought.
At first I thought I had signed myself up for a terribly predictable film about life as a teenager. There was a character for each role to fit a general spectrum of personalities. Perhaps it had labeled itself as an Indie movie and managed to land in many mainstream theaters as a marketing strategy, after all, being Indie is- ironically– cool.
Charlie (Logan Lerman), the main character enters high school as a quite yet far from shy young boy who is quickly taken up by Sam (Emma Watson) and Patrick (Ezra Miller). They introduce him to a world he enters excitedly but treads very neutrally from the outside appearance.
The film is very intelligent as it is certainly less about when and where and more of why and how. The director weaves you through a range of emotions that leaves you feeling enlightened rather than “happy” or “sad”.
Though be it through Charlie’s eyes and through everyone’s personal triumphs and tragedies, the film succeeds in showing us how important support from other people is, mainly stating that it is possible to call things by their proper names without “labeling” them. A popular example of this would be the mistake of equating a house with a home. Evaluating things individually and in context is ideal.
Lines that express the style of the film:
Patrick: It’s too bad you’re not gay. Then again, if you were gay, I would never date you. You’re a mess.
Charlie: You know Patrick? If I were gay, I’d want to date you:
Patrick: Of course.
All that happens in this conversation is Charlie and Patrick are saying they love each other. There are many statements and events through the film which do just this.
Overall Perks is very “Juno” with less specificity to time and place. A very rich, deep film about how we grow as individuals and deal with what comes our way, whether by choice or circumstance. You’ll have to watch the film to see what I mean.
With unsurpassed cinematography of both mythical and existent worlds’ amalgamation, Beasts of the Southern Wild is luminously co-written and directed by Benh Zeitlin. In 92 minutes, the film portrays the Bathtub community, their struggling aligned with poverty and wild nature, and most importantly, a single father, Wink and his six-year-old daughter, Hushpuppy. She is fearless and unbreakable, and believes that one day the world will remember her, like “once there was a Hushpuppy, who lived with her dad.”
Growing up in the Bathtub community, a southern bayou community in an island surrounded by rising water, Hushpuppy has adapted to becoming stronger. She is trained by her self-made father how to deal with both, the danger of the wild nature and the life of unfulfilled basic needs (food and shelter). Without asking her father for feeding during the flood, she understands the situation and eats leaves, which remarkably shows a child’s learning determination. She learns that the universe is a unity. If one piece of this unity falls down, it will effect on everything else. Searching for her mother and having imaginary conversations with her mother shows another side of Hushpuppy, a child who requires love and affection. However, Hushpuppy was not allowed to show her emotion until the moment of her father’s last breaths. She blasts with tears, but she does not breakdown. Because she knows the world needs her to be defiant and daring to survive.
Zeitlin’s passionate direction and paying attention to each detail on a scene ornament the film with more glitter. He not only shows the wild side of nature and its effect on human beings but also gives an important message to society through Hushpuppy’s character, such as; we should not forget our root and be intrepid.
Beasts of the Southern wild can compare with the 1990’s movie A Cry in the Wild, based on the book Hatchet by Gary Paulsen. This movie is also about a 13-year-old boy named Brian, who is the only survivor after a plane crash in the Canadian wilderness; he has no choice except to adapt to the wild life. Similar to Hushpuppy, Brian also has to learn about finding food and shelter.
The actors of Beasts of the Southern wild are all non-professional local people of New Orleans who never act in front of the camera. Five-year-old Quvenzhane Wallis as Hushpuppy elevated the film with her breathtaking acting into an affluent layer of perfections.
Every bit of Beasts of the Southern wild is astounding that already obtaining high interests of viewers and reaching positive responses, and will be exemplifies as one of the best and remarkable movies of the year’s.
“Detropia” is an eye-opening documentary that shows the deconstruction of Detroit, one of America’s fastest growing cities, in a downward economic spiral.
Directors Heidi Ewing and Rachel Grady beautifully portrays a post-industrial America by focusing on Detroit, once a thriving city with plentiful jobs that is now facing unemployment, pay cuts, and corruption. The film focused more on life in the 21st century Detroit and not the history of Detroit. Detroit is downsizing and the number of abandoned buildings and destruction of empty homes increases. As the city devise schemes to revamp Detroit, the population and worth of Detroit will keep decreasing.
“This is not a depression,” says Tommy Stevens, “it’s more of a recession.”
Throughout the film, the director gives a tour through various Detroiters lives as they share their thoughts on the troubles and obstacles they must go through to survive. Union leader George McGregor shared the times of the “once was” Detroit and today Detroit where he now deals with the potential loss of another plant and pay cuts. Video blogger Crystal Starr explore abandon buildings and speak of “what used to be” and “what could become”. Raven Lounge owner Tommy Stevens explains the financial issue, not only for himself but for Detroit. Each of these Detroiters described of the “once was” Detroit and the Detroit that could be.
“Detropia” is a wake up call to America. It is the haunting reality of how the economy is like in the 21st century. These are real people going through real hardship living in today’s world. It is not only an eye-opener but a memorable documentary too. One may never see the world the same again because “Detropia” shows that the discussion of a recession is not just talk. It is real, and it is coming. If it can happen to one of America’s possibilities, it can happen to any state.
After Detroit lost half of its manufacturing jobs to outsourcing, the city lost half of its residents. The documentary Destropia is beautifully filmed scenes of the devastating decay.
Directors and residents, Heidi Ewing and Rachel Grady show what is left through the eyes of those who remain. In 1930 Detroit was the fastest growing city in America. The middle-class prospered in Detroit, as did the rest of the America. As we follow the engaging and somehow hopeful residents they boast of the cities success and fear for their future, as well as the future of the country.
Building are destroyed, more jobs are lost. Demolition and scrap recycling are the only growth opportunities in town. The cast are emotional and entertaining. A small restaurant owner (Tommy Stevens) holds on to his business hoping the plant will hire back workers, and the proud Cadillac driving union boss (George McGregor) fights to save the jobs of the few workers left behind in the world of globalization. A young blogger (Crystal Starr) who tries to see her future in Detroit while reveling in the past. A Young (possibly foolish) couple looking for a cheap place to create offers minimal hope to offset the dismal decline.
Many viewers come into this film aware of Detroit issues, but seeing them up close and personal is almost painful to watch. The frustration of the residents and even the Mayor is contagious. The overarching message is; let this city be a warning and your city will be next. This film will leave you aware, but with more fear than hope. There are no easy answers in Detropia and none are offered.
“Beasts of the Southern Wild” is a spellbinding image-driven narrative. The film challenges the notions of normalcy and celebrates one’s unwillingness to conform to society’s ideal and the traditional way of life. It highlights the nobleness of the human spirit.
Isolated from the rest of the world in deplorable conditions lies a fictional Louisiana Bayou, Bathtub. A troublesome hurricane Katrina-like calamity threatens to wipe out the small town of people of an already impoverished community. However, 6-year-old defiantly brave, relentless and imaginative Hushpuppy (Quvenzhane Wallis) is set on saving her ailing father Wink (Dwight Henry) and the people who are left after the storm in bedlam.
Hushpuppy is sassy, amicable, charismatic, high-spirited and the heroine. She is fearless due to the qualities that her father has instilled in her. Her gleaming eyes of curiosity are subject to love, hopelessness and despair. Through her eyes we see her world begin to unfold, “Everybody loses the thing that made them. The brave men stay and watch it happen. They don’t run.” Hushpuppy longs for her story to be heard and remembered, a legacy.
Wink is a loving and dedicated father who is also a terminally ill, impetuous drunk. He refuses to let his child indulge in fears and tears. Wink’s parenting style is unconventional and nurturing yet at times neglectful. He has raised his daughter as if she were a boy,
“Who’s the man?” he asks his daughter.
“I am” she replies while flexing her puny muscles.
This drama, fantasy is laced with childlike naivety. The film is infused with mystical forces and modern day environmental concerns. I am tempted to say that “Beasts of the Southern Wild” is a coming-of-age film although it can’t quite compare to others of the same genre. It is more than the development of a little girl but the unabated, unyielding gumption of the human race. As I watched this film lines from Maya Angelou’s poem, “And Still I Rise” echoed in my head. Thinking of Hushpuppy rising up despite her grueling circumstances.
Feature debut Director Benh Zeitlin drew inspiration from his co-writer Lucy Alibar, playwright “Juicy and Delicious.” Zeitlin’s film consists primarily of unprofessional actors. The director’s use of a hand-held camera and the musical soundtrack perfectly paired each scene of the film. It is no surprise that this film is the winner of the Camera d’Or at Cannes and the Grand Jury Prize at Sundance film festival.
This film is a staple for any collector of independent films, its raw talent and workmanship is one to be praised. “Beasts of the Southern Wild” has left me yearning more, a true inspiration.
This is not a Brooklyn neighborhood undergoing gentrification.
Detropia. The name says it all, a play on dystopia, it was obvious from the first minute this would not be an uplifting film.
Though Detroit is slowly being consumed by the Michigan prairie , it still remains a (fallen) symbol of American capitalism. As irrelevant as census surveys may make it, Detroit remains a relevant symbol for America’s problems. Probably for no other reason than George W. Romney (father of Mitt Romney) was the governor of Michigan who sent in National Guard troops to put down the Detroit riots in 1967. That Detroit is again a topic of conversation under similar circumstances when George Romney’s son is running for President is unsettling.
But Detropia is not just about Detroit, or politics. It is about the people of Detroit, and the film never ceases to remind the viewer of that. Which is good. The people who call Detroit home are no different than you and I. Hard working, dedicated, middle class and often black. The only difference is that Detroiters now find themselves on the wrong side of history, which is no fault of their own. In many ways Detropia presents the residents of Detroit as those who were blind enough to collectively believe in the American Dream; an idea so novel that it was free from the consequences of greed and consumerism. They traded their time restlessly for a key the American middle class; or the “buffer” as one of the films interviewees describes it.
