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 » Full Dark, No Stars - Stephen King's new novella questions mankind's ability to trust others.
[02.21.2011 by Bridget Doyle]

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 » The Top 30 Albums of 2010 - Fashionably, fabulously late, our favorite music (and believe me, there was a LOT) of 2010, the year that some have called the best year for music ever. And only some of those fools work here. Plenty of usual suspects, lots of ties and a few surprises that I won't spoil, including our unexpected #1.
[12.24.2010 by The LAS Staff]

MUSIC

 » Live: Surfer Blood/The Drums at Lincoln Hall, Chicago, IL - Remember when Weezer used to put together records that you could sing along to and rock out to? That's what Surfer Blood's show was like!
[11.04.2010 by Cory Tendering]

Music Reviews

Screaming Females - Castle Talk
»Screaming Females
Castle Talk
Don Giovanni
Trent Reznor & Atticus Ross - The Social Network [Original Soundtrack]
»Trent Reznor & Atticus Ross
The Social Network [Original Soundtrack]
The Null Corporation
Deerhunter - Halcyon Digest
»Deerhunter
Halcyon Digest
4AD
No Age - Everything in Between
»No Age
Everything in Between
Sub Pop
Robyn - Body Talk Pt. 1/ Body Talk Pt. 2
»Robyn
Body Talk Pt. 1/ Body Talk Pt. 2
Konichiwa
The Walkmen - Lisbon
»The Walkmen
Lisbon
Fat Possum
LOSTATSEA.NET > FEATURES >

November 9, 2004
Whenever a cinema aficionado goes to the movies, it's like the outside world ceased to exist. There are certain aspects that come to one's mind regarding both the visual art and the flick's leitmotiv - and there's certainly a thin line that separates the connoisseur from the occasional theatre-goer. The name of the producer, the camera angles, the soundtrack, the filmmaking and the post-production - it's like everything is tattooed on one's mind when s/he leaves the building.

It gets some time to defrost the whole experience and take a closer look at what has just been sensed. It's that process that Lost At Sea tries to conjecture with this ongoing feature. Focusing on the fall season for three months both at Norway's Bergen Cinemateket USF (by the way, USF stands for United Sardine Factories) and Bergen Filmklubb, this is the place to discuss and comprehend what has been done so far, and what we achieved in recent years, as far as the seventh art goes. So, the bottom-line could well be: LAS goes to the movies but lets you sit nearby.


-----|

.: Week 2

Winston Smith is what you'd call a very dependable bureaucrat working for the government. His duty is to rewrite history and erase all evidence that some people existed. Caught in the middle of these misty affairs, and unlike his closest mate at work, Smith starts the rather obscure task of taking some notes in a journal that he keeps for himself.

Directed by Michael Radford, 1984 (U.K., 1984) engulfs the difficult job of gathering all the beautiful mess put together in the well-known George Orwell novel, sadly the actual precursor of reality TV and the Big Brother concept. Sometimes, just sometimes, History is not fair with their children and this is merely an example.

But as far as the plot goes, Smith (played by John Hurt), like many of his contemporaries, is under constant surveillance, permanently being watched by monitors all over the place. When he successively breaks the strict code that would prevent everyone from freely thinking and having sex, he is imprisoned, interrogated and tortured. That's pretty much what happens with reality TV nowadays, we should add.

Set in London, the film explores the trauma of a post-atomic environment, and the subsequent fears in a society full of control freaks, who even want to poison and be in charge of the individual's mind. A historical document of great importance and accuracy - just in case all hell breaks loose in this world soaked in propaganda, and you just need something to relate to.


Martin Scorsese is such a wise guy. For those who actually know him from his stellar career in cinematic documents like GoodFellas, Taxi Driver and, more recently, Gangs of New York, it's always funny to see how the artist grew up to become one of the most respected and talented men in contemporary cinema.

Boxcar Bertha (USA, 1972) is an amusing tale of train-robbery tactics and labor unions and other social gatherings, which took place in America during the Great Depression. Saying that this is Scorsese at his best is erroneous and dangerous. In fact, this is a very laid-back and amateur slot in the ever-growing History of Cinema, which is just fine.

After the death of her father in a lousy accident, Bertha (Barbara Hershey) hooks up with Bill, a passionate union leader. Surrounded by soon-to-become outlaws, Bertha inevitably embarks on a life of crime. Of course, a gang this loose and floppy, lacking in organization what they overachieved in adventurous spirit, is a tragedy starting to happen. A beautiful historical masquerade that amuses more than teaches. A must-see for those fond of Scorsese's early and latter work.

--
Helder Gomes
Currently living on the south bank of the Tagus river, in Portugal, Helder Gomes is a working class hero. He is a journalist for the local radio station Rádio Nova Anten. In his spare time, he skates and watches many odd movies. He is in love with the French nouvelle vague, and the Danish/Swedish invasion. He writes for a number of publications, on the Internet or otherwise, notably the underground Portuguese magazine Mondo Bizarre, and the Jazz Review website. He is also the news collector and a staff witer for the adorable Lost at Sea. Oh, and there is also the Coffee Breakz radio show that he tries to host every Saturday.

See other articles by Helder Gomes.

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