The acclaimed Sundance documentary THE QUEEN OF VERSAILLES (which won the Audience Award at the event last January) is a cautionary tale of hubris and what happens when the insulated world of the superrich comes crashing down. In the film by Lauren Greenfield which is screening this week at Silverdocs, a ridiculously wealthy Florida couple (75 year old real estate magnate David Siegel and his overly buxom trophy wife Jacqueline) are determined to build the world’s largest home…..a 90,000 square foot behemoth modeled on the Palace of Versailles. When the global economic meltdown hits, the family is forced to confront the meaning of a new word: downsizing…..as alien to them as alien can be. The need to cut back on ostentatious shows of wealth and unencumbered spending provides a cautionary tale of how extended we have all become with the easy availability of unlimited credit and the vast conspiracy of consumerism. For the Siegels, the price they pay is writ large, but the implications are there for all of us to learn. The film will be released in theaters this summer, providing yet another perspective of how far we have fallen and the values we have deep frozen in our pursuit of pleasure at all cost.
This Is Not Berlin (“Esto no es Berlín”) (Hari Sama) 2 out of 4 stars. What doesn’t sound interesting about a movie detailing the queer art scene of 1980’s Mexico City? I, for one, was all in. Unfortunately, despite centering … Continue reading
Love, Antosha (Garret Price, 2019) 3½ out of 4 stars. The actor Anton Yelchin (1989-2016), who died in a freak accidentin his own driveway, starred in movies both large and small, from the rebooted Star Trek franchise to the highly … Continue reading
Cold Case Hammarskjöld (Mads Brügger, 2019) 4 out of 4 stars. Dag Hammarskjöld (1905-1961) was the second Secretary-General of the United Nations, serving from 1953 until his death in a plane crash in Africa. An idealistic and militant soul, the … Continue reading
Luce (Julius Onah, 2019) 3½ out of 4 stars. In Luce, director Julius Onah makes up for having afflicted The Cloverfield Paradox on us by delivering a gripping, thought-provoking cinematic essay on race, gender, colonialism, class, power and privilege (white … Continue reading