wrong is a 2012 french-american independent surreal comedy film written and directed by quentin dupieux .

the film stars jack plotnick and premiered at the 2012 sundance film festival .

it was part of the toronto international film festival 's official selection .

the producers of the film are charles-marie anthonioz , gregory bernard , nicolas lhermitte , josef lieck and kevos van der meiren .

wrong ( film )

tahiti boy & mr . oizo - pizza note - wrong ( original motion picture soundtrack )
in “the wrong move , ” wim wenders adds another element to the postwar rebirth of german cinema .
dupieux makes the viewer work for it with wrong . and it ' s not always worth the effort . . .
browse television , film , short film , music video , web series , documentary , drama and more categories .
in wrong , reality and the world of the film will regularly upend themselves ; it ' s never quite reliably clear , though , that these inexplicable events are happening for a purpose .
there’s almost no lynchian violence or exploration of society’s seedy underbelly in wrong . instead , dupieux keeps his film more squarely in the quirky humor camp , although there’s little in the way of actual lols . wrong is more like a nihilist napoleon dynamite for white - collar burnouts , without the endearing characters and satisfying story arc .
dupieux doesn ' t care about standards and brings all the right goods to wrong . he ' s batshit crazy and takes us on wild and hilarious ride of absurdity . bringing the fun into arthouse cinema , wrong will leave you strangely addicted to dupieux ' s world .
it’s in the film of 2010 that the big world - saving stakes come to the forefront . and the film updates that final message , too :
absolutely nothing is right in wrong , the latest movie from absurdist french director quentin dupieux . while his previous film , rubber , revolved around the homicidal actions of a psychotic tire , his latest effort takes weirdness to a whole new level .
version one , for example , begins with a subtly jumbled title card – right then , wrong now – that perfectly sets the tone for the
hey , wait a second…
cognitive gymnastics that watching the rest of the film entail .
will smith aka the beloved box - office slugger has scored one of 2016’s biggest turkeys . we get out the baster and try to figure out what went so wrong
a work of much playfulness and imagination , wrong hints at a broader promise of budding , starburst auteurism upon which the film as a whole - - a nice , silly riff that could work better in truncated form - - doesn ' t fully deliver .
if you can get past the clock that goes to 60 , the enigmatic pine tree and the office where dolph goes to “work” each day , wrong is the kind of film that will have you wanting to watch it again to try to figure out exactly what the hell happened .
the whole film feels a bit like a dream after a late - night burrito , leaving you wondering if moments in the film actually happened , particularly when mulling over it the next day .
dupieux ' s previous feature was
rubber
( 2010 ) , a b - movie send - up about a sentient tire with telekinetic abilities .
wrong
dispenses with the earlier film ' s over - the - top gore and heady meta - movie hijinks — characters addressing the viewer , an on - screen
audience
observing the action — in favor of unpretentious comedy and non - confrontational cutesiness . this makes
wrong
more palatable — but also blander . what
rubber
lacked in pay - off , it made up for with personality . while
wrong
exhibits a well - developed ( though hardly original ) comic sensibility , its flat style means that no gag , however weird , has any bite .
in that way , fichtner’s character is as close to a god - like being in wrong as dupieux’s cynicism will allow . chang creates problems because he anticipates them and makes a mess of everything . the notion of a bumbling deity that hurts people more than he helps them is a tempting philosophy . but it’s only tempting whenever wrong isn’t actively devolving into an interminable laundry list of strange things that mostly prove how jaded dupieux is .
speaking of jack reynor , he’s such a highlight of the film . how did that character develop ?
f you thought the irreconcilable natures of free will and fate were rivetingly examined by gwyneth paltrow in sliding doors , just wait until you get a load of the new hong sang - soo film . right now , wrong then , which screened at the tokyo film festival earlier this week , is an hour - long love story , told twice – but with tiny variations that send each version on a dramatically different emotional course .
in fact , you might as well check any semblance of reality at the door when viewing wrong , which is available on demand and was released theatrically friday . it’s a delightfully deranged bit of cinema filled with oddball characters , bizarre occurrences and strangely engaging philosophical discussions about the meaning of pizza parlor logos . in dupieux’s world , even clocks can’t be trusted . ( see the wrong motion poster above , exclusively premiered by wired , for a taste of dupieux’s high strangeness . )
when strong - willed summer pratt takes a job at a beautiful estate as the new nanny to a sweet but sad little girl named sophie , she soon starts to suspect something is very wrong with the . . . see full summary »
update with more details : a24’s moonlight won the best picture oscar tonight after an epic mix - up on the stage in which presenter faye dunaway , onstage with warren beatty , read what turned out to be the wrong winner . she originally announced that lionsgate’s la la land won , to walk away with its seventh win of the night from its record - tying 14 nominations , and la la land ‘s producers even gave acceptance speeches before the mistake was discovered , and chaos ensued for the last and most marquee category of the night as reality set in that the wrong film was announced .
in damien chazelle’s new film “whiplash , ” the very idea of jazz is turned into a grotesque and ludicrous caricature .
written , directed , photographed , edited and co - scored by quentin dupieux — a man who is the living definition of
jack of all trades , master of none
—
wrong
often resembles a student film stretched to feature length . dupieux ' s style is efficient but underdeveloped , and leans heavily on rack focus — where the camera dramatically re - focuses from one object to another — as a form of visual punctuation . his music is pleasant but often ill - fitting . his over - use of shallow depth - of - field gives
wrong
the visual texture of a well - produced web video .
wrong
is a surreal shaggy dog story about a loser who wakes up one morning to find that his beloved pooch has disappeared . composed of skit - like scenes and populated by gimmicky characters , the movie is flimsy , glib , and occasionally pretty funny .
in one of the final scenes of arrival , the new first - contact science fiction film with a focus on linguistics , dr . louise banks ( amy adams ) explains why she got divorced . “he said i made the wrong choice , ” the linguist tells her daughter hannah . it’s an easy line to overlook , especially as the gravity of the film’s second - half surprise sinks in . throughout the film , louise is experiencing not her memories of the past , but living out precognitive moments of her own future . she is experiencing time out of order , because her efforts to understand an alien language have irreversibly rewired her brain .
the tomatometer score — based on the opinions of hundreds of film and television critics — is a trusted measurement of critical recommendation for millions of fans . it represents the percentage of professional critic reviews that are positive for a given film or television show .
unfortunately finishing off special effects and creating an ' actor ' s cut ' of the film is less than likely , so we ' ll probably never see the film as it was written – just what was left after garden shears were used in the editing room .
mr wrong tells the story of meg , a country girl who has just moved to the city and whose new car is making some strange and spooky noises . . . what ' s more , it attracts the attention of a mysterious stranger who seems to materialise out of thin air .
there ' s not enough here for a full length feature film - something that becomes obvious the longer the movie is on the screen .
and you’ve said eamon’s rabbits in the film came right out of real life . the actual eamon you knew as a teenager kept rabbits .
so what’s to like ? for the more literal - minded moviegoer , possibly nothing . if you haven’t figured it out already , wrong is clearly not right for everybody : it’s one of those movies that makes you constantly wonder if you’re “getting it , ” and never really answers the nagging question .
the characters — by turns eccentric , amusing and annoying — all come across convincingly skewed , but if you can truly relate to any of them you might want to get your meds checked . to say much more than that would be to rob wrong of its chief charm : complete , uncanny unpredictability .
i raise two virtual pennies for your thought . did you love , hate , or just avoid this film ? tell us in the comments !
however it does appear that an awful lot of character moments – essentially the heart , the star trek core of this film , were removed , leaving what is often thought of as a hollow action film by many . behind the scenes friction can ' t have helped while filming , either .
if the film had any depth , dupieux ' s humor could be subversive . his favorite targets , after all , are authority figures — cops , firemen , employers . the absurd can serve as a commentary on reality ; without a firm grounding , however , all it can be is amusingly weird . in
wrong ,
dupieux opts for
shallow
laughs — jokes without characters , subtext , or a tinge of truth . his gags are gags and nothing more .
the ballad of narayama
is a japanese film of great beauty and elegant artifice , telling a story of startling cruelty . what a space it opens…
is substantially more entertaining than any film adapted from an app has any right to be - - which may or may not be much of an endorsement .
subscribe to trailers : urltoken subscribe to coming soon : urltoken subscribe to indie & film festivals : urltoken like us on facebook : urltoken follow us on twitter : urltoken wrong official trailer # 1 ( 2013 ) - quentin dupieux movie hd dolph springer wakes up one morning to realize he has lost the love of his life , his dog , paul . during his quest to get paul ( and his life ) back , dolph radically changes the lives of others - - risking his sanity all the while
the film won preston a nomination for best director at the 1986 gofta awards , as well as a win for best performance , female ( heather bolton ) .
he shine is coming off of la la land . the box - office smash and owner of a record - tying 14 oscar nominations premiered to rapturous reviews at film festivals last fall , but in the weeks that followed , and as the film screened for more and more critics , a backlash began to grow . representatives of various marginalized communities – women , african americans , and jazz lovers – emerged to take the film down a peg . what ensued was an all - out war ( albeit one waged mostly on twitter ) between the film’s fans and its detractors . while it might seem odd that a movie as guileless and nostalgic as
but actually , arrival more closely resembles contact , a film about jodie foster wearing headphones and listening to those headphones and then listening really hard to those headphones .
if director tate taylor wanted to make a film about the plight of domestic workers , he might have made one about a hispanic or haitian nanny in brooklyn .
i think jack reynor [ who plays conor’s brother brendan in the film ] liked her for the role , and i listened . when i’m talking to actors in my films , and they’re like ,
what about this ? what about this ?
i like to listen to them as they connect to their characters , and to the film . she was on a list , and i knew her through friends , but there was no nod to the commitments in casting her in the film . someone even said the other day that there are rabbits in my film , and the main character in the commitments is called jimmy rabbitte . well , okay…
wrong is a movie starring jack plotnick , todd giebenhain , and eric judor . dolph springer wakes up one morning to realize he has lost the love of his life , his dog , paul . during his quest to get paul ( and his life ) back , dolph radically changes the lives of others - - risking his sanity all the while .
yeah , he had lots of rabbits in his house , and they became kind of a mascot for the film . and i also asked myself ,
if i put a bunch of rabbits in a film and i don’t explain it , will people ask about it ?
and then they do , and that’s kind of funny .
“dmx is the perfect actor for the stylized and satisfying film adaptation of goine’snever die alone , directed with street corner majesty by cinematographer - turned - director ernest dickerson .
in the opening half hour of star wars : rogue one we travel to several different planets , bases , and even time periods , hopping between locations as rapidly as a mission impossible film . we ' re introduced to a bunch of different people and plots and have to keep track of all of it while the film pushes forward relentlessly .
writer - director john carney laments that his film once will inevitably be the first thing mentioned in his obituary , and he isn’t wrong . the low - budget 2007 indie , featuring markéta irglová and the frames’ glen hansard as musicians who sing together as a substitute for the relationship they can’t have , became an international hit , and won an oscar for hansard’s song “falling slowly . ” the broadway adaptation won eight tony awards and has been performed around the world . it’s the kind of success story that naturally becomes the benchmark for all future endeavors .
would such an extended cut be a better film ? based on just the deleted scenes on the home releases , many have suggested it would not have made that much of a difference . i personally disagree and the scenes mentioned above are part of the film to me . however it seems there is far more footage to integrate than those few scenes .
a wanna - be director is given 48 hours by a producer to find the best groan of pain , worthy of an oscar , as the only condition to back his film .
if you ' re an accompanying adult , be rest assured , there ' s plenty of chuckles in it for you too . it ' s a real egg - citing film .
this isn ' t a long film , but it lacks propulsion at times . luckily , it maintains its wry outlook and never quite erases the good will that its best moments inspire .
it wouldn’t have been anything if they died in the end . it just wouldn’t have been a film . it just would have been a joke , or a twist , or something .
writer / director / composer / editor / cinematographer / auteur / weirdo quentin dupieux is a guy who pulls the mat right out from under the hollywood norm and takes bold and colorful chances . last year , dupieux created a feature - length film about a killer tire called rubber . he broke every rule he could and created something pretty fucking incredible . with wrong , dupieux turns a little story about a man ' s quest to find his missing dog into a mind - bending , chopped and screwed reality where almost nothing makes sense . dear reader , this ain ' t your average homeward bound .
away from the festival circuit , only one of hong’s 17 films to date , 2013’s our sunhi , has made it to british cinemas . but though right now , wrong then might not be as instantly loveable as last year’s culture - clash bonbon , hill of freedom , or his elliptical 2012 cannes entry in another country , it’s a film that deserves to grow hong’s overseas following . no director working today can carry out this kind of heavyweight emotional excavation with such feather - light flicks of his trowel . that’s hong’s gift , as counterintuitive as it is unique : he makes molehills out of mountains .
it ' s not hard to come to the conclusion that the film simply got overlooked . after all , star trek is a product of the small screen and up against the cinematic experiences on offer from the other films , it ' s hardly surprising that cinema - goers may have simply decided to wait to see the film . . . if they even knew it was out .
1996 ' s star trek : first contact took $ 150 million worldwide , on a budget of $ 46 million . 1998 ' s star trek : insurrection managed to swallow a budget of $ 70 million and only return $ 118 worldwide , but after the critical feedback about that film , surely a darker action film along the same lines as first contact would jump the box office back up ?
wenders doesn’t explode the film - noir framework of the movie , nor does he explore its historical origins or its implications , whether aesthetic or political . he embraces the genre uninhibitedly , as if asserting
i think it’s lazy journalism . but i’m completely okay with it ! i think it’s obvious that i think it’s very tiresome . it’s an easy way to make copy , to say ,
it’s not as good as his first film ,
or compare it to my first film . i think people thought i was an amateur when i made once , because it looks so amateurish . that they were delighted with the idea that someone made something on a camcorder . that’s not the real story . i’d been making film for 10 years before then . i’d been making tv professionally for four years .
this has happened before , according to our colleague pete hammond , in 1964 , when sammy davis jr . also got the wrong envelope for two music categories . regardless , the notice posted at the end of the abc telecast suggests that pwc has a lot of explaining to do : “the results of all the secret voting are known only to the independent accounting firm of pricewaterhousecoopers until the sealed envelopes are opened on the air . ”
. ” its very title rejects the return that wenders was attempting , and the film itself is among the most original and most daring films of the time , one of the era’s signal cinematic inventions .
the quasi - nihilistic and totally surrealistic ideology behind wrong , writer / director / editor / musician quentin dupieux’s follow - up to rubber , is more exciting in theory than it is in practice . wrong , which is set in a nondescript suburb where an abrupt and meaningless series of events proves that nothing means anything in dupieux’s films , begins with dolph springer ( jack plotnick ) waking up at 7 : 60 a . m . to find that his dog paul is missing . the animals’ absence is meant to symbolize the lack of order in his owner’s life . that characteristic sense of disequilibrium is something that dolph’s been able to ignore right up until paul runs away . dolph’s very much in denial about how screwed up his life has become of late ; though fired from his day job three months ago , he still shows up to his former office and pretends to do work .
those extras on the dvd and blu - ray release really do paint a picture of a different film that should have had a heart , and i strongly recommend exploring all the extras on the home releases of the film which puts a whole other light on the production . . . and leads you to discover patrick stewart ' s enjoyment of the argo all terrain vehicle as supplied by ivan ' ironman ' stewart !
none of this is to suggest that the film is exactly racist . sebastian romanticizes parker simply because he lived and died before jazz started to change for the first time . but it’s impossible to separate jazz from black history , and it’s downright foolish to do so in a film by , for and largely about white people . it’s especially dangerous right now . geoff nelson at paste magazine links the film’s traditionalism and the satisfaction derived from its nostalgia to the trump campaign’s backwards - looking ethos : “there lies a profound irony in liberal white folks heading to la la land to repair after a political season overflowing with the nostalgia of white supremacy . ”
in 2014 , christopher nolan delivered interstellar , a film which gilds wormhole physics with daddy - daughter emotionality . it’s a film i gather some people love — currently # 32 on the imdb top 250 , whatever that means anymore . and it’s unquestionably a nice film . it declares that the whole fourth dimensional architecture of time and space is made out of love . it sends a man into a wormhole , where the universe sends him back to his daughter . interstellar even has its own variation of heptapods : extra - dimensional beings , evolved from humanity , who exist outside of time , so they can save humanity and provide third - act catharsis .
meanwhile , at almost the same time , the writer peter handke , who wrote the script for “the wrong move” as well as for wenders’s first feature , “the goalie’s anxiety at the penalty kick , ” out - wenders wenders with the 1978 film “ the left - handed woman . ” handke directed his own adaptation of his novella , which appeared in translation in the new yorker in 1977 ; it’s tactile as wenders’s earlier films were ; it confronts the loss of cultural foundations as well as the political and personal implications ( positive as well as negative ) of that epochal shift ; and it does so with precisely the emotional , familial , and artistic intimacy that wenders was leaving behind .
this film is a dire warning for the rest of the world . the euthanasia deception is a one - hour documentary featuring powerful testimonies from belgium and beyond - of those devastated by the false ideology of ‘mercy killing’ .
and yet . . . something was missing , both as a film on its own merits and as a star wars movie . the more i went over the movie in my mind , the more problems i uncovered .
most of these criticisms come with an admission that la la land is , on its surface , great entertainment . the snappy songs , brightly colored clothes and the virtuosic film - making are diverting enough that the film’s persistence in entertaining you is emotionally moving . for the millions of americans who are depressed and anxious about the state of the nation , la la land is a trifle that seems more substantial because of our desperate need for distraction .
the smaller characters were all more interesting . the droid k - 2so was a wonderful change from weaker droids who couldn ' t fight , bringing both humor and some great action to the film . saw gerrera was wonderfully crazy in his paranoid militancy , though we didn ' t get nearly enough of him , and i wonder if this film would have been better as an apocalypse now knock - off than a straight - up war movie .
the film was directed by neill blomkamp , who has since admitted that the story wasn’t quite all there . blomkamp had a reputation as a sci - fi thinker after district 9 , but he’s never been as pretentious as his partisans . he likes action scenes , and he likes space guns . elysium is , in that sense , a fairly standard contemporary blockbuster action film . it suffers from our modern story gravity : the world is at stake .
i saw the film on friday afternoon , and came away feeling mostly happy about it . the movie was action - packed , had some great characters , and ended with a bang . it was funny and visually striking .
postwar life in ohio contains its peaceful moments , of bringing in the laundry or shelling peas , but the house at 124 bluestone road is forever saddened by what sethe did . was it wrong ? yes , said the law : she was guilty of destroying property . the law did not see her or her child as human beings , and thus did not consider the death to be murder . in a society with those values , to kill can be seen as life - affirming .
watching further extras on the blu - ray offers snippets of alternative or extended versions of scenes where more of the characters we knew from the next generation shone through the action film surroundings . plus , there ' s a film test of tom hardy feeling his way into the role of shinzon ( with obvious relish in portraying the distanced lost soul of the character ) opposite an in - uniform patrick stewart . that too suggests more meat to their interactions .
dolph’s need to turn a blind eye to the aspects of his life that are obviously , well , wrong is further established when a palm tree in his backyard mysteriously transforms into a pine tree . also , it’s raining inside dolph’s office even though none of his co - workers seem to notice it or care that they’re being soaked . but none of this matters to dolph as much as paul’s absence . so in order to put his life back together , he goes in search for his dog .
back in 2014 , there were all these news stories about how you were collaborating with u2 on the film . but they aren’t credited on the songs or soundtrack , as far as i could tell . what happened with that collaboration ?
the loser ( jack plotnick , sporting a mustache and a cowlick hairdo ) is named dolph springer . though dolph is unemployed , he can somehow afford a roomy los angeles house and a full - time gardener ( eric judor ) . however ,
wrong
is a movie where human - to - canine telepathy , indoor rainstorms , and a technology that visualizes the
memories
of feces all exist ; perhaps its world also includes french landscapers who will come in five days a week for free .
the film is produced by the euthanasia prevention coalition in association with dunnmedia and supported by thousands of like - minded organizations and individuals throughout the world . please consider supporting these initiatives by purchasing a dvd and arranging a screening in your area .
the film had a curious effect on me . i was sometimes confused about events as they happened , but all the pieces are there , and the film creates an emotional whole . it ' s more effective when it ' s complete than during the unfolding experience . seeing it more than once would be rewarding , i think , because knowing the general outline - - having the road map - - would deepen the effect of the story and increase our appreciation of the fractured structure .
of course , master chang isn ' t the only idiot in
wrong .
in fact , the movie has a whole cast of them : dolph ' s fidgety neighbor ( regan burns ) ; a pet detective ( steve little ) who refuses to look at a picture of the dog he ' s supposed to be looking for ; a flighty , bird - brained pizzeria employee ( alexis dziena ) who thinks that dolph and his gardener are the same person and ends up leaving her husband for him / them .
the screenplay for mr wrong was based upon the story by well - known english writer elizabeth jane howard . director gaylene preston used the genre of thriller to examine sexual violence towards women , and what she calls ' the cinderella syndrome ' . using the story of an ordinary young woman leaving home to begin an independent life who is threatened by a quite extraordinary phenomenon , preston explores alternative reactions to fear and their consequences , as well as the unhappiness caused by the fantasy girls grow up with of
mr right
.
with expert analysis from both medical and legal professions , the film reveals the serious , long - term implications of assisted dying laws , and proves that all of us become vulnerable when end - of - life care is handed over to lawmakers .
the angry birds movie is really not bad . it is actually very actively okay . the film has taken its bird - brained brand . . . and used it to construct characters and plots that are certainly serviceable , and possibly even inspired .
over the past few years , there has been a concerted effort among pop culture critics to elevate the voices of the marginalized , both in works of art themselves and among the critical community . as necessary as this effort is , it can make it more difficult for a film to transcend racial and gender boundaries because there is always a group that can claim that the film ignores them . notably , la la land was also criticized for its lack of gay characters on the basis that , well , there are a lot of gay people in los angeles but none in the film . whether you think this is fair or not , it’s going to continue to be an issue until hollywood more generally solves its problem of inequality in gender , race and sexual identity .
indeed , that might just happen . hidden figures pulled off an upset at the sag awards two weeks ago , earning the prize for best ensemble , which is sometimes seen a precursor for best picture ( la la land , weirdly , was not nominated ) . when the story of the year in cinema is written , we may say that la la land peaked too early , or that it was the right film at the wrong time , or that its other , less political criticisms – the story is a little thin , the characters don’t particularly sing or dance very well , and it may be just too self - indulgent for its own good – were exposed after its shine finally wore off . for now , we will have to wait to see if hollywood is more interested in looking forward or looking back .
arrival certainly has a lot in common with close encounters . spielberg’s film ends with scientists at a base camp trying to communicate with extraterrestrials in a floating ship . that’s where arrival begins , middles , and ends , what with time being such a flat circle .
the film cost $ 40 million , took years to make , required everyone involved ( including cillian murphy , chris evans pre - captain america , and rose byrne pre - everything ) to believe passionately that they had to work hard on an unsettling space movie with zero mass appeal about a spaceship moving realistically slowly toward total doom . the film came out , made less than $ 4 million in america , was generally vilified by scientists and totally ignored by critics . ( it’s a cruddy business , sometimes , making movies . )
foster came back to science fiction in 2013’s elysium , a movie that boldly argues that there are rich people and there are poor people , and that’s uncool , man . having established a tone of bare social realism , the film immediately becomes an eerie fable of privilege bestowed : matt damon plays a white messiah to a working - class trashworld seemingly populated exclusively by hispanics . the film solves wealth disparity using advanced medical technology . it’s the least thoughtful sort of science fiction : having addressed a real problem , elysium invents an impossible solution .
in a revelation that will shock few who have seen the film , stuart baird ( helmer of films such as executive decision and us marshalls , and long - time film editor ) had no knowledge of star trek before becoming director of nemesis . he even refused to watch any of the next generation tv series to prepare ( and reportedly went so far to say he hated the franchise , and had to be forced to watch the preceding films , allegedly ) , so it ' s no wonder so many fans feel the characters act strangely .
star trek : nemesis left dangling threads , on purpose , as a story treatment for a direct sequel was already being worked on . the follow up film would have picked up on the slow re - establishment of data ' s neural net within b - 4 , as was hinted at the end of nemesis . probably in a way that was alluded to by ambassador spock , when he met his ' old friend ' captain data , in command of the enterprise - e in the official prequel to the 2009 star trek film , countdown .
these are all feelings that churn up after the film . “beloved , ” film and novel , is not a genre ghost story but a work that uses the supernatural to touch on deep feelings . like the turn of the screw , it has no final explanation . spirit manifestations come from madness and need not follow logical agendas . it is a remarkable and brave achievement for demme and his producer and star , winfrey , to face this difficult material head - on and not try to dumb it down into a more accessible , less evocative form .
as a southern - gothic fairy tale about post - katrina new orleans , beasts of the southern wild could have easily turned out to be a crass and unwittingly exploitative work . co - writer / director ben zeitlin’s fanciful approach to his understandably touchy subject matter theoretically seems glib . thankfully , every time zeitlin and co - writer lucy alibar threaten to oversimplify their story with mawkishly twee sentimentality , they steer the film’s elemental narrative in another direction . the hopefulness that viewers take away from the film , the most buzzed - about title at this year’s sundance , feels earned thanks to zeitlin and alibar’s focus on their characters’ fears of imminent abandonment and annihilation . as a film about the seductive and essential power of hope , beasts of the southern wild is a warm , accomplished , and fitting tribute to the fighting spirit of new orleans .
but why did star trek : nemesis take so little at the box office ? well , let ' s leave the critical view of the film to one side for the moment , as it was nowhere near as one sided in 2002 as it is now , with hindsight .
i hear a lot of people saying this is the best star wars film since the original trilogy . i ' d say it ' s the second best , after the force awakens , largely because it doesn ' t capture what i think makes this franchise great and worthwhile .
maybe at this point it ' s too much to hope for an animated film like the angry birds movie to exist as anything other than marketing fodder , but hopefully it ' s not too much to ask for that # content to have a shred of substance to it .
on box office numbers alone , the film wouldn ' t have crawled its way into the black . but the dvd steered it away from red ink , the disc being one of the most pre - ordered retail dvds in the us and uk come the time of its release .
in director gaylene preston ' s genre - bending tale , meg ( heather bolton ) buys a stylish old jaguar so she can be more independent . while driving on a country road , she hears screams in the back – but there ' s no one there . in the excerpt above , she picks up a mysterious woman in the rain . later she discovers that the woman was the car ' s previous owner , and she is missing . now her killer might just be stalking meg too . for their first , acclaimed feature , preston and producer robin laing rented out local cinemas , conclusively proving that mr wrong had an audience .
no , i think if anyone is looking for him to be responsible in that sense , they’re not going to find it in this film . he is just bound for his own vision , and his own journey , and everyone in the film serves that . and that just is the story i’m talking about at the moment . that’s just a particular kid i’m telling the story about . there’s nothing deeper than that . it really is the story of just how he gets on that boat at the end , that’s all it really is . how he gets over that year of his life .
there’s genuinely no relationship to the commitments in this film , other than the fact that it does have songs in it . there really is no homage to the commitments , no connection to it . a lot of writers see that , and who wouldn’t ? but it’s actually not there at all . the commitments was never a significant movie to me . it’s a perfectly good film , and a good script . but it wasn’t something that moved me as a kid . i was a film snob when i was that age . i would have steered away from the commitments when i was 19 or 20 , whenever it came out . obviously people are going to draw comparisons , because there are so few films made in ireland , and so few musicals . but i’d say you could just as well compare once to the commitments . you’re not going to get much out of that , either .
easily the most off - putting moments of the film were the scenes with the cgi version of grand moff tarkin . the actor who originally played tarkin in the original films , peter cushing , passed away in 1994 . this would have been a good reason to either a ) not include tarkin in the film ( which would have been fine and easy ) or b ) find some other way to include him that wasn ' t so glaringly digital . while the special effects are remarkably good , tarkin still looks fake compared to the real humans around him , fake enough to make his inclusion puzzling .
instead of treating that message like a superpower to acquire , the film delivers it as a subtle worldview . hidden under arrival ’s more palatable themes about overcoming cultural differences and uniting as one species is chiang’s more direct message about learning how to appreciate life’s moments , to live outside the bounds of time .
the film tells the story of sethe ( oprah winfrey ) , who was a slave on a kentucky plantation in the days before the civil war . now sethe is free , and lives in a frame house on a few acres on the outskirts of cincinnati - - ”124 bluestone road , ” the film informs us , as if it would be an ordinary house if it were not for the poltergeist that haunts it . when paul d ( danny glover ) , who knew her years ago in kentucky , enters the house , the air glows red and the walls and floor shake violently ; the spirit resents this visitor .
the film sets out to expose three main deceptions of doctor assisted dying : first , that euthanasia and assisted suicide are a form of compassion . the second is the myth of autonomy : that decisions made between doctor and patient operate in a vacuum . and finally , that government ‘safeguards’ can truly protect the vulnerable .
the commitments and sing street couldn’t be more different . in the commitments , they’re a cover band , doing cover versions of old soul songs . that’s fine , and it’s very funny and enjoyable . but we’re telling the story of a creative process , and of fashioning and shaping and hammering love songs to get the girl to improve your life , to get off the island , and to be a success . and what’s great about the commitments is that the band isn’t a success . they implode , which is a very truthful story . sing street is a fantasy film about the american dream , in a sense . it’s just dressed up as an irish film , but he’s punching the air and heading off , in his head . my film is about a really great band , and i think the songs in it are really great . like , i think
drive it like you stole it
is going to be a massive hit .
well , the family dynamic is nothing like my family , really . i think that’s an amalgam of very different families i thought i knew something about , from looking in the window , or through the kids . but the biggest departure is that conor is an incredibly handsome kid who can do no wrong , and is so full of confidence . i wasn’t like that at all . i had an inner belief in myself , but i didn’t walk around with that swagger . i didn’t look that way . the second ferdia got the part , the film changed quite significantly . i think it ' s important to cut your cloth , not try to force an actor like that into saying things in a certain way . so i went with him , i went with the ridiculous confidence ferdia has . he’s hilarious . and it’s also very current . kids nowadays have that sort of confidence . it’s not that i used it , i just didn’t fight it . i didn ' t resist it .
nemesis came as a bit of a surprise , to patrick stewart at least , as with the completion of star trek : insurrection the contracts of the core cast ( except perhaps , michael dorn due to his involvement on deep space nine ) were complete and none had any ongoing commitment to the studio or further star trek films . it was a phone call between brent spiner and his friend ( and huge star trek fan ) john logan , the writer of ridley scott ' s gladiator , that led to the film ' s development . one can only speculate how costly a one - film contract for the cast would have been .
the original plan for the opening credits was to show snippets of shinzon ' s life , specifically his banishment to the reman mines , and the brutality he was forced to endure before his now viceroy came to protect him . a much more abbreviated version of this footage was used later in the film in the end .
the problem , i think , is that star wars has always still been about good vs . evil , and plainly so . even its most subtle and important battle - - - the battle for anakin skywalker ' s soul - - - was still clearly about what was right and what was wrong . there was always hope , always the good guys vs . the bad guys . even in the prequels , when the jedi are not as good or just as they later become and the sith are not as clearly evil , the audience is still supposed to understand that anakin is twisted away from his destiny to restore balance to the force and toward something dark and power - hungry .
it’s not even a real fantasy film ! it’s someone making will smith think he’s in a fantasy film . that extra layer of artifice is not necessary , and actually harmful to your ability to enjoy collateral beauty . as every negative review has pointed out about this movie , this might be the cruelest trick ever played on a grieving fictional character in the history of drama . but it gets worse ! big willie styles starts going to a grief support group and falls for the head of the group , played by naomie harris . this is going to completely ruin this movie if you have some sick notion of seeing it , so fair warning .
still , it’s not quite right to say that the film endorses sebastian’s purity test . after all , keith makes a pretty good argument at one point that sebastian’s adherence to the purity of jazz is counter - productive and anathema to the boundary - busting spirit of jazz itself . to its great credit , the film refuses to pick sides . instead it lingers in the question , allowing sebastian to ultimately achieve all of his professional dreams – he gets his club in the end – while questioning what he sacrificed to get it . such an ambiguous ending should quash any attempts at certitude . unfortunately , that’s not how our culture works these days .
they have a lot in common with the martian , starring damon as a man who becomes his best self when he’s left alone in the cosmos . the bizarro - world inversion of dr . mann . i’m hesitant to even mention the martian in an essay about science fiction ; the film is famously accurate about everything besides the dust storm at the beginning . actually , the most fantastical part of the martian is the stuff back on earth , where nasa has bottomless funding and china shares technology with any government that needs it . ( apparently , the martian is set a couple decades in the future , making the film’s disco obsession even less convincing . )
hard decisions have to be made . the crew turns against itself , kind of , and people turn against themselves , for reasons that are maybe justified . then the movie takes an infamous left turn : an astronaut ( played by mark strong looking like a fleshpile from hellraiser ) from a previous mission somehow gets onboard , and starts killing people . what had been a capital - m meditation on the cosmos becomes a slasher film . it’s possible that sunshine needed the final act turn to get made — that , unable to find financing for a film about smart people feeling sad on a spaceship , someone had the brilliant idea of wedging in a serial killer .
the film , released in december 2002 in the us , would go on to take $ 67 million at the global box office , off the back of a $ 60 million budget . it ' d sell 1 . 3m dvds in its first week in america , and in the scheme of things , was a financial disappointment .
i could see sing street happening in that sense , but that’s academic until it does well at the box office as a film . i think it has to be something before it’s a play . but i would love to do that . i don’t think that would have worked on begin again , even though people wanted it .
in the mid - seventies , wenders moved from audacity to audacity with the trilogy “ alice in the cities , ” “ the wrong move , ” and “ kings of the road . ” he captured a particular mood of self - distance , that of a west german coming of age with american rock music and american movies . “alice in the cities” starts with its protagonist in the united states , doing a report on the real america of the road , but , with his insistence on making images rather than writing , he gets fired . marooned in new york while awaiting a flight to germany , he meets a woman and her young daughter . the woman goes off on a road trip of her own , leaving the man to bring the girl back to germany—a west germany that’s infused with the artifacts and moods of american pop culture . “the wrong move” is also a sort of road movie . it’s a loose adaptation of goethe’s 1795 novel “wilhelm meister’s apprenticeship , ” about a young man who leaves his mother’s house and travels through germany with an improvised group of wanderers , passing from the rural to the urban , from the horrors of recent history to the gleaming comforts of the new reconstruction , and from radical gestures to political reaction . “kings of the road , ” a cinema - centric adventure , follows a movie - projector repairman on his route through rural germany , as he gains a fellow - traveller as a companion and sounding board .


top secret rosies : the female " computers " of wwii is a 2010 documentary film directed by leann erickson .

the film is focused on recognizing the contributions of women during wwii , serving as human computers and six of whom went on to program one of the earliest computers , the eniac .

their work helped the united states improve the accuracy of weaponry as most conducted ballistics analysis .

the film officially premiered on november 1 on pbs .

at the time , in the 1940s , when these women were doing this work , it was considered classified , moreover contemporaries considered programming a clerical task .

because of this , and because of their invisibility during the media coverage of eniac , the work of these women was largely unrecognized .

herman goldstine selected the programmers from women who had been calculating ballistics tables with desk calculators and a differential analyzer prior to and during the development of eniac .

under herman and adele goldstine 's direction , the programmers studied eniac 's blueprints and physical structure to determine how to manipulate its switches and cables , rather than learning a programming language , which had not yet been invented .

according to jamie gumbrecht in an article by cnn : they handed out its punch cards as souvenirs .

they 'd taught the massive machine do math that would 've taken hours by hand .

[ ... ] but their work during the war was little known , unacknowledged or left out of official histories of the war and the development of computers .

the film focuses on the contributions of several women , namely the blumberg twins , doris polsky ( née blumberg ) and shirley melvin ( née blumberg ) , marlyn meltzer ( née wescoff ) , jean bartik ( a.k.a. billie jean jennings ) .

kathleen antonelli , is another eniac computer programmer recognized in the film .

it has been taught widely in schools and universities and is credited for recognizing the little-known contributions of classified women technology workers during world war ii and making that history available to public audiences .

in the publication for american association of university women ( aauw ) , erickson stated that the film is held in over 500 libraries worldwide .

in 2015 the film was adapted for the ipad in an interactive book app , the computer wore heels .

the app allows users to follow key figures from the film , and highlights social issues , the day-to-day experience or working long shifts , and the wartime context .

top secret rosies | in war , math may be the most secret weapon of all .
filmmaker and professor leann erickson presents her documentary , top secret rosies : the female computers of wwii . rosies shares the story of female mathematicians who did secret u . s . army research during wwii , a handful of whom went on to serve as the programmers of eniac , the 1st computer .
2010 marks the 65th anniversary of the end of wwii , yet the amazing account of these women remains untold until now . top secret rosies : the female computers of wwii shares a story of the women and technology that helped win a war and usher in the modern computer age .
in 1942 a group of female mathematicians helped win a war and usher in the modern computer age . top secret rosies shares the little known story of a group of female mathematicians who did secret research for the us army during wwii , a handful of whom went on to serve as the programmers of eniac , one of the first electronic computers .
in 1942 soon after the japanese attack on pearl harbor , a secret military program was launched to recruit female mathematicians who would become human computers for the u . s . military . top secret rosies : the female computers of wwii shares a story of the women and technology that helped win a war and usher in the modern computer age .
in 1942 , when computers were human and women were underestimated , a group of female mathematicians were recruited to complete secret research for the us army . top secret rosies : the female computers of wwii is a one hour documentary that shares the little known story of the women and technology that helped win the war and usher in the modern computer age . read more >
from pbs - in 1942 soon after the japanese attack on pearl harbor , a secret military program was launched to recruit female mathematicians who would become human ' computers ' for the us military . top secret ' rosies ' : the female ' computers ' of wwii shares a story of the women and technology that helped win a war and usher in the modern computer age .
because of the top secret nature of their work , the female computers of wwii - the code breakers , ballistics calculators , and programmers - never received recognition for their contribution to the war effort . this film ( now available on netflix ! ) finally brings their experience to light and gives these
top secret rosies
the opportunity to tell their stories .
drexel university , a military - friendly school , celebrates women’s herstory month and pays homage to female veterans . a film screening of top secret rosies : the female computers of wwii will be followed by a discussion reflecting on the role of women in the military and computing . panelists will include the film director leann erikson .
berkenwald , leah .
top secret rosies
: how female computers helped win wwii .
16 february 2011 . jewish women ' s archive . ( viewed on july 9 , 2018 ) < urltoken > .
please join filmmaker leann erickson for a reception and a screening of her new documentary top secret rosies : the female computers of wwii on monday , december 6 th at 6 : 30 p . m . in 1505 seamans center ( college of engineering—across from old capitol town center ) . the film will begin at 7 : 00 p . m . the event is free and open to the public .
by speaking at paid lectures and creating donation drives , she was able to continue interviewing and filming the project . after seven years , she completed top secret rosies .
in leann erickson ' s latest documentary , top secret ' rosies ' : the female ' computers ' of wwii , the university of iowa alumna aims to tell the untold story of the women behind the ballistics tables for the u . s . weapons . today , a reception will be held at 6 : 30 p . m . followed by a screening at 7 p . m . in 1505 seamans center . the screening is free and open to the public .
in 1941 , soon after the japanese attack on pearl harbor , a secret military program was launched to recruit women to the war effort . but unlike the efforts to recruit rosie to the factory , this search targeted female mathematicians who would become human “computers” for the u . s . military . from the bombing of axis europe to the assaults on japanese strongholds , the women worked round - the - clock shifts creating ballistics tables that proved crucial to allied success . rosie made the weapons , but the female computers made them accurate . when the first electronic computer ( eniac ) was invented to aid the army’s ballistic calculation efforts , six of these women were tapped to become its first programmers . “top secret rosies : the female computers of wwii” will share this untold story of the women and technology that helped win a war and usher in the modern computer age .
in 1942 , when computers were human and women were underestimated , a group of female mathematicians helped win a war and usher in the modern computer age . fall 2010 marks the 65th anniversary of the end of wwii yet their story has not been widely told , until now . filmmaker leann erickson , associate professor of film and media arts at temple universitys school of communications and theater , has announced the launching of a fall tour in support of her documentary , top secret rosies : the female computers of wwii , ( running time 60 minutes , c . 2010 ) top secret rosies shares the little known story of a group of female mathematicians who did secret research for the us army during wwii , a handful of whom went on to serve as the programmers of eniac , the first electronic computer . this tour of the documentary has been funded by a grant from the american association of university women , allowing ms . erickson to appear with the film . the ieee history center , the visual arts department , and the computer science department are thrilled that to announce that they are cosponsoring rutgers - new brunswick as one of the venues for these premier screenings . date : tuesday , november 30 , 2010 time : 4pm reception , 4 : 30 - 6pm screening , followed by q & a ; with the filmmaker location : mason gross school of the arts , room 110 / 117 , 33 livingston avenue , new brunswick nj 08901
in 1942 , when computers were human and women were underestimated , a group of female mathematicians helped win a war and usher in the computer age .
top secret rosies : the female
computers
of wwii is a new documentary that tells the story of these women , including twin sisters doris and shirley blumberg . when the war broke out , the country witnessed a 50 % increase of women in the workforce and ballistics computing was one field newly open to women . the military began recruiting young women from high schools and colleges who were skilled in mathematics to work in top secret labs where they produced the ballistics tables that would be included in the weapons ' manuals and sent overseas . they also did calculations for chemical weapons , like mustard gas , and programmed the first electronic computer , the eniac , which would be used to calculate the projections for the hydrogen bomb .
in 1942 a secret us military program was launched to recruit women to the war effort . but unlike the efforts to recruit rosie to the factory , this search targeted female mathematicians who would become human
computers
for the army . from the bombing of axis europe to the assaults on japanese strongholds , women worked round - the - clock shifts creating ballistics tables for every weapon in the us arsenal . rosie made the weapons , but the female computers made them accurate .
curiosity piqued , erickson asked them what they were talking about . melvin said , “oh , during the war we worked as mathematicians for the army . we were recruited right out of high school . ” promising to come back to get their story when she was done with her current project , erickson says the sisters “laughed as if they didn’t believe me . ” but come back she did , and seven years later , in 2010 , she had produced the film top - secret rosies : the female computers of wwii .
an enlightening and moving account of a heretofore little - known women ' s non traditional job during wwii .
when it comes to history , it is unfortunately often only the dominant voice that writes the narrative and dictates what is worth memorializing . that’s why it’s especially exciting when something new is uncovered , a different voice given the chance to tell their version of the story . more than 70 years ago , “when computers were human and women were underestimated , a group of female mathematicians helped win a war and usher in the modern computer age . ” now , their history has finally been told . this is the story of top - secret rosies .
in 1942 a secret us military program was launched to recruit women to the war effort . but unlike the efforts to recruit rosie to the factory , this search targeted female mathematicians who would become human ' computers ' for the army . from the bombing of axis europe to the assaults on japanese strongholds , women worked round - the - clock shifts creating ballistics tables for every weapon in the us arsenal . rosie made the weapons , but the female computers made them accurate . when the first electronic computer ( eniac ) was developed to aid the army ' s calculation efforts , six of these women were tapped to become its first programmers . while the work of these human computers proved crucial to allied victory , it also carried a moral weight - how to square the larger issue of ending a world war against the personal recognition that their mathematical computations made every allied bomb and gun more deadly . the summer of 2010 marks the 65th anniversary of the end of wwii , yet the amazing account . . .
sign up for updates about exhibits , public programming and other news from the national wwii museum here .
in 1942 , when computers were human and women were underestimated , a group of female mathematicians helped win a war and usher in the modern computer age . sixty - five years later their story has finally been told .
towards the end of the war , the military ' s focus shifted to the eniac , the first electronic computer . the eniac was developed by two male engineers , but six women computers were tapped to become its first programmers . as it turned out , programming the machine was a great deal more complicated than they expected . it was the female programmers , not the developers , who actually made the machine work . naturally , only the male engineers were photographed and interviewed by journalists . the work of the eniac ' s female programmers were never given credit for their contributions .
the national wwii museum tells the story of the american experience in the war that changed the world - why it was fought , how it was won , and what it means today - so that all generations will understand the price of freedom and be inspired by what they learn .
erickson learned the secret of women mathematicians by accident while working on a documentary about neighborhood blockbusting , the practice of neighborhood segregation in the 1960s . as she scanned photos one day , she overheard a conversation between two of her film subjects . she learned that at age 18 , the two women had worked as
human computers
for the u . s . army .
from pbs - in 1942 soon after the japanese attack on pearl harbor , a secret military program was launched to recruit female mathematicians who would . leann erickson , associate professor of film and video production , temple university documentary film director leann erickson discusses her film top secret . i created a 20 - minute talk titled women in computing to celebrate ada lovelace day 2012 . the talk starts with ada lovelace , but it fast forwards a century to .
back before microsoft , ibm , and apple , the word
computer
referred to a person who computes . during world war ii , the military relied on these
human computers
to calculate ballistics projections . in this time of national crisis , when women took on roles outside the home to help the war effort , the military called on young women with exceptional math skills to do this top secret work . many of these young women were jewish .
the romanovs . the history of the russian dynasty - episode 1 . documentary film . babich - design
aauw is a top - rated 501 ( c ) ( 3 ) charity . donations are tax deductible .
when the first electronic computer ( eniac ) was developed to aid the army’s calculation efforts , six of these women were tapped to become its first programmers . while the work of these human computers proved crucial to allied victory , it also carried a moral weight of how to square the larger issue of ending a world war against the personal recognition that their mathematical computations made every allied bomb and gun more deadly .
the content of this field is kept private and will not be shown publicly .
hundreds of women with math training were employed across the country . the government found them particularly beneficial because they had training comparable with men , but they could receive lower salaries . women were left in charge with calculating temperature and air density that allowed soldiers to properly aim artillery . factory workers made the weapons , but those tools were accurate because of the hidden female programmers .
reflecting on the documentary , erickson says , “heroic behavior happens all around us all the time . regular people can — and do — do amazing things every day , things that may not seem important at the time but have a ripple effect . ” she tells her film students at temple university to pay attention to their surroundings and to opportunities that cross their paths , however unremarkable they may seem . after all , erickson says , if we have learned anything from the top - secret rosies , it’s that “there are stories everywhere , waiting to be told . ”
“ top - secret rosies has had extensive reach in educational circles — it is being used in junior high , high school , and college classrooms , and is held in over 500 libraries across the world , ” says erickson . her goal is to have an impact on girls in fourth through sixth grades . in order to target them , she has adapted the story for use in an ibook app with a catchy title : “the computer wore heels . ” along with the app for digital books , erickson has also created a study guide that educators can use while showing the documentary in their class .
i highly recommend this documentary for anyone interested in wwii , women ' s labor issues , women ' s education , and mathematics in particular , and / or the intersection of history and sociology . the film skillfully weaves individual stories with the seeping tide of wwii , and specifically the engineering required to implement state - of - the - art armaments . what emerges is how startling , not to mention infuriating it is , that this vitally successful work was ignored until now . like so many of their generation , the women who performed this herculean task returned to their regular lives after the war , never revealing what they had done . i ' m so glad on their behalf that ms erickson has told their story in this eloquent film . beautifully shot and edited , it hits all the right notes .
leann erickson ( far right ) visits the world war ii memorial with some of the women featured in her documentary .
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when the united states entered world war ii , the army initiated a national call for women mathematicians . in fact , aauw was one of the organizations contacted for help with recruiting ! erickson tells us that aauw “helped spread the word about this great opportunity open to college women . i was proud to be able to use the letter specifically addressed to aauw in the documentary . ” these “computers” — then the term for someone who computes , rather than our current notion of the machine — would be responsible for calculating ballistics tables for missiles being used by allied forces overseas . the stakes were high , and these women worked hard on their mission at the university of pennsylvania from 1942 to 1946 .
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erickson was surprised not by the sexism during the era but by the lengths officials went to segregate women from men .
erickson details the individual stories of four women in particular . her documentary illuminates a part of history that , until now , lived only in the memories of the women involved . when asked which stories stood out during her research and interviews , erickson revealed that there was yet another lens through which to look at this story — that of race . “i knew that the world war ii era was a very different one for women and people of color , but i was still surprised at various stories the women shared , ” she said . one story came from marlyn wescoff meltzer , who worked with alyce hall , the only african american in their unit . “marlyn was organizing a going - away dinner , but alyce pulled her aside to say she wouldn’t be able to come since the restaurant they had chosen wouldn’t serve her . shocked at this news , marlyn said she would find one that would . ” the photo on the cover of the film includes alyce hall ( bottom row on the left ) and was taken the night of that dinner .
world war ii saw the united states create one of the strongest military efforts in its history . today , scholars are familiar with the soldiers in combat , people at home planting victory gardens , and women working in factories . yet one group was missing from history books : the women mathematicians in charge of programming war weapons .
the content and style of erickson’s documentary have met with great success . she recalls , “the community action grant made it possible for me to travel across the nation , presenting the film and leading discussions with community members , stem professionals , teachers , and students . … the travel i’ve done with the film exposed me to people and opportunities i would not have had otherwise . ” she was particularly happy to be a panelist at the 2011 u . n . commission on the status of women conference .
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the women interviewed in the film explained the urgency they felt to produce the tables quickly so that the manuals would arrive on time with the weapons , often working double shifts . of course , as the war dragged on , stories traveled back about massacres and some women described losing sleep over the consequences of their work . it ' s hard to imagine what it must feel like to know that your calculations are responsible for actual destruciton and death . i can ' t help but wonder what it means to lose that connection - the direct link between calculations and their aftermath - with modern , non - human ballistics computing .
while filmmaking can be difficult to fundraise for , erickson encourages anyone with a good idea and the will to go with it to “think outside the usual film - funding box , ” and to be unafraid of approaching organizations who share your prospective audience . as she notes , “i did this with aauw and have reaped the benefits of our collaboration . ”
leann erickson ( a 2010–11 aauw community action grantee ) admits , “i discovered this story purely by accident . ” while working on a film project about blockbusting in philadelphia during the 1950s and 60s , erickson was at the house of twins doris blumberg polsky and shirley blumberg melvin , scanning photos for the documentary , when she overheard the ladies talking .
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leann erickson’s 2010–11 community action grant was sponsored by six aauw research and project grants from pennsylvania : the allentown ( pa ) branch , the lancaster ( pa ) branch , the laura levin / makefield area ( pa ) branch , the philadelphia ( pa ) branch centennial , the state college ( pa ) branch , and the valley forge ( pa ) branch research and project grant .
but the film explores the positive side of the experience , too . for these young women , this job meant fair pay , or even high pay . it meant independence and another option besides marriage or traditional women ' s work . one woman described this time as
the happiest years for us ,
explaining that they managed to squeeze in some time for fun . with no men around , this small sisterhood of women went on picnics and
let their hair down
whenever they had a chance .
leann erickson is a professor at temple university in philadelphia and has been an independent filmmaker for over 25 years . her work has appeared on television , in galleries , and has won international recognition in video / film festivals . she is a recipient of regional and national production grants for her work from such funding sources as the national endowment for the arts , the jerome foundation and the leeway foundation .
intrigued by the hidden story , erickson began researching through libraries in pennsylvania and national archives in washington , d . c . in order to pursue the film , she needed to find funding for the more expensive high - definition film .
“no , that was taken when we were at upenn for the army . ”
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people think of programming as a very male thing ,
erikson said .
most people don ' t know that it was mostly women .
like the new documentary , erickson ' s previous films discuss women ' s rights .
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leann erickson is an associate professor , department of film and media arts , temple university , and has been an independent video and filmmaker for more than 20 years .
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women ' s rights interest erickson . she feels it is important to create pieces that give the public a woman ' s perspective .
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i worked on this film for seven years , so i had to be interested in it ,
she said .
i was bringing these women out into the spotlight they deserved .
they would desperately recruit women to do math but wouldn ' t allow them to be in the men ' s classes ,
erickson said .
to [ women ] , it was business as usual , which to me was shocking .
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in 1996 , she created from one place to another : emma goldman clinic stories , a story about iowa city women who offered self - help and access to abortion . in neighbor ladies , erickson focused in on women in the late - 1950s and ' 60s who integrated neighborhoods , creating a more diverse community .
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“now , was this taken after we moved to mt airy ? ” polsky asked .
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this was a great opportunity , so we grabbed it ,
said women in science and engineering director christine brus .
i ' m hopeful that we will get some community members and k - to - 12 students to attend .
it ' s a real challenge as an independent person to raise money ,
she said .
i had to get creative .
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kannadi pookal ( english : glass flowers ) is a south indian tamil film released in 2005 directed by k. shahjahan who earlier directed punnagai desam .

it was a remake of malayalam film ente veedu appuvinteyum which inturn was inspired from a real-life incident in kerala .

the film received positive reviews from critics .

kannadi pookal

kannadi pookal ( 2004 ) - sa . rajkumar - listen to kannadi pookal songs / music online - musicindiaonline
kannadi pookal ( 2004 ) directed by k . shajahan • film + cast • letterboxd
kannadi pookal ( original motion picture soundtrack ) by s . a . rajkumar on spotify
kannadi pookal ( original motion picture soundtrack ) - ep by s . a . rajkumar on apple music
kannadi pookal ( original motion picture soundtrack ) by s . a . rajkumar on amazon music - urltoken
kannadi pookal is a honest remake of the malayalam movie ente veedum apponteum which fetched jayaram ' s son master ashwin a national award for best child artiste .
kannadi pookal is a honest remake of the malayalam movie ente veedu appuvinteyum . the movie is all about seven - year - old vasu ( master ashwin ) who spends his . . .
urltoken - kannadi pookkal review . partibhan , kaveri , master ashwin , sarath babu , ponnambalam , anandraj
kannadi pookal | tamil movie comedy | parthiban | kaveri | anandraj | full tamil movie comedy | comedy scenes star cast : parthiban , kaveri , master ashwin , anandraj , sarath babu , nizhalgal ravi , natarajan music : s a rajkumar direction : k . shajahan watch kannadi pookal full movie on herotalkies urltoken kannadi pookkal is an emotional family drama . the movie is all about the seven - year - old master ashwin who spends his days happily with his father parthiban and step mother kaveri . both pour boundless love on him . as it happens , she gives birth to a baby boy and they show the same love and affection towards the new kid . unable to tolerate the ' competition ' for parental love , vasu s the child spraying a disinfectant
the bonding between a little boy and his stepmother , and their unfailing trust in each other despite trying circumstances , is brought out with a touching sensitivity in kannadi pookkal . a remake of a successful malayalam film ente veedu appoontem , kannadi pookkal is totally different from the run of the mill movies .
the director has kept the narrative tight and simple . the film may be slow for some , but the point is that such emotional dramas take time to evolve . if you are looking for speed , head for f - 1 circuit . if you like your film to be serious and sensitive , head for kannadi pookal .
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a powerful emotional drama dwelling in detail about child psychology forms the base of the film . when action flicks and romantic films are the order of the day , due credit should be given to director shahjahan for taking up such a sensitive theme .
master ashwin has carried on his good work in this tamil venture too . be it scenes pouring love and affection on his parents , emotional break down after he feels neglected following a second child born to them or during the days at reformatory schools , he is decidedly brilliant . for such a young star , his talents are precocious . parthiban and kaveri should also be complimented for a subtle performance .
the movie is all about the seven - year - old vasu ( master ashwin ) who spends his days happily with his father sakthivel ( parthiban ) and step mother meera ( kavery ) . both pour boundless love on him .
as it happens , she gives birth to a baby boy and they show the same love and affection towards the new kid . unable to tolerate the ' competition ' for parental love , vasu kills the child spraying a disinfectant .
the whole family breaks down and sinks in an emotional quagmire . eventually , vasu ' s wrongdoing comes to light and is sent to a reformatory school by the police . though his parents are initially shocked by his act , they eventually come to terms with reality and plead for their son to be sent home .
meanwhile , a psychiatrist sarath babu steps in and provides counseling to the boy . after spending some years in the reformatory school , vasu returns home one - ay to see their parents with a new kid . the rest is whether he accepts the young kid or not ?
extraordinary performance by the young boy is the highlight of the movie . he walks away with all the honours . his looks and eyes radiate all the emotions - - the scene where he ends up killing his stepbrother is as good as it gets .
parthiban and kavery just ease through in their dignified roles . a huge team including pyramid natarajan , mayil samy , m n nambiar , ponnambalam , anandh raj and fathima babu are also in the cast .
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cast : partibhan , kaveri , master ashwin , sarath babu , ponnambalam , anandraj language : tamil banner : teamwork productions director : k shahjahan camera : arthur wilson music : s . a . rajkumar year : 2005
sakthivelís ( parthibhan ) family is picture perfect with wife meera ( kaveri ) and son vasu ( ashwin ) . meera dots on her son , though we come to know later that she is his stepmother . but vasu and meera share an unusual bond and they are the best of friends . when meera gives birth to a son , vasu is the happiest and he names him appu . but slowly vasu feels that appu is getting all the attention and he becomes restless and craves for attention .
one day when he feels neglected , he sprays the pesticide meant for gardening on little appu so that he gets sick . but the baby dies immediately leaving the whole family in a state of shock and despair . the sentiments of a family drama and the nail - biting suspense of a thriller come into play from this point . vasu cannot get out of the shock , and confesses to his mother about the incident . the parents realize that it was an accident and pardons him . but when the post mortem reports confirm the death as un - natural , a shrewd and sadist police officer raj kapoor investigates and takes vasu into custody . he is taken for trial and sentenced to imprisonment in the juvenile home . the parents are helpless , while vasu goes through hell inside the jail . the climax of the film is the highlight , which has to be seen in the theatre to be enjoyed .
quite clearly ashwin , the young national award winner , is the prime star of the show and he steals the clap with an author - backed role . as the jealous but loving brother , whose immature actions lead to dreadful consequences , ashwin is able to show myriad expressions . though ashwin ' s malayalam accent is a distracting factor in the initial stages , by his fine performance he manages to hold audience attention . it is another emotion - driven role for parthiban , after azhagi and thendral - the actor has given a mature performance . kaveri is a revelation as vasuís mother and she is very natural and spontaneous and is sincerity personified . sarath babu as the child psychiatrist and raj kapoor as the sincere police officer are convincing . though a remake , director shajahanís clever handling never allows even a moment of boredom to set in . the director has to be credited for casting fitting artistes for all the roles . arthur wilsonís camera is a major asset to the film . s . a . rajkumar rehashes his own tunes . the film comes as a whiff of fresh air . it is a steamy tearjerker that leaves a lump in your throat .
guru en aalu ( 2009 ) | tamil movie comedy scenes - part 1 | r . madhavan , abbas , mamta mohandas
saivam - azhagu video | baby sara | g . v . prakash | super hit tamil song
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a seven - year - old spends time happily with his father and step mother . but with the birth of a new baby in the family , he ' s unable to tolerate the competition for parental love , and kills the newborn .
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