I went to the Biennale in Venice last weekend and thought about the movie intensely after visiting the Japanese pavilion. If you don't know about it - the Biennale features artists representing specific countries as they transform a fixed pavilion building into their vision. When you walk across the Giardini site, you walk through themes of the globe. Often these themes are overly political and identity-themed, but the simplicity of the Japanese pavilion this year was refreshing.
This year the Japanese pavilion was full of 11lb baby dolls, which a user could adopt and walk around with and interact with in changing stations and sleep and play areas. The intro said: "Babies are born anywhere, regardless of wars, terrors, and boycotts." It made me think how they used to be everywhere and now that birth rates have declined significantly they have become rare, expensive and often parents handle them like some luxurious pet, when they should be 'renewables' of ourselves.
One of the best movies I've ever watched, and one of the few that I could only watch once. It alternates between a gut-wrenching view of a very plausible future and scenes that have you sitting on the edge of your chair. To call it roller coaster would be an understatement.
If you haven't watched it: don't read the rest of the comments here, go watch the movie, then read the comments.
The parallels between that film and the UK as it currently is is harrowing.
I always joked I was going live in a house like Michael Kanes character, only to end up doing it.
A connected rural hide away, where we can weather the UK’s rapid decay and decline.
The way the film depicts the treatment of immigrants was what always got me, I would joke (half) just wait till climate change makes southern Europe too hot to live in…
It's a real gem. I've only seen it once, but I still reference this movie at least a couple of times a year. With world fertility rates seemingly all in decline, it only becomes more relevant.
> With world fertility rates seemingly all in decline
As much as various folks like to bang on about declining birthrates, the global birthrate is positive (i.e. >2.0 children per woman), and birthrates are only really low in very affluent demographics.
There's nothing particularly sinister going on either - since most children with access to adequate nutrition and healthcare now survive into adulthood, these societies are not losing a ton of population to wars, very little reason for reproducing above replacement rate.
Yeah, it is very weird to me too. It's only a problem in a handful of countries that have really, really low birthrates and can't/won't attract immigrants.
It appears as one take, although I think it's actually several different scenes with a seamless transition.
To me it's one of the best scenes if not the best scene I've ever seen in a movie: from a small intense escape scene to a full battle, followed by a revelation that brings people to their knees. All shot basically first-person, with extremely complex action and emotion. Absolutely gutting.
I love Children of Men, I think its dark, prescient, moving and a fantastic technical achievement. Easily one of my top five movies.
I found myself nodding along with everything until I hit these lines:
> Many excellent movies are chase movies! The Terminator (1984) is a chase movie. Alfred Hitchcock’s North by Northwest (1959) is a chase movie. One of the greatest movies ever made (according to me), George Miller’s Mad Max: Fury Road (2015), is the purest distillation of a chase movie.
Why do people love Fury Road so much? I watched it in the cinema, and I enjoyed it. I thought it was very colorful, had great stunts, etc. A bit derivative of the second and third movie but whatever. George Miller has a format that seems to work. I was shocked when it was nominated for best picture. Best Picture! Years later I listened to a podcast on the making of it, and got a lot of insight into the struggle behind the scenes, and how difficult it was both on set and in pre-production. I had new found respect for everyone involved. I watched it again with new eyes, and... nope. It's fine. It's got some great set-pieces, but I just don't understand the hyperbole. It is, at best, the 3rd best Mad Max movie
Interesting how the article is not mentioning the (inverted) Christian allegory as if that doesn't even exist. It's not even subtle if you actually watch the film, like that's almost the point of it.
The original book is even more explicit about that, like Theo does a makeshipt baptism on the infant amidst all the fighting.
Sci-fi has always been the perfect vehicle for social commentary, because it does not instantly trigger anything inside people. It is an impossible story in an impossible world, so relax. If you want to write something about black and white people, you should write a story about purple and green people instead. That's how X-men escapes all the woke allegations.
I'm just at beginning of the article, but I immediately have to disagree with something :)
"...this remains one of the absolute best sci fi movies of the 21st century."
I'd say it's not just one of the best sci fi movies, it's one of the best movies of the 21st century, period. Definitely one of my all time favorites, despite some of its flaws, it wastes no time, has great pace, is a fully contained story and gets its point across very well. And I'm not even talking about how relevant some of its themes are.
> One particularly brilliant aspect I keep thinking about is how the movie ends. We don’t know what will become of Kee and her baby. [...] We want to think Kee and her baby will change things, but we don’t know for sure because the future is—quite literally, in the final scene—shrouded in fog.
When I first saw this movie, I think the last scene was just her with baby and dead protagonist in a boat, in the fog.
But when I rewatched it more recently, there was also the ship they were trying to reach appearing out of the fog.
Did this movie have two different ending versions? Or did I just misremeber or watched a damaged copy? What ending have you seen?
I went to the Biennale in Venice last weekend and thought about the movie intensely after visiting the Japanese pavilion. If you don't know about it - the Biennale features artists representing specific countries as they transform a fixed pavilion building into their vision. When you walk across the Giardini site, you walk through themes of the globe. Often these themes are overly political and identity-themed, but the simplicity of the Japanese pavilion this year was refreshing.
This year the Japanese pavilion was full of 11lb baby dolls, which a user could adopt and walk around with and interact with in changing stations and sleep and play areas. The intro said: "Babies are born anywhere, regardless of wars, terrors, and boycotts." It made me think how they used to be everywhere and now that birth rates have declined significantly they have become rare, expensive and often parents handle them like some luxurious pet, when they should be 'renewables' of ourselves.
YouTube short of the space: https://www.youtube.com/shorts/Gww1RtyEwww
Babies have always been expensive. The expense just happened to not be fully accounted for until recently.
Although, perhaps it could be better framed as the short term expense was not accounted for, whereas now, the long term expense is not accounted for.
Short term being less than a few decades and long term being more than a few decades.
There is also a collective vs individual expense aspect.
I keep marveling at art's capacity to elicit deep thoughts and feelings, universally
One of the best movies I've ever watched, and one of the few that I could only watch once. It alternates between a gut-wrenching view of a very plausible future and scenes that have you sitting on the edge of your chair. To call it roller coaster would be an understatement.
If you haven't watched it: don't read the rest of the comments here, go watch the movie, then read the comments.
I’ve been saying this for over a decade.
The parallels between that film and the UK as it currently is is harrowing.
I always joked I was going live in a house like Michael Kanes character, only to end up doing it.
A connected rural hide away, where we can weather the UK’s rapid decay and decline.
The way the film depicts the treatment of immigrants was what always got me, I would joke (half) just wait till climate change makes southern Europe too hot to live in…
I hate being right!
> A connected rural hide away, where we can weather the UK’s rapid decay and decline.
A nice idea, if it weren't for the fact that the tax man can still get to you.
It's a real gem. I've only seen it once, but I still reference this movie at least a couple of times a year. With world fertility rates seemingly all in decline, it only becomes more relevant.
> With world fertility rates seemingly all in decline
As much as various folks like to bang on about declining birthrates, the global birthrate is positive (i.e. >2.0 children per woman), and birthrates are only really low in very affluent demographics.
There's nothing particularly sinister going on either - since most children with access to adequate nutrition and healthcare now survive into adulthood, these societies are not losing a ton of population to wars, very little reason for reproducing above replacement rate.
Yeah, it is very weird to me too. It's only a problem in a handful of countries that have really, really low birthrates and can't/won't attract immigrants.
This is a great movie. There's more tension in the low-speed car chase scene than any high-speed chase I've ever watched.
There is also imho one of the best one-shot scenes ever made
https://youtu.be/g2vX7IHg_SE
Sits on the throne with the one in True Detective S01E04
https://youtu.be/vnRTITzYnXs
It appears as one take, although I think it's actually several different scenes with a seamless transition.
To me it's one of the best scenes if not the best scene I've ever seen in a movie: from a small intense escape scene to a full battle, followed by a revelation that brings people to their knees. All shot basically first-person, with extremely complex action and emotion. Absolutely gutting.
Also an incredible long shot. Adolescence did amazing work with the technique recently, too.
Tangent time:
I love Children of Men, I think its dark, prescient, moving and a fantastic technical achievement. Easily one of my top five movies.
I found myself nodding along with everything until I hit these lines:
> Many excellent movies are chase movies! The Terminator (1984) is a chase movie. Alfred Hitchcock’s North by Northwest (1959) is a chase movie. One of the greatest movies ever made (according to me), George Miller’s Mad Max: Fury Road (2015), is the purest distillation of a chase movie.
Why do people love Fury Road so much? I watched it in the cinema, and I enjoyed it. I thought it was very colorful, had great stunts, etc. A bit derivative of the second and third movie but whatever. George Miller has a format that seems to work. I was shocked when it was nominated for best picture. Best Picture! Years later I listened to a podcast on the making of it, and got a lot of insight into the struggle behind the scenes, and how difficult it was both on set and in pre-production. I had new found respect for everyone involved. I watched it again with new eyes, and... nope. It's fine. It's got some great set-pieces, but I just don't understand the hyperbole. It is, at best, the 3rd best Mad Max movie
It was the first intro to Mad Max for a lot of people is why.
Interesting how the article is not mentioning the (inverted) Christian allegory as if that doesn't even exist. It's not even subtle if you actually watch the film, like that's almost the point of it.
The original book is even more explicit about that, like Theo does a makeshipt baptism on the infant amidst all the fighting.
It's a nativity story; faith overcoming nihilism. Explicitly in the book, obliquely (but frankly obviously) in the film.
Sci-fi has always been the perfect vehicle for social commentary, because it does not instantly trigger anything inside people. It is an impossible story in an impossible world, so relax. If you want to write something about black and white people, you should write a story about purple and green people instead. That's how X-men escapes all the woke allegations.
I'm just at beginning of the article, but I immediately have to disagree with something :) "...this remains one of the absolute best sci fi movies of the 21st century."
I'd say it's not just one of the best sci fi movies, it's one of the best movies of the 21st century, period. Definitely one of my all time favorites, despite some of its flaws, it wastes no time, has great pace, is a fully contained story and gets its point across very well. And I'm not even talking about how relevant some of its themes are.
...anyway, back to reading.
> One particularly brilliant aspect I keep thinking about is how the movie ends. We don’t know what will become of Kee and her baby. [...] We want to think Kee and her baby will change things, but we don’t know for sure because the future is—quite literally, in the final scene—shrouded in fog.
When I first saw this movie, I think the last scene was just her with baby and dead protagonist in a boat, in the fog.
But when I rewatched it more recently, there was also the ship they were trying to reach appearing out of the fog.
Did this movie have two different ending versions? Or did I just misremeber or watched a damaged copy? What ending have you seen?
Mandela effect. The ship was always there, there are no alternate ending versions
https://www.reddit.com/r/movies/comments/iea5it/children_of_...
The movie always ended with a ship appearing and the sound of children's laughter over the credits, it's less ambiguous than people make it out to be