0653 – Of Gods and Men / Des hommes et des dieux (2010)

spacetime coordinates: 1996, Algeria, Abbey of Our Lady of Atlas

“I have said, Ye are gods; and all of you are children of the most High. But ye shall die like men, and fall like one of the princes.”

Of Gods and Men is a 2010 French drama film directed by Xavier Beauvois, starring Lambert Wilson and Michael Lonsdale. Its original French language title is Des hommes et des dieux, which means “Of Men and of Gods” and refers to a verse from the Bible shown at the beginning of the film. It centers on the monastery of Tibhirine, where nine Trappist monks lived in harmony with the largely Muslim population of Algeria, until seven of them were kidnapped and assassinated in 1996 during the Algerian Civil War.

Largely a tale of a peaceful situation between local Christians and Muslims before becoming a lethal one due to external forces, the screenplay focuses on the preceding chain of events in decay of government, expansion of terrorism, and the monks’ confrontation with both the terrorists and the government authorities that led up to their deaths. Principal photography took place at an abandoned monastery in Azrou, Morocco. (wiki)

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651 – Manifesto (2015)

Manifesto is a 2015 Australian-German multi-screen film installation written, produced and directed by Julian Rosefeldt. It features Cate Blanchett in 13 different roles performing various manifestos. A 90-minute feature version premiered at the Sundance Film Festival in January 2017.

The film integrates various types of artist manifestos from different time periods with contemporary scenarios.

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Manifestos: 
Karl Marx / Friedrich Engels, Manifesto of the Communist Party (1848)
Philippe Soupault, Literature and the Rest (1920)

Situationism
Lucio Fontana, White Manifesto (1946)
John Reed Club of New York, Draft Manifesto (1932)
Constant Nieuwenhuys, Manifesto (1948)
Alexander Rodchenko, Manifesto of Suprematists and Non-Objective Painters (1919)
Guy Debord, Situationist Manifesto (1960)

Futurism
Filippo Tommaso Marinetti, The Foundation and Manifesto of Futurism (1909)
Giacomo Balla / Umberto Boccioni / Carlo Carrà / Luigi Russolo / Gino Severini, Manifesto of the Futurist Painters (1910)
Guillaume Apollinaire, The Futurist Antitradition (1913)
Dziga Vertov, WE: Variant of a Manifesto (1922)

Architecture
Bruno Taut, Down with Seriousism! (1920)
Bruno Taut, Daybreak (1921)
Antonio Sant’Elia, Manifesto of Futurist Architecture (1914)
Coop Himmelb(l)au, Architecture Must Blaze (1980)
Robert Venturi, Non-Straightforward Architecture: A Gentle Manifesto (1966)

Vorticism / Blue Rider / Abstract Expressionism
Wassily Kandinsky / Franz Marc, “Preface to the Blue Rider Almanac” (1912)
Barnett Newman, The Sublime is Now (1948)
Wyndham Lewis, Manifesto (1914)

Stridentism / Creationism
Manuel Maples Arce, A Strident Prescription (1921)
Vicente Huidobro, We Must Create (1922)
Naum Gabo / Antoine Pevsner, The Realist Manifesto (1920)

Suprematism / Constructivism
Kazimir Malevich, Suprematist Manifesto (1916)
Olga Rozanova, Cubism, Futurism, Suprematism (1917)

Dadaism
Tristan Tzara, Dada Manifesto 1918 (1918)
Tristan Tzara, Manifesto of Monsieur Aa the Antiphilosopher (1920)
Francis Picabia, Dada Cannibalistic Manifesto (1920)
Georges Ribemont-Dessaignes, The Pleasures of Dada (1920)
Georges Ribemont-Dessaignes, To the Public (1920)
Paul Éluard, Five Ways to Dada Shortage or two Words of Explanation (1920)
Louis Aragon, Dada Manifesto (1920)
Richard Huelsenbeck, First German Dada Manifesto (1918)

Surrealism / Spatialism
André Breton, Manifesto of Surrealism (1924)

Pop Art
Claes Oldenburg, I am for an Art… (1961)

Fluxus / Merz 
Yvonne Rainer, No Manifesto (1965)
Emmett Williams, Philip Corner, John Cage, Dick Higgins, Allen Bukoff, Larry Miller, Eric Andersen, Tomas Schmit, Ben Vautier, George Maciunas, Fluxus Manifesto (1963)
Mierle Laderman Ukeles, Maintenance Art Manifesto (1969)
Kurt Schwitters, The Merz Stage (1919)

Conceptual Art / Minimalism
Sol LeWitt, Paragraphs on Conceptual Art (1967)
Sol LeWitt, Sentences on Conceptual Art (1969)
Sturtevant, Shifting Mental Structures (1999)
Sturtevant, Man is Double Man is Copy Man is Clone (2004)
Adrian Piper, Idea, Form, Context (1969)

Film
Stan Brakhage, Metaphors on Vision (1963)
Jim Jarmusch, Golden Rules of Filmmaking (2002)
Lars von Trier / Thomas Vinterberg, Dogme 95 (1995)
Werner Herzog, Minnesota Declaration (1999)
Lebbeus Woods, Manifesto (1993)

646 – Paul, Apostle of Christ (2018)

spacetime coordinates: Roma, 67 AD.

Paul, Apostle of Christ is a 2018 American biblical drama film written and directed by Andrew Hyatt. It stars James Faulkner as Saint Paul and Jim Caviezel (who portrayed Jesus in the 2004 film The Passion of the Christ) as Saint Luke. The film tells the story of Paul, who was known as a ruthless persecutor of Christians prior to his conversion to Christianity. The plot focuses on his becoming a pivotal figure in the formation of the early church before being executed by Emperor Nero in Rome. (wiki)

Persecution of Christians   Mamertine Prison   /       imdb

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“Christ sent me not to baptize, but to preach the gospel: not with wisdom of words, lest the cross of Christ should be made of none effect. For the preaching of the cross is to them that perish foolishness; but unto us which are saved it is the power of God.
For it is written, I will destroy the wisdom of the wise, and will bring to nothing the understanding of the prudent.
Where is the wise? where is the scribe? where is the disputer of this world? hath not God made foolish the wisdom of this world?
For after that in the wisdom of God the world by wisdom knew not God, it pleased God by the foolishness of preaching to save them that believe. For the Jews require a sign, and the Greeks seek after wisdom: But we preach Christ crucified, unto the Jews a stumblingblock, and unto the Greeks foolishness; But unto them which are called, both Jews and Greeks, Christ the power of God, and the wisdom of God. Because the foolishness of God is wiser than men; and the weakness of God is stronger than men.
For ye see your calling, brethren, how that not many wise men after the flesh, not many mighty, not many noble, are called: But God hath chosen the foolish things of the world to confound the wise; and God hath chosen the weak things of the world to confound the things which are mighty; And base things of the world, and things which are despised, hath God chosen, yea, and things which are not, to bring to nought things that are: That no flesh should glory in his presence.
But of him are ye in Christ Jesus, who of God is made unto us wisdom, and righteousness, and sanctification, and redemption: That, according as it is written, He that glorieth, let him glory in the Lord.” (Paul_of_Tarsus)

0641 – La planète sauvage / Fantastic Planet (1973)

Fantastic Planet (French: La Planète sauvage, Czech: Divoká planeta, lit. The Wild Planet) is a 1973 animated science fiction film directed by René Laloux and written by Laloux and Roland Topor. Topor also completed the film’s production design and it was animated at Jiří Trnka Studio in Prague. The entire animation team was composed of women.

The film was an international co-production between companies from France and Czechoslovakia (The animation was started in Prague but had to be moved to Paris to avoid interference by the Communist authorities who were in power at the time).

The allegorical story, about humans living on a strange planet dominated by giant humanoid aliens (blue Draags) who consider them animals, is based on the 1957 novel Oms en série by French writer Stefan Wul. (wiki)   imdb   Interpretations

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638 – The Land of No Men: Inside Kenya’s Women-Only Village (2015 video)

Where the foothills of Mount Kenya merge into the desert, the people of Samburu have maintained a strict patriarchy for over 500 years in northern Kenya. That is, until 25 years ago, when Rebecca Lolosoli founded Umoja village as a safe haven for the region’s women. Umoja, which means “unity” in Swahili, is quite literally a no man’s land, and the matriarchal refuge is now home to the Samburu women who no longer want to suffer abuses, like genital mutilation and forced marriages, at the hands of men. Throughout the years, it has also empowered other women in the districts surrounding Samburu to start their own men-excluding villages. Broadly visited Umoja and the villages it inspired to meet with the women who were fed up with living in a violent patriarchy.

0634 – Anonymous (2011)

spacetime coordinates: 16th – early 17th century London

Anonymous is a 2011 political thriller film directed by Roland Emmerich and written by John Orloff. The film is a version of the life of Edward de Vere, 17th Earl of Oxford, an Elizabethan courtier, playwright, poet and patron of the arts, and suggests he was the actual author of William Shakespeare‘s plays. It stars Rhys Ifans as de Vere and Vanessa Redgrave as Queen Elizabeth I of England. The effects crew “took 30,000 pictures in England, of every Tudor building they could find, and then they scanned them all into the computer and built real London in 1600.”  (wiki)

The film was a box office flop and received mixed reviews, with critics praising its performances and visual achievements, but criticizing the film’s time-jumping format, factual errors, and the filmmakers’ promotion of the Oxfordian theory of Shakespeare authorship. (read more: controversy)            imdb

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William Shakespeare – Notes of a Lecture given
by Dr. Rudolf Steiner (On-line here)

0611 – Danton (1983)

spacetime coordinates: 1793 – 1794 Paris

Danton (French pronunciation: ​[dɑ̃tɔ̃]) is a 1983 French language film depicting the last weeks of Georges Danton, one of the leaders of the French Revolution. It is an adaptation of the Polish play The Danton Case by Stanisława Przybyszewska.

The film stars Gérard Depardieu in the title role, with Wojciech Pszoniak as Maximilien Robespierre, and Patrice Chéreau as Camille Desmoulins. It was directed by the Polish director Andrzej Wajda and was an international co-production between companies in France, Poland and West Germany. All supporters of Danton (with the exception of Bourdon, who would later betray him) are played by French actors, while Robespierre’s allies are played by Poles.

Not always rigidly historical, the film draws continual parallels between the Reign of Terror during the French Revolution and the situation in contemporary Poland, in which the Solidarity movement was struggling against the oppression of the Soviet-backed Polish government.

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