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A mess of maps and photos pinned to his wall reflects his obsession. A series of close calls and violent altercations reveal his rising desperation. His love of his family bolsters his conviction while allowing him to retain his humanity.
The other people in Paul's life exist only as disembodied voices from a mobile phone, set adrift in the box in which he is trapped. This may be taken as an allegory for modern communication, where handheld electronic devices are the primary conduit to networks of interaction and intimacy.
The kidnappers' scheme involves humiliating and sometimes physically bullying the young woman as she lays handcuffed to a bed. This makes for nasty, uncomfortable viewing. Surprisingly, love and betrayal emerge as key, poignant themes.
As Meredith approaches, two boys appear on the cliff and call for the boat to turn back. This allegory for the asylum seeker experience is not entirely out of place: Meredith seeks asylum from personal horrors that lie in her wake. But the curdled milk of human unkindness flows readily.
The blurring of right and wrong in a world where civil structures have disintegrated, is seen in the Man's escalating wildness; his desperation to preserve the life of his son, and his conviction that the end of survival justifies a growing list of dubious means.
When celebrities die, public grief is disproportionate, because death reasserts the humanity of one who has seemed beyond it. Jackson had become so far removed from his humanity that the shock of his mortality is even more profound. June 2009
Brown's presentation of connivance and corruption in the upper echelons of the Catholic Church in The Da Vinci Code provoked a hostile response from the Church. The Freemasons have reacted more constructively to their portrayal in Brown's latest thriller.
'Cinema,' says director Robert Connolly, 'can take the audience and show them a tragedy in a way that creates empathy. I was interested in exploring the ability of this country to compel people to tell its story. It's hard not to start caring for what happened there.'
The first feature length film about Indonesia's invasion of East Timor and the deaths of six Australian journalists fails to inform the audience of the diplomatic dirty tricks, and Australian and American complicity.
Australia, 1902. One year since Federation. The nation is a sickly child, as yet unaware of its weakness. The colonisers deceive themselves into thinking they can tame the land. A century later, not much has changed.
When celebrities die, public grief is disproportionate, because death reasserts the humanity of one who has seemed beyond it. Jackson had become so far removed from his humanity that the shock of his mortality is even more profound.
It's frightening how precisely experts predicted the weather and its impact on the seemingly inevitable Black Saturday fires. A new documentary questions the adequacy of the response, given the veracity of these warning signs.
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