Before man first landed on the moon, the lunar surface was ripe for colourful interpretation. It has been the source for endless fascination for storytellers since nursery rhymes sang of it being made of cheese. “The moon, my dear, is by nature a curious place,” says one of the curious travellers of Karel Zeman’s space oddity. The Fabulous Baron Munchausen doesn’t stay on the moon for long, but it brings that curiosity back down to earth.
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After the albeit-muted success of Damien Chazelle’s ‘First Man’, now seems to be an optimal time to revisit a documentary which strips the drama from humanity’s first steps on the moon. Filtering one of history’s most talked about events through a focused lens, For All Mankind leaves the conspiracy theories at the door to present 79 minutes of NASA footage and interviews – allowing its audience to partake in the simple joy of the achievement.
Director Al Reinert bookends the film with the only outside commentary featured in the whole documentary; President John F. Kennedy’s Address on the Nation’s Space Effort. The construction is otherwise simple: voiceovers from the astronauts accompany home videos from within the Apollo spacecraft, footage from the mission control centre and film captured from the surface of the moon itself.
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This week’s Criterion Review wanders into the realm of science fiction with Andrei Tarkovsky’s final film, Stalker. It is a gorgeous, sprawling film that meditates on nuclear war, finding one’s purpose in life, and even religion. Despite covering such a wide variety of themes, Stalker is a film that will take your breath away with each drop of water.
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I have to admit that my first encounter with Chungking Express years ago was a confusing one. I was just getting into films, my experience with cinema was limited to mainstream Hollywood films and I had never seen anything like Chungking Express. I restarted my computer twice because I was sure the frame rate was my computer’s fault and not part of the film. Coming back to it years later with an appreciation for Wong Kar-wai’s other films and fresh eyes feels wonderful.
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