New Yorker: Moore-Bashing, japanischer Horror

Michael Agger stellt Grady Hendrix vor, der mit dem "Asian Film Festival" den japanischen Horror nach New York bringt.Schade, dass der Artikel nicht umhin kann, sich an den sensationalistischeren Aspketen des Ganzen zu erfreuen:

Hendrix, who lives in Spanish Harlem, imports the most repellent, vile movies from Asia as a hobby, and the depth of his demented knowledge is impressive. If you wanted to see, say, a naked man suspended from hooks so that his skin stretches, while someone pours boiling oil all over him and sticks needles through his cheeks, well, he knows just the movie for you. (Hm, kennen wir den Film nicht auch?)

David Denby erklärt, warum Michael Moore kein großer Dokumentarfilmer ist:

The great documentary filmmakers of today—Frederick Wiseman, Marcel Ophuls, and Andrew Jarecki (of “Capturing the Friedmans”)—know that truth in an absolute sense is unattainable. It’s not even imaginable. Who would validate it? Who could say that another interpretation besides the filmmaker’s was out of the question? Movies are made by men and women, not by gods hurling thunderbolts of certitude. But the great documentary filmmakers at least make an attempt, however inadequate, compromised, or hopeless, to arrive at a many-sided understanding of some complex situation.

Das freilich wolle Moore nicht. Und darum wird er stets nur die Überzeugten überzeugen können:

Michael Moore has become a sensational entertainer of the already converted, but his enduring problem as a political artist is that he has never known how to change anyone’s politics.

[via Perlentaucher Magazinrundschau]


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