Нули и единицы (Zeros and Ones)

100% очередные пришельцы.

Но то что Феррара до сих пор снимает, это здорово. Ждём.

покажут в локарно

thefilmstage: B+

Despite any narrative confusion at hand, Zeros and Ones finds a through line in continuing the intense introspection of Ferrara’s previous features Tommaso and Siberia. For centering on two brothers it represents Ferrara’s own schism in himself—one a photographer who winds up an assistant to fascism, the other a radical Marxist beaten down by the system. A particular night-vision POV shot of waterboarding torture encapsulates Ferrara’s long-standing “art as exploitation” moralism. After being complicit in so much, can one find salvation as their time on earth—and hell, that of society itself—is ticking away?

For all the dourness at hand it’s easy to be disarmed by the abrupt optimism at film’s end, concluding on an image of societal bliss involving Ferrara’s own young daughter. But as the final puzzle piece in an unclassifiable project, there’s the lingering feeling that it makes it ultimately stronger, that the man is reaching peace with himself. Long live Abel!

obviouslyreviews: 3/5

Zeros and Ones is stacked with different aspects and ideas. Ferrara’s description of the plot describes the wide scale of concepts within this film best: ‘Lockdown and war, danger and espionage, American soldiers, Chinese middlemen, Mid Eastern holy men, provocateurs, diplomats, rogue elements of the CIA and KGB’. Zeros and Ones touches on various dimensions, featuring (socio-)political subtext, religious subtext, and intercultural subtext. It’s a very chaotic combination, but one that greatly enhances the lead character’s arc and the setting of the film. Many events in Zeros and Ones bear resemblance to the West’s response to 9/11, the situation that originally inspired the idea behind the film. Ferrara, out loud, wonders what might happen next in our society.

Though the film is fairly fast-paced in terms of events occurring, Sean Price Williams’ grainy photography and a mellow score by Joe Delia. featuring dark bass, guitar and percussion tones make for a very lo-fi atmosphere. One that lets the viewer glide through the film, instead of taking it on a fast ride.

 

Like many other Ferrara works, Zeros and Ones certainly isn’t a crowd-pleaser and will polarize its audience, due to its high level experimentalism, but it’s another essential entry into the Ferrara canon for his true fans.

thr:

Where Zeros and Ones does offer viewing pleasures, they are generally aesthetic rather than dramatic. The film’s experimental, lo-fi look and dreamy, impressionistic mood are certainly refreshingly off-grid. Even though the pacing is often sloppy, editor Leonardo Daniel Bianchi cuts between grimy street vistas, kinetic hand-held combat scenes and sublime close-ups of Renaissance paintings with a bold deftness of touch. As in Ferrara’s last dramatic feature, Siberia (2020), there are flashes of visual poetry and insightful psychodrama mixed in with the lesser, half-baked elements here.

danielgorman

ZEROS AND ONES looks and feels like a thriller, but proves to be almost entirely inscrutable. So, very much a Ferrara film. Like a distaff cousin to NEW ROSE HOTEL, it reconfigures genre tropes into something all together more crypto-poetic, a dark vision of the world. It’s great

variety: Abel Ferrara on His Ethan Hawke Pandemic Thriller ‘Zeros and Ones’ and Why He ‘Doesn’t Buy’ L.A. COVID Protocols

You once said, “I have apocalyptic films in my DNA.” Does “Zeros and Ones” feel like an extension of yourself?

 

For sure. It’s an apocalyptic moment in history. We’re in the middle of this pandemic. The fact that people think it’s over is some kind of needed groupthink. Everything’s fine, we can have this festival. Things have relaxed a little bit, but if this isn’t an apocalyptic moment in my life I don’t know what is. It’s up there with Vietnam, I was a kid then, the World Trade Center, 9/11, there have been a lot of terrible things that have happened. But this has been a wake-up call. I’m a Buddhist, so this is call karma. Ever country is working on weaponizing viruses. It’s the karma from that. It’s the Chinese this time, or someone does it because they want to. Let’s hope that’s not what happened now, let’s hope it was an “accident.” The fact that’s even on the table as a worldwide concept is horrifying. I’ve got a six-year-old daughter, you’ve got to be kidding.

Willem called himself your “creature.” How different was collaborating with Ethan for the first time?

 

Ethan’s cool. I’ve known him since he came to New York. We have a kindred spirit. We know the same people, he’s a good friend of Willem’s. I’ve seen his stuff, he’s a musician too, he’s special. He related to the material, and there wasn’t a lot of material.

locarno:

Abel Ferrara is familiar with the Festival and its stage. This year, the American director attends Locarno74 with his latest film, Zeros and Ones, a piece of dystopian science fiction delivered with his usual, inimitable style.

The Pardo for Best Direction of the City and Region of Locarno for the best directed film goes to: Abel Ferrara for ZEROS AND ONES

Детройт, оформи шапку нормально.

https://www.kinopoisk.ru/film/1447100/

https://www.imdb.com/title/tt13432484/

Детройт, оформи шапку нормально.

 

https://www.kinopoisk.ru/film/1447100/

https://www.imdb.com/title/tt13432484/

Вечером с ноута сделаю.

Релиз на Apple TV+ 19-го ноября одновременно с прокатом

уже слили.

феррара снимает то же, о чем снимал всю жизнь -- о кино, о себе, о смертности; неважно, какую он берет для этого оболочку: сай-фай, криминал, апокалипсис, драмы, байопики -- всё лишь поле для экспериментов, снимать политически.

роскошная работа в полутьме от шона прайса уильямса. цифровая ночная тревога:

пожилые американские авторы снимают о шпионаже/военных преступлениях: домино де пальмы, dark и the card counter шредера, blackhat манна. вот и феррара присоединился с пандемическим неврозом. "новая" американская параноидальная волна?

ps. синопсис и постер смешные. не представляю, кому они продают это кино, а так лишь собрали гневных оценок, на imdb сейчас красуются три балла. на lb ситуация с общей/среди друзей интереснее:

letterboxd: Lone Soldier: Abel Ferrara’s Avant-Garde Optimism

Zeros and Ones writer-director Abel Ferrara opens up about images as weapons, fourth-wall breaker Ethan Hawke, and being an optimist in spite of it all.

The character JJ spends a lot of time moving around the city with a camera in his hand, collecting images of the world around him. Images are used several times throughout the film as a weapon, with recordings shown as threats. Is an image just as powerful a weapon as a gun?

It’s the power of information, and what’s real and what’s not. How real is an image, and how manipulated is it? That idea of surveillance was from—who’s that dude living in Russia?

 

Snowden?

Yeah, Snowden. With him, if someone comes in with an iPhone, they’d have to put it in the freezer. Right? Not the refrigerator. The freezer. I thought that was pretty funny. So, I’m thinking about that, and imagining who’s seeing me. This interview right now is being recorded. Sure, the publicist is recording it, but who else is recording it? This interview is being captured by somebody who’s not even here, and you and I both know that. Then one day, somebody who wants to do something to you or to me or to Letterboxd—somebody who we don’t even know—they can just pluck it out of the cloud.

 

That’s it, that’s what our lives are all about. And we accept it, because we want the iPhone. This instrument, I never let it leave my hand. God forbid I f—king lose it, then I lose everything. I lose every f—king thing, but I ain’t losing that. I shouldn’t say that, I’ll probably lose it tomorrow now. You know what I’m saying, though? I keep it in my hand, because it’s the tool of my trade. I shoot with it, and I edit with it. I get all kinds of information, and connect to other people with it. Even though I’m giving up my freedom with it, I’m giving up my life to become this consumer where somebody says something to me and the next minute I’m getting a commercial for it.

 

A friend of mine was wearing a tee shirt about something, and then two days later he’s getting an ad offering him something related to that. That’s what the film is about, in a sense.

The film opens and ends with videos of Ethan, as himself, speaking directly to the audience. He mentions that the first video was made to help get financing for the film, yet you made the decision to keep both videos in the final cut.

Yeah, it’s unconventional, but during the pandemic all these festivals we go to are always asking for a video, and even when I’m watching something remotely we’re seeing somebody introducing it.

 

We did it before, with Welcome to New York. You’re getting to see the guy, you know? I just like hearing him. There comes a point in the movie where you just want the motherf—ker to look right at you and say, “Hey Jack, this is what the f—king shit is about.” You know what I mean? Let’s stop with the plot line and the make-believe. Here’s where I’m at, man.

 

It’s like a Shakespearean thing at a certain point. The dude steps to the front of the stage and starts talking to the audience, then he steps back and goes back into the movie or the play. It’s an old-school deal.

 

In the video at the end, Ethan speaks about there being two outlooks on life. In one, you can be pessimistic, agonizing over the cruelty of the world. In the other, you wake up and see the beauty that still exists in everyday life. With this film, and some of your other recent work, like 4:44 Last Day on Earth and Siberia, you’ve captured the idea that both of these outlooks can exist simultaneously.

It’s true. With this pandemic going on, the big upside I think is gratitude. The gratitude is bringing the kids to the park. Something you take totally for granted when you’re too lazy to just get a cup of coffee, sit down, and have a drink with somebody. What you’re taking for granted is life itself. It’s that beauty of it, and how much you miss it when it’s taken away from you in the worst situation. That’s the lesson, I think, is the gratitude.

 

Is that gratitude something you’ve noticed yourself expressing more in your recent work?

I’m an optimist. Even when I was a drug addict, I was an optimist. Nowadays, I’m a grateful dude and I’m looking way more towards that. The bad things are going to come. Not even the bad things necessarily. Life is what it is, man. It’s rough. It’s rough without having to look for it—without generating it. The more you’re positive, the more you’re an optimist, the more you can handle some of this shit that you’re going to have to f—king deal with.

There’s a line in the film that says, “If we hear only what we already know, nothing new happens.” Is that idea one that holds true in your own philosophy of the world and in the work you make?

That’s Ethan’s line! [laughs] Obviously, I liked it enough to put it in the movie, but he came up with that one. I’ll have to ask him about that.

 

I’ll give you my number, you can let me know what he says.

You’ve got to leave yourself open to new experiences, you know? It’s going to happen to you, whether you want it or not. The world is changing, you’re changing, and you’ve got to be receptive to it. You only exist in relation to what’s around you.

зельвенский:

«Нули и единицы» Феррары – и правда полный улет (отдельный улет, что его выпустили в российский прокат, и за выходные даже посмотрели 666 человек). Итан Хоук играет близнецов, один из которых – солдат, а второй – плюс-минус Иисус (любимая идея Абеля, что если бы Джизас появился сейчас, его бы по-тихому грохнули еще быстрее). Все происходит ночью в Риме в разгар локдауна, действуют плохие американцы, русские и китайцы, взлетает на воздух Ватикан, раз в пять минут кто-нибудь протирает руки санитайзером, Хоука под дулом пистолета зачем-то заставляют оплодотворить русскую женщину (молодая жена автора, разумеется; еще по-русски звучит длинный несмешной анекдот про Нормана Мейлера, песня из «Ералаша», а также саркастичный вопрос Хоуку в такой балабановской манере «Когда у тебя последний раз была девочка? Выглядит, что никогда...»). Зум, дроны, кокаин, масочки, водяные пытки, ориентальные путаны, бездомные смертники. Интрига совершенно непроходимая (кто, что, зачем?), смотреть, наверное, невозможно. Советовать никогда никому не стану. Но надо четко понимать, что Феррара – самый живой режиссер во вселенной, и на полтора часа нырнуть в его паранойю, в его идеализм, в закоулки его странного ума – это прямо удивительный опыт. (Если что, не такой, гм, эзотерический, как в «Сибири»).

пожилые американские авторы снимают о шпионаже/военных преступлениях: домино де пальмы, dark и the card counter шредера, blackhat манна. вот и феррара присоединился с пандемическим неврозом. "новая" американская параноидальная волна?

Нз, они все 70+ авторы, снимающие о своём, и снимают об этом уже давно, какая ж тут "новая волна". Их скорее объединяет то, что они просто одни из немногих из своего поколения, кто смогли адаптироваться к цифровому веку и интересуются современными технологиями/миром. Параноидальная волна была ещё в 70-х, когда они как раз начинали. Со сменой века произошел апгрейд. Феррара, конечно, был там раньше всех ещё в Отеле Новая Роза.

Сабж превосходный и пик того, к чему Феррара шёл весь поздний период. Иммерсивный цифровой хаос в окружении экранов и отражений. То, что Феррара говорит о благодарности, что жизнь продолжается, несмотря на гнетущую обстановку, очень трогательно. И в финале, оч красивом (весь фильм безумно красивый, но первый час в таком леденящем плане), это несомненно ощущается, особенно в том, что он снова заканчивает кадрами со своей дочкой.