GROWN-UP-KIDS' KINGDOM

MOONRISE KINGDOM 

(2012)

Director: Wes Anderson

Moonrise Kingdom, a film about love and revolt is based on the contrast between two worlds and their clash. The world of adults and the world of children. 

Adults in this movie are the antagonists. Not because of their viciousness or ill-temper, but because of their incapability. A scout master loses his scouts; parents are completely incompetent when considering the upbringing of their children. 

On the other hand, children are clever and adroit. Even though one can question the correctness of their actions, most of the times it seems that kids know better than the ones who should be their role-models. The thing that makes us laugh is how these kids embody adulthood and childhood in such an overwhelming and charming way. 

Diverting story, exceptional imagery, enjoyable atmosphere of the movie and lovable innocence of main characters keep a smile on viewer's face throughout. 

FIGHTING ABSURDITY

BRAZIL

(1985)

Director: Terry Gilliam

To criticize the society of today, or the one of 1985, is not easy. It has always been difficult to  accentuate flaws of the society. Authors of written observations about the world and its defects, usually use the same trick to avoid assaults. They travel in time. They either place events in the past, or in the future. Terry Gilliam chose the latter one. 

Gilliam's Brazil exquisitely distinguishes terrible shortcomings of the society giving emphasis on timeless stupidity and extremely ineffective bureaucracy.

BUREAUCRACY

"This is your receipt for your husband... and this is my receipt for your receipt."

The plot of the movie is focused on a highly inefficient and ultimately dangerous bureaucratic system and it effects on people. The plot is concentrated around the event where a simple and rather stupid mistake ruins several and fundamentally changes some lives. The world of Brazil is the one where money is spent on ministries which are end in itself, where every home device is automatic but nothing really works, where guards are dressed like SS troops and people are just numbers. 

THE IDIOCY OF SNOBBERY 

"There's been a little complication with my complication."

The stupidity and falsity of high society is perfectly depicted through protagonist's (Sam Lowry) mother and her cosmetic surgeries. The peak of stupidity is the celebration of her latest operation.

The same is skilfully represented in the dinner scene. The dinner is held in a supposedly luxurious restaurant where  all allegedly fine meals are just swills. Just like the people who go there. 

FANTASIES

The movie is intertwined with protagonist's fantasies about a lady of his dreams. He tries to rescue her, his captive princess. On the way he fights giant samurai, 'zombie-hunchback-children', freaks. All of these represent different officials, SWAT team, and other problems which he encounters. 

TUTTLE THE RENEGADE

Archibald Harry Tuttle, apostatized heating engineer, helps the protagonist and impersonates the other side of the society. The ones which fight against the stupidity of bureaucracy. Tuttle is represented as an 'Air Condition Batman', an outcast, fighting for the right cause and always leaving theatrically. 

 The world of Brazil is a combination of Kafka's Trial, Orwell's 1984, and, sadly, our reality.

TASTE OF LIFE AND DEATH

TASTE OF CHERRY

(Ta'm e guilass)

1997

Director:Abbas Kiarostami

The story of a man (Mr. Badii) searching his associate in suicide. Although the theme revolves around death, the most impressive moments are the ones concerning the celebration and appreciation of life.

 "If you look at the four seasons, each season brings fruit. In summer, there's fruit, in autumn, too. Winter brings different fruit and spring, too. No mother can fill her fridge with such a variety of fruit for her children. No mother can do as much for her children as God does for His creatures. You want to refuse all that? You want to give it all up? You want to give up the taste of cherries? 

This is a part of Mr. Bagheri's monologue held in Mr. Badii's car. Mr. Bagheri is the one who agrees to help Badii in his intention, because he really needs the money. Although another person's life depends on that money, Mr. Bagheri still wants to persuade Badii to keep on with his life. That life is something worth of keeping. 

A spectator might assume that this beautiful metaphor of richness and diversity of life will talk Mr. Badii out of his intentions. Viewer might think that Mr. Bagheri will convince him that there are always reasons to live and carry on. 

However, Mr. Badii is not convinced, he proceeds with his intentions and lays in his prepared grave. This is the penultimate scene in the movie. 

The movie ends oddly, to a certain extent. The movie ends with a meta-cinematic scene: film crew on the set making this movie. By using this scene, the director wants to remind the spectator that this is still just a movie. He probably wants to distant the viewer and himself from the protagonist because he does not want for anyone to identify with Mr. Badii. 

The director cannot approve Mr. Badii's decision, because approving suicide would imply supporting it, which is not commendable. On the other hand, he lets him do it which implies  the director's respect of Mr. Badii's choice.