Right now the egoism of the artist's vision is inescapably crass.
September 11 (2003)
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Reviews Counted:57
Fresh:44
Rotten:13
Average Rating:6.6/10
Theatrical Release:Jul 18, 2003 Limited
Synopsis: A reaction piece to the United States' terrorist attack on September 11, 2001, this controversial film calls upon eleven directors from various countries to contribute 11-minute 9-second films... A reaction piece to the United States' terrorist attack on September 11, 2001, this controversial film calls upon eleven directors from various countries to contribute 11-minute 9-second films about the event. Variously political, violent, disturbing, abstract, opinionated, angered, or forgiving, each film is drastically different from the next. Starting the set is Iranian director Samira Makhmalbaf's touching short which focuses on school children being taught about the incident. With very short attention spans and too little understanding about where the United States is located geographically or what skyscrapers look like, the clearest message the children receive is that they will need to build bomb shelters for fear the U.S. will attack them in retaliation. Another short, directed by Mexican filmmaker Alejandro Gonzalez Inarritu (AMORES PERROS), is composed nearly entirely of sounds--prayers and chants and street noise recorded by news outlets that morning--while the screen remains black. Very brief glimpses of victims falling from the towers' soaring windows are the only break to the blackness while the layering of sound mounts to a chaotic fever pitch. In a film by American director Sean Penn, a very old man living in a New York apartment finds his bedroom filled with sunlight as the towers come down. A lighter take on the tragedy, from African director Idrissa Ouedraogo, shows how a group of boys in a small town learn of the $25 million reward for Osama Bin Laden's capture and set their hearts on finding him in order to buy medicine for one boy's ailing mother. Perhaps the most emotional and compassionate contributions come from Bosnia's Danis Tanovic and England's Ken Loach, who both offer vows of solidarity from the widows of Srebrenica and the victims of Chile's brutal dictatorship, respectively. Rounding out the omnibus is a bizarrely appropriate anti-war film by Japanese director Shohei Imamura (THE EEL), in which a traumatized WWII veteran reacts to the atrocities he's seen by rejecting humanity and behaving like a snake. [More]
Director: Danis Tanovic, Ken Loach, Shohei Imamura, Mira Nair, Samira Makhmalbaf, Alejandro González Iñárritu, Idrissa Ouedraogo, Sean Penn, Amos Gitai, Youssef Chahine, Claude Lelouch
Director: Danis Tanovic, Ken Loach, Shohei Imamura, Mira Nair, Samira Makhmalbaf, Alejandro González Iñárritu, Idrissa Ouedraogo, Sean Penn, Amos Gitai, Youssef Chahine, Claude Lelouch
Studio: Empire Pictures
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Reviews for September 11
Ken Loach’s entry aside, this is a self-indulgent bid to wring arthouse kudos from tragedy.
The pieces offer little new insight and less solace. Their failure is likely as much a difficulty of the very short form as of the short-term, unseasoned response to a world-shaking event.
the best segments are from the most obscure directors... the big guns mostly strike out
Overall, the film contains personal and political stories, as well as the macrocosm and the microcosm of chaos, rage, sadness and confusion.
Despite good intentions, many of the entries are too sentimental, or in light of recent events too dated, to be effective.
September 11 no longer burns with urgency but still commands attention with several of its sequences.
The best witness of 9/11 is 9/11, and Inarritu, as if honorably terrorized by the facts, turns to an Arabic quotation: 'Does God's light guide us or blind us?'
[The movies] vary enormously in style, quality, and ideas, but the best of them -- by Gitai, Chahine, and Iñárritu, among others -- pack an enormous emotional and intellectual punch.
Anyone whose heart was hurt by 9/11 already knows that, while many wept for the thousands who died in the attacks, others laughed and rejoiced. Now they'll learn that others turned their reactions into inconsequential film shorts.
It's difficult to describe 'September 11,' but we probably won't find a more comprehensive reaction to the tragic event for a considerable time to come.
The films, both narrative and nonfictional, range from the engagingly elliptical to the simple-minded to the cloying and incomprehensible.
No todos los cortometrajes están buenos (...), pero es la suma de esos diferentes niveles de creatividad lo que finalmente cuenta.
September 11 takes a multidimensional approach to this tragedy that tutors us in heartful openness, arouses our compassion, and stuns us with prophetic truths we would prefer to avoid.
The results are as mixed as your own reactions will be. Some will provoke contemplation, while others will provoke renewed grief. Others will just provoke.
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| Tomatometer Percentage | Movie |
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