“What would you say to the many local residents here, who feel that you’ve run roughshod over planning legislation and environmental issues simply because you’ve got lots of money?” Hand it to Anthony Baxter, who makes the most of his limited moments with Donald Trump: he has no fear of the Donald. He asks his queston—and gets no good answer—on the occasion of Trump’s visit to Scotland’s Aberdeenshire coast, where, he declares, he means to construct “the world’s greatest golf course” here, in the “birthplace of golf”. As Trump speaks, the wind blows his hair.
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“I’m looking for a specific type of girl for the Japanese market,” says Ashley, scouting girl models for the Japanese agency, Switch. She’s explaining her work for David Redmon and Ashley Sabin’s extraordinary documentary, Girl Model. “The girls need to be a certain height, not too tall, cute, young. Young is very important.” Ashley turns her own camera on a few girls as they hold up handwritten papers noting their names and birthplaces. She shoots them with their hair up and down, from the side and from the front. The session—vaguely awkward, tense and brief—introduces a disturbing phenomenon. As much as these slender, big-eyed children (and their parents) hope that the promises of agents will come true, that modeling will help them escape their impoverished small towns, they are, in fact, headed into a business designed to exploit them—in any number of ways.
“Our women used to cook and farm and milk the cows. There was nothing like sports.” So proclaims a grizzled man on the street, not exactly thrilled by recent changes in Iraq. Still, as demonstrated in Salaam Dunk, those changes are well underway. Filmed in 2009, during the American University’s women’s basketball team’s second season, David Fine’s inspiring documentary keeps focused on the effects on the women, as well as their American graduate student coach, Ryan Bubalo. Introduced one by one, designated by their team numbers, the players share their initial nervousness (some had never dribbled a ball before they joined the team), their frustrations and their evolving commitment to each other.
“That was our objective, there was no other.” Bernardo and Lautaro Arratia are chopping trees, in the Patagonia region of Chile. This is what they want to do, they demonstrate with their focused labor, what their father did, what they’ve grown up doing. Now, however, they’re looking at the end of the future they never doubted, as corporate forces descend on the region with plans to build five hydroelectric dams, two on the Baker River and three on the Pascua River.
These plans look awfully grim in Brian Lilla’s Patagonia Rising, currently screening at New York’s Cinema Village. While the dams provide electricity, they do so in a way that Stephen Hall sees as old-fashioned (other forms of renewable energy are more efficient and forward-looking) and they exact particular costs. Mitzi Urubia, coordinator for the campaign, Patagonia Without Dams, points out that the question of who has possession of the water—Chile or Argentina—is not entirely clear. Moreover, according to Patrick McCully, executive director of International Rivers, the companies in charge are less than truthful about the deleterious effects of large dams, which have been demonstrated by previous large dams, more than 40,000 worldwide: they displace populations (between 40 and 80 million people, mostly in India and China thus far), cause flooding and contaminated waters, wreak havoc with fishing and other livelihoods, spread diseases.