In 1962, filmmaker François Truffaut (1932-1984) was a rising star in the world of cinema, having directed a small but significant number of acclaimed pictures, such as “The 400 Blows” (1959) and “Jules and Jim” (1962). Yet, when the brash young French auteur was asked to name the greatest influence on his work, he cited a veteran of the field, someone many years his senior, the legendary British director Alfred Hitchcock (1899-1980).
When writer Jennifer Palmer underwent a profound experience as a result of the passing of a loved one, the once-spiritually skeptical scribe set off on a new path of self-discovery. In seeking to define this new awareness, Palmer found herself investigating a variety of metaphysical and spiritual disciplines and practices to look for answers. The process brought her into contact with an array of enlightened teachers, practitioners, artists and activists, all of whom she engaged in a series of thoughtful conversations that have been documented in this film.
A heightened sense of self-awareness is often accompanied by the realization that we each have a destiny in life. Even if we can’t always pinpoint what we’re supposed to accomplish, many of us nevertheless have an undeniable sense that we’re supposed to achieve something during our terrestrial visit. But, once we begin to understand what we’re meant to do, it’s up to us to carry through on our objectives, even if we don’t know precisely how. That’s particularly crucial when our time runs short, a concern not unlike that faced by a supremely gifted but seriously challenged protagonist in director Luc Besson’s new metaphysically themed action-adventure, “Lucy.”
There’s this thing we call life that we all go through together. Yet, despite its inherent connectedness, sadly, we often fail to see or appreciate this attribute. We tend to look upon ourselves and everything in our existence as separate components loosely linked by certain limited degrees of commonality. And so, when some kind of manifestation arises made up of elements – people, places, things, etc. – that don’t seem to belong together, we find it even more inscrutable, failing to sense the intrinsic validity or value in it.
The economy has been on everyone’s mind for several years now, and many have justifiably pondered how we got ourselves into this mess. But, as is becoming increasingly clear, the causes go beyond economics, having as much to do with human nature and what we create as it does with money. These questions are examined in meticulous detail in the Wall Street drama, “Margin Call,” now available on DVD.
Director Sara Terry’s film examines the workings of a grass-roots initiative known as the Fambul Tok program, whose name in Creole means “Family Talk.” The program is based on traditional village bonfire gatherings in which victims and perpetrators address one another, not only to make amends, but also to help restore the longstanding Sierra Leonean tradition of “community” as a way of life.
To be sure, there are some conscious creation themes explored in the film, most notably those related to facing fears, examining unexplored probabilities, understanding the nature of the reality we experience, embracing change by letting go and appreciating the inherent connectedness of all things. However, the passing and often-haphazard treatment they receive reminds viewers of just how many other pictures are out there that handle these subjects much more deftly and substantively.
In many ways, “Hugo” is a primer on a variety of conscious creation principles. It clearly illustrates how our beliefs and expectations – for better or worse – yield the reality we each experience. Hugo, for example, is so convinced that the completion of his task is essential to his future well-being that he repeatedly draws circumstances to him that make fulfillment of his vision possible. He carries on, despite seeming obstacles, and he’s richly rewarded for his efforts.
We’ve all heard about videos and other internet phenomena that have “gone viral.” They spread across the web like wildfire, getting into email boxes and social network walls everywhere, with an almost infectious efficiency. Beliefs can work like that, too, for better or worse, in the reality they help to shape, an impact seen in myriad ways in the new disaster drama, “Contagion.”