EDITORIAL
Creating or borrowing?...
If you look at Picasso, he stole from African art that's thousand years old. Stanley Kubrick stole liberally from silent films, using 'The Phantom Carriage' for 'The Shining' and 'Our Heavenly Bodies' for '2001'. This idea that we have to create something 'new' is actually very much a business concept. It's rooted in the idea of copyrights and capitalism, rather than reminding people of what is true: emotion, beauty and transcendence."Â siad James Grey. Since his feature debut "Little Odessa," Gray has made, among others, "We Own the Night," "Two Lovers," sci-fi spectacle "Ad Astra" and "Paper Tiger."...
Have a pleasant Friday night at the movies,
Jean Constant
RECENT REVIEWSRead Jean Constant informal film, stream, and TV reviews on LetterboxdThis week update: BorderLine (2026) đ, Rise of the Conqueror đ, The Wall đ * Wikipedia defines letterboxing as the practice of transferring film shot in a widescreen aspect ratio to standard-width video formats while preserving the original aspect ratio. Generally this is accomplished by adding mattes (or âblack barsâ) above and below the picture area. Letterboxd - the site is a global social network for grass-roots film discussion and discovery... |


Speaking to Chinese podcaster and political philosophy lecturer Zhong Shu in Beijing, which first appeared on China's Bilibili video platform, the British filmmaker has something of a hard break from the usual interviews he's done on The Odyssey's globe-spanning press tour. There were no games, no soft-ball or rushed questions about his favorite moments from the production or anecdotes about the actors, instead Zhong's interview was one of the rare ones where the filmmaker was probed about his personal philosophy and worldview and how that informed the making of The Odyssey. Zhong then moved on to the concept of "atonement" in Nolan's film, saying that such a concept doesn't exist in Ancient Greek culture, or language, or in Homer's poem. She asked directly whether the filmmaker had "Christianized The Odyssey" and further why atonement was so important in the film. "I wasn't too conscious of how I was approaching it philosophically other than I really honed in on the idea of what's termed 'xenia,' said Nolan. "In the film we call it Zeus's Law for simplicity, but it's that idea of mutual respect â that I treat you the way I want to be treated. And in their theology it's because you might be a god in disguise. I really drilled down on that, and I started to realize that for me a lot of what's interesting about the interaction of history and mythology is this idea of the 'sea peoples', the idea of the people from the sea who were thought to have precipitated the Bronze Age collapse. It's one of the great mysteries of history: who were they? But the idea that really a violation of xenia, a violation of Zeus' Law â which is what the suitors are doing in the palace â that really is the [breaking] of Zeus' Law that is causing this difficulty and this damage. "I think the idea of atonement in a way is what we bring as viewers to the story," Nolan added. "I don't know whether there really is atonement in the film, or whether we just feel that catharsis or that's the process we're seeing in the final meeting that we've waited for between Odysseus and Penelope. But I think in a way we maybe bringing our more modern sensibility to that. Insofar as [atonement is] there, it's not a deliberate attempt to Christianize it, but it's an outgrowth or it's a natural conclusion of burrowing in on this philosophical idea of what happens when you break Zeus' Law."...