Who Killed the Electric Car? is a 2006 documentary film that explores the creation, limited commercialization, and subsequent destruction of the battery electric vehicle in the United States, specifically the General Motors EV1 of the mid 1990s.
The film explores the roles of automobile manufacturers, the oil industry, the US government, the Californian government, batteries, hydrogen vehicles, and consumers in limiting the development and adoption of this technology.
Michael Moore’s documentary, Capitalism: A Love Story, comes home to the issue he’s been examining throughout his career: the disastrous impact of corporate dominance on the everyday lives of Americans (and by default, the rest of the world). But this time the culprit is much bigger than General Motors, and the crime scene far wider than Flint, Michigan.
From Middle America, to the halls of power in Washington, to the global financial epicenter in Manhattan, Michael Moore will once again take film goers into uncharted territory. With both humor and outrage, Michael Moore’s Capitalism: A Love Story explores a taboo question: What is the price that America pays for its love of capitalism?
Years ago, that love seemed so innocent. Today, however, the American dream is looking more like a nightmare as families pay the price with their jobs, their homes and their savings. Moore takes us into the homes of ordinary people whose lives have been turned upside down; and he goes looking for explanations in Washington, DC and elsewhere.
What he finds are the all-too-familiar symptoms of a love affair gone astray: lies, abuse, betrayal…and 14,000 jobs being lost every day. Capitalism: A Love Story is both a culmination of Moore’s previous works and a look into what a more hopeful future could look like.
It is Michael Moore’s ultimate quest to answer the question he’s posed throughout his illustrious filmmaking career: Who are we and why do we behave the way that we do?
Africa Addio’ / ‘Farewell Africa’ is a documentary film about the decolonization of Africa, made by the Italian film directors Gualtiero Jacopetti and Franco E. Prosperi.
It is a masterpiece with beautiful music, composed by the Italian composer Riz Ortolani. ‘Africa Addio’ is one of the best and most exposing documentary ever made about what happened in several African countries directly after decolonization, but because of political correctness the masses never heard of it.
In the USA a censored version called ‘Africa Blood and Guts’ was released, which was deliberately stripped from the original music and the powerful message of ‘Africa Addio’ – so the sensors were able to portray the destruction, cruelty, savagery and genocide performed by the Africans as a ‘struggle for indepence’.
The film is edited with a style that numerous reviewers have deemed to be a “pro-white European” and “pro-Colonialist” slant as seen during the first wave of what became endemic African revolutions. Some object that the film makes virtually no references to past atrocities and exploitations committed by European colonialists and instead focuses mainly on the atrocities and crimes committed by black Africans.
However, as the film documents the transition to independence in the 1960′s of a number of African countries and not the history of these countries it is unclear what the relevancy of this objection is. Furthermore, although the majority of the violence documented is between blacks, black on white and white on black violence is equally documented. For instance in the scene where white mercenaries liberate a missionary.
In the promotion of the unauthorised American version of the film, opening subtitles and subsequent narration clearly inform the viewer that the sole purpose of this film is to serve as a monument to colonial-era Africa:
“Europe has abandoned her baby,” the narrator mourns, “just when it needs her the most.” Who has taken over, now that the colonialists have left? The advertising announces: “Raw, wild, brutal, modern-day savages!”
Pablo Escobar was the richest, most powerful drug kingpin in the world, ruling the Medellín Cartel with an iron fist. Andres Escobar was the biggest soccer star in Colombia. The two were not related, but their fates were inextricably-and fatally-intertwined.
Pablo’s drug money had turned Andres’ national team into South American champions, favored to win the 1994 World Cup in Los Angeles. It was there, in a game against the U.S., that Andres committed one of the most shocking mistakes in soccer history, scoring an “own goal” that eliminated his team from the competition and ultimately cost him his life.
The Two Escobars is a riveting examination of the intersection of sports, crime, and politics. For Colombians, soccer was far more than a game: their entire national identity rode on the success or failure of their team. Jeff and Michael Zimbalist’s fast and furious documentary plays out on an ever-expanding canvas.
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“By the most fundamental measure — the number of people killed — the perpetrators of mass murder since the beginning of the twentieth century have taken the lives of more people than have died in military conflict. So genocide is worse than war,” reiterates Goldhagen. “This is a little-known fact that should be a central focus of international politics, because once you know it, the world, international politics, and what we need to do all begin to look substantially different from how they are typically conceived.”
Worse Than War documents Goldhagen¹s travels, teachings, and interviews in nine countries around the world, bringing viewers on an unprecedented journey of insight and analysis. In a film that is highly cinematic and evocative throughout, he speaks with victims, perpetrators, witnesses, politicians, diplomats, historians, humanitarian aid workers, and journalists, all with the purpose of explaining and understanding the critical features of genocide and how to finally stop it.