Godzilla vs. Hedorah

Embryonic entity necrobotically nurtured infrequently on toxic sludge, post-war excesses woebegone waste detrimentally devastating fertile environments.

Non-existent strategic sustenance absent agendas a lack of will, built-up battlements pestiferous platforms swathed in sewage pernicious poison. 

Centripetal citizenship delicate direction scientific treatises elastic experiments, improvised research piecemeal prognoses acrimonious accidents exacting detail.

Innocent emphatic hopeful reveries freeform playtime spirited dreams, once widely feared and collectively criticized the colossal Godzilla resolutely revered. 

Alien life awkward extraterrestrials fumigaseously feasting on industrial run-off, handlebar hostilities universal clash intergalactic gauze interstellar antipathies. 

Rhythmic reverberations mythical music mirthful melodic hucklebear harmonies, serendipitous scales chromatic metre choral choir clef aerodynamic accolades. 

Worrisome windswept whac-a-mole waffling gargoyle gargantuan maladroit membrane, corporeal carnage objective lesion autocratic cauldron despotic debacle.

Thunderous thermal radioactivity electronic seven-eleven endocrine, scuba-divining oracular auspices clairvoyant cavalcade omniscientific. 

Bellicose brawndywine consistent contagion cumulous cudgel Florentine femurmur, nebulous 'nagerie opaque quibulletin austere obscurity pestilent penchant.

Sustainable mercantile healthy matriculation robust reclamation febrile reforestation, salubrious soil unembellished breath ameli'ore aquifer nutrient Nanabush. 

Refined respiration jungle gymnastics débutante desert mountainous malternate, undersea sequential subsumed serenity verdant conglomerate camplified glade. 

Cool to see the Godzilla movies sticking up for healthy environments.

Science constructively woven in as usual.

With the traditional focus on artistic expression.

Embowering conscience.

Cerebral simplicity. 

Kaze no tani no Naushika (Nausicaä of the Valley of the Wind)

My thoughts regarding the resilience of nature as pertaining to a post-pandemic environment, find rational contradiction within Ghibli's Kaze no tani no Naushika (Nausicaä of the Valley of the Wind).

Within a toxic environment has pesitferously emerged after an apocalypse, most forests having become so polluted that they can no longer sustain human life.

Human life as we know it the forests and the giant insects who reside within them, have no tolerance for extant humanity, being fully aware that we destroyed the planet.

Thus, rather than habitual resiliency which sees the abundant return of cherished plants and animals, the forests still grow but have become infected with inherent anatomies hostile to humans.

Such a development corresponds to the theory that microplastics herald our doom, and will perhaps one day make food sources unsustainable as our population expands.

The literary irony within the minuscule components which once ruled the land with colossal magnitude, as fitting as the end of a Victorian novel as applied to the fossil fuel age.

You would think we would simply take steps to gradually transition away from fossil fuels, but that doesn't seem to be happening anywhere, this film was made in 1984.

You would think the consistent stewardship of a robust environment hospitable to our needs, would indeed be of the utmost importance considering the maintenance of posterity. 

It really isn't though, rather the chaotic clash of market based dogma rules the millennia, and should prudent planning screw up a sale fury will vociferously tantrum incarnate.

Such facts aren't lost on Kaze no tani no Naushika which sees the world still fighting suicidal wars, hellbent on annihilating our species 1,000 years later, ignoring science and ecologial rhythms. 

Nausicaä herself reveals the value of study and the just rewards of patient duty, as her innate wonder and curiosity find working solutions to age old problems.

Don't we have working solutions now to fossil fuel issues and environmental bedlam?

Isn't it best to employ them through a gradual transition?

Like sustainable economics.

Just a little less so. 

Doug's 1st Movie

Daydreaming can be a trusty friend if it doesn't interfere with material necessities, at least I've found that healthy daydreams consistently revitalize inanimate life.

Not to be taken too seriously yet not to be dismissed offhand either, the careful maintenance of lively imagination is a helpful tool for countering malaise. 

Doug's 1st Movie captures this potentiality with active assertion and cerebral levity, as Doug's (Thomas McHugh) prosperous lighthearted daydreaming productively blends highest hopes with bewilderment.

He's faced with a daunting challenge after a pesky lake monster befriends him, and he discovers that local waters have been overwhelmingly polluted.

With the help of his trusty friend Skeeter (Fred Newman), they alert the local authorities, but the principal culprit owns most the town, and heavily influences trusted news outlets.

It's strange how polluters spend so much money advertising that they're environmentally friendly, a comparison between oil sands documentaries and industry ads providing an example of bleak disparity.

In Doug's 1st Movie a legion of well-heeled minions rivalling Sejanus's network of spies, is instantaneously and elaborately employed once the threat to Mr. Bluff's (Doug Preis) business is detected.

But rather than spending so much to conceal a reality that pejoratively effects the health of the town, why didn't he spend a commensurate amount of casholla actually cleaning up the polluted lake?

I suppose it's ideological, it's the belief that pollution isn't harmful, and the exponential generation of profits sacrosanct, devoutly tilled and strangely upheld.

Thus, a portion of the operating budget (or some budget or other) is spent casting a rosy image of disastrous environmental effects, to uphold an ideological perspective that equates health with profit generation.

I don't want to see people out of work, I'm in favour of patiently making industry as green as possible without job losses, I'm certainly not ideologically opposed to industry and the ways in which it sustains the livelihoods of so many.

But spending so much to suggest industry has no serious environmental effects, when that money could be alternatively used to mitigate them, doesn't make much sense to me, and many many others.

Fortunately, Doug's also prone to daydreaming which keeps his mind active and imaginatively composed, giving him the strategic hypothetical wherewithal to keep his new monster friend hidden for quite some time.

A surprisingly relevant take on sociopolitical relations, this Doug's 1st Movie packs a precocious punch.

A solid introduction to unfortunate realities.

Composed through thoughtful reverie.  

La Pointe-Courte

The opening image suggests mystery as the camera cryptically focuses on a piece of wood, whose grains resemble an ancient desert or plump and nimble whale baleen.

Setting the stage for stark alternatives non-traditional narrative endeavour, unique insights into a livelihood rarely examined with cinematic depth.

A rural village roughly perseveres along France's Atlantic coast, inhabitants making their living from age old oceanic abundance.

But pollution endangers their catch as prohibitions prove prescriptive, and regulations delineate boundaries less expansive than haughty seas.

A nostalgic husband fervently awaits the return of his cherished wife, who's never visited his wild hometown, far away from the streets of Paris.

An older generation contemplates youth with resigned historical parallels, assertive in its grand paternalism yet sympathetic to romantic sage.

Everyone knows each other and even the police cut friends some slack, the maintenance of local economies upheld with mischievous tradition.

It's rare to come across a film that regards impoverished struggles with such poetic enriched decency. 

There's love, romance, imagination, a feisty collective willing resolve, with strength and dignity obstructing forlorn incapacitating distraught helplessness.

When you see the impacts pollution can have on the health of vital resources, it's surprising climate change isn't severely critiqued by effected local populations. 

Things can change so slowly that it seems like everything's always been the same, but the scientific forecast is most distressing as it applies to besieged nature.

Some areas are hit worse than others but there's no doubt everything's connected, and careful prudent planning nurtures paramount resiliency.

Nice to see such an honest couple freely sharing thoughts and feelings, through the art of amorous persuasion delicately timed revealed conceding.

It's like Agnès Varda understood her community from a humanistic stance, and sought to share its visceral daring through undulating vicissitudes.

She clearly loves the environment as La Pointe-Courte's cinematography illustrates (Louis Soulanes, Paul Soulignac, Louis Stein), the patient caring reticent transitions evocative timeless echoes. 

When things seem somewhat downcast the town erupts in celebration.

Much more gentle than Truffaut or Godard.

Still abounding with novel wonder.  

Promised Land

Similar to Django Unchained inasmuch as it doesn't hold anything back, Gus Van Sant's Promised Land provides a polemical analysis of fracking (shale gas exploration), giving ample fictionalized room for proponents and critics to have their say.

Set in a struggling small town, attendantly polarizing economic privilege and historical continuity, differing relationships with land, identity, community, the film persuasively establishes prominent competing practical ideological personalities, each competently nuancing myriad aspects of the debate.

It frankly and freely conceptualizes choice and accentuates the risks associated with maintaining principled stances in opposition to enormous reserves of capital.

And allows each individual viewer to determine their own verdict.

I like taking risks.

I'll go to a casino once a year willing to part with $200 dollars. If I lose it in twenty minutes it's quite difficult to stop playing.

But I do.

I'll try new cheeses, beers, tartares, films, expressions, novels, sauces, ideas, try and predict the outcome of playoff games . . .

But water supplies are not something I like to take risks with. They are critical features of communal environmental well being.

Profits generated from fracking do enable the construction of schools etc. while decreasing a nation's dependency on natural gas imports.

But the likely resultant carcinogenic contaminations will increase medical dependencies as well, thereby placing a further strain on the public purse.

You could get lucky and the procedure may not result in any harmful environmental side effects.

If you don't, you're completely screwed for generations.

The decision seems clear to me.

Petropolis: Aerial Perspectives on the Alberta Tar Sands

Alberta's tar sands are definitely a controversial issue. It is claimed that they represent the world's second largest oil reserve and are essential for the maintenance of the United States's oil supply. The profit potential for the companies involved in extracting their bitumen is enormous and they also produce lucrative revenues for Alberta's economy. Tough to sincerely criticize an industry that supplies your citizens with job opportunities and disposable incomes but the pollution generated from the tar sands megaproject is a phenomenon worthy of such criticisms. In Petropolis: Aerial Perspectives on the Alberta Tar Sands, Peter Mettler films the tar sands's impact on the Albertan environment from a helicopter, providing shots of open pit mines, tailings ponds, and industrial complexes, while juxtaposing them with surrounding untouched forests. The images speak for themselves and the environment has been devastated on a massive scale, the landscape resembling a bleak, stark, uninhabitable lunar catastrophe. Information presented: the tar sands operation burns enough natural gas to heat 4 million homes daily; the project could industrialize an area the size of England; per day, routine business releases as much carbon dioxide as every car in Canada; to date, no comprehensive assessment of the project's social, economic, and environmental impact has been undertaken; the Athabasca River, part of the world's third largest watershed, flows through. Mettler's accompanying narration near the film's conclusion suggests that there are alternatives to developments such as these which should be considered considering their environmental impact (solar energy for instance). In order to stop these operations and adopt alternative sources as our principle cultural fuel, it will take a massive social movement with local and international groups uniformly focused on transforming global economies from those that are founded on non-renewable resources to those that are nurtured by sustainable growth.