In featuring cultural practices and ceremonies, Mosese doesn’t entertain ethnographic curiosity but presents them as vivid part of the tapestry of the world at hand. This tacit approach to specificity that doesn't consider the white gaze as part of its cinematic language mirrors that of recent African releases that powerfully navigate storytelling and myth, like the Ivorian “Night of the Kings ” and the Sudanese “You Will Die at Twenty,” or Pedro Costa ’s recent Cape Verdean-centered “Vitalina Varela ” in its treatment of grief and the human reproach of the divine. All of these stories are engrossed by a stark otherworldliness.
"Inglourious Basterds." When asked how he got into the violent, baseball bat-wielding mindset of "The Bear Jew", Eli Roth partially attributed his performance to the historically accurate costumes: "Being in wool underwear will make you want to kill anything." He also stated (in a separate interview) that his girlfriend had secretly added some Hannah Montana (2006) music onto his iPod; when he listened to it, it inexplicably made him able to tap into the violent nature of The Bear Jew.
In her pursuit of a proper sendoff out of this mortal realm that no longer seems to have room for her, Mantoa does the opposite of getting closer to the Christian deity in her final days. She decolonizes death from the spirituality imposed on her, and in which she no longer finds meaning. It's radical to hear her denounce how all the pain she endured over her existence was perhaps for nothing. But just as nihilism appears to reign, Mosese turns her revelations into something much more powerful than simply giving up. Her meaning is found in the soil where she stands, where her husband built her a house with his own hands so they could make a home. It’s in the memory of the remains underground and in every flower that grows above them. The extraordinary Twala makes us believe; her unwavering conviction becomes an affixed fact in a place where nothing seems immovable any longer.
The Snow in Wizard of Oz Is Asbestos. In that famous poppy-field scene in Wizard of Oz, the snow coming down is calming to Dorothy and her posse. But they should probably have been far less relaxed as these were actually asbestos-based fake snowflakes—a popular Christmas decoration throughout the United States and Europe at the time. Wicked, indeed.
"Kingsman: The Secret Service." In the film and trailer, when the new Kingsman recruits have their first night's sleep interrupted by a deluge of water pouring into the dorm, on-set the scene went horrifically wrong. As Matthew Vaughn recalls "I shouted 'action!', the computer got it wrong and vrrrrssshh, everyone was twenty feet down underwater. Cameras, sound guys... Guys were in waders full of water, panic, everyone diving in and pulling people out." The set, painstakingly planned and rehearsed using height markers and computer-programmed water tanks, washed away in a near-biblical flood when said computers went rogue. "Those actors weren't acting, they were absolutely terrified," shudders Vaughn. "It was awful for the first day of filming."