The MacGuffin

Margret Thatcher is a controversial figure even to her admirers. She is the woman who stood up to the unions and communism. To her detractors, she was a brutal woman who put down workers and helped the rich get richer. Just on the history alone, this is a prime subject for examination in a film. So it is sad that there is so little to be learned about her in The Iron Lady (2011).

Ah, winter. The time when my usual routine of watching a lot of stuff turns into “really watching a lot of stuff,” what with it being dreary outside most of the time. Here are a few things that have distracted me during the last stretch of particularly nasty days in Seattle:

With 2011 officially in the books, it’s time once again to look back and reflect on some of the best films that have come out in the past year. As with all movie writers, coming up with a list like this is usually expected, but also damn near impossible. To me, reading and writing these types of articles are only beneficial in spreading word about titles that really had an effect on me, while stirring up debate between those who strongly agree with my choices, or vehemently disagree. No one list is ever truly definitive; what is considered great to one may not register the same way to another. The only real truth is that 2011 had a wide range of very interesting and fascinating films, and just like every year, there’s always a good handful worth noting.

In modern society, technology has made privacy something of a rarity. Even if you choose not to participate in the hubbub of social networking and other various internet activities, chances are something about you is somewhere online. Privacy is something society has cherished for a long time. The option to intermingle with others but be able to always retreat to where one is not seen by anyone is to some societies just as important as it is an enigma to other societies. In privacy is where we can be who we feel we really are, without the judgment of others; where we can indulge the desires we feel might be deemed shameful by the people around us. In artist-turned-director Steve McQueen’s latest film Shame, he turns the camera’s eye on this concept and what happens when the privacy we rely on to indulge ourselves is stripped away.