Costa-Gavras structures the film around a series of massive, roving, rooftop-view tableaux of social militarisation, as the army and police scour the urban landscape for the insurrectionists; using real bystanders and routinely stretching for miles, it is realism not only in detail but in scale, the sense of an entire society churning and eating itself alive.
July 03, 2015
Anyone who can be bothered to dig beneath the surface quickly strikes his shovel against these grim, intractable bones, the ossified determinants of who holds power and who does not. Looming invisibly over the interrogation is Costa-Gavras, supremely aware that he wields in his lens a uniquely effective kind of shovel. Indeed, this to him is what the cinema is: "a way of showing, exposing the political processes in our everyday life.
The movie’s release inspired outrage from the U.S. government, which insisted that its representation of America’s involvement in Latin America was pure fiction. If anything, though, State Of Siege is probably too circumspect. Certainly, there are no winners here.
Political movie. Prix Louis-Delluc 1972. The Costa-Gavras film underlines the American secret involvement in the political affairs of South American countries in the 60's and the 70's. What has fallen now into the public domain wasn't so evident when State of Siege was shot. Truth was never neutral then: either you were a communist either you were a fascist when it came to give an opinion about this topic. See it!
Looks great, very well directed, super on-the-nose, lecture-like (I do not require this lecture), and WHY THE HELL ARE THESE PEOPLE SPEAKING FRENCH!?! If you are obligated to make this movie in French then make another goddamn movie instead. And if yr business model includes selling us Yves Montand as an American then I can assure you that you are destined to go belly up.
pierre-william glenn creates striking images (opening sequence with a car) but the overall impression is that of political inelegance / throughout the screening i couldn't stop thinking about bellocchio's poetic buongiorno, notte and schrader's ambivalent patty hearst
85/100 (Amerikan emperyalizmine karşı sıkı duruşu, Cia örgütünün kirli ilişkileri, mekanı ve zamanı yerindeymişiz gibi yansıtan görüntü yönetimi-sesler, sol görüşlü insanlara yakından bir bakışla onları tamamen gerçek bir gözle yansıtması. Ve her bir güzel özellik... Bunlara karşılık filmde herkesin Fransızca konuşması malesef kulak tırmalıyor ve biraz kendini tekrar ediyor. Ama her halükarda başyapıt. )