55/100 (Savunulan fikir ve replikler güzel. Tek olumlu yorumum da bu. Onun dışında her şey amatör-yapmacık. Oyunculuklar, kamera kullanımı, sahneler... Sözde doğaçlama filmmiş peh.. Devlet katliam yapacak ve bunu yabancı basın kayıt altına alacak. Buna ancak kıçımla gülerim. Ayrıca ana konuyu oluşturan Ceza Parkı uygulaması da oldukça komik. Ama yine de savunulan görüşe saygımdan bu yüksek puanı veriyorum...)
I love the pacing here. There’s basically just a tent and the desert, yet it’s all so wonderfully done and edited together that it feels like a thriller. The politics of it, especially concerning police violence and the nature of men with power, resonate today in a way that surprises at first but infuriates once it sinks in.
The now defunct Internal Security Act of 1950 is used to ground the plot in a real world foundation. Under the authority of powers granted by Title II of the Act, Nixon sets up secret tribunals for trying and sentencing political radicals, black power activists, leftists, and draft dodgers. The story itself was interesting enough, but would have been much more suspenseful if the radicals weren’t so wimpy. 80/100
A very angry, uncompromising film dealing with fascistic tendencies in the American political system. The montage is intriguing and complex, the sound layer with its shooting and fighting sounds as well as the documentary radio messages contribute to this complexity.
Five minutes into the movie, you know how this is going to end, and being this predictable, it is rather boring. Also, they overdid the Cinéma vérité style slightly as documentaries of the time are never shot as amateurish as this. They could have built up so much more suspense with the actual storyline whereas portraying all policemen as sadistic losers, gives the whole thing a rather one dimensional feel.
Peter Watkins arrastra esa diléctica narrativa de sus primeros filmes, sobre ficciones hipotéticas que son documentadas simulando un tiempo real. El director ejerce un filme que se inclina al simulacro, uno que se infiltra entre la acción en un inicio de forma pasiva, pero luego activa. Esto último es propio de "Punishment park". El discurso es contestatario y literal. Es la denuncia frente a un compromiso coyuntural