Dunkirk - slight sticking point.

● (Release Info London schedule; February 28th, 2020, Empire, 5-6, Leicester Square, London WC2H 7NA, United Kingdom, 11:20 · 14:20 · 17:20 · 20:20) ● (Release Info London schedule; February 28th, 2020, Picturehouse Central, Piccadilly Circus, Corner of Great Windmill Street and, Shaftesbury Ave, London W1D 7DH, United Kingdom, 15:20 · 18:30 · 21:25) "Dark Waters" "Dark Waters" tells the shocking and heroic story of Rob Bilott (Mark Ruffalo), an attorney who risks his career and family to uncover a dark secret hidden by one of the world’s largest corporations and to bring justice to a community dangerously exposed for decades to deadly chemicals. Corporate environmental defense attorney Rob Billot has just made partner at his prestigious Cincinnati law firm in large part due to his work defending 'Big Chem' companies. He finds himself conflicted after he’s contacted by Wilbur Tennant (Bill Camp) and his brother Jim (Jim Azelvandre) ,two 'West Virginia' farmers, who believe that the local 'DuPont' plant is dumping toxic waste in the area landfill that is destroying their fields and killing their cattle. Hoping to learn the truth about just what's happening, Bilott, with help from his supervising partner in the firm, Tom Terp (Tim Robbins), files a complaint that marks the beginning of an epic 15-year fight; one that will not only test his relationship with his wife, Sarah (Anne Hathaway) but also his reputation, his health and his livelihood. Based on 'The New York Times Magazine' article, 'The Lawyer Who Became DuPont’s Worst Nightmare', by Nathaniel Rich, "Dark Waters" chronicles the one-man crusade that sought justice for a community exposed for decades to toxins in it's own backyard. Defense attorney Rob Bilott has just made partner at his prestigious Cincinnati firm in large part due to his work defending some of the biggest names in 'Big Chem'. When two small-town 'West Virginia' farmers ask for his help investigating the local chemical plant for purportedly killing their livestock, he balks, explaining that he represents chemical companies, not plaintiffs. Yet, something about their story stays with Rob, especially when he realizes one of his fondest summers as a boy was spent at a neighboring farm. During a drive to the area, Rob’s observations don’t quite align with his memories; there's something beneath the surface of this corner of 'Hill Country'. He also realizes that nearly everyone in the community owes much to the local chemical plant in Parkersburg, operated by 'DuPont'. 'The Tennants' believe that whatever 'DuPont' is dumping in their landfill is polluting their creek and has wiped out their herd of nearly 200 cattle. Still, many of their neighbors cling to the idea that the company continues to look out for them, as it has seemingly done for years. Supported by his supervising partner in the firm, Tom Terp, Bilott uses his intimate understanding of how chemical companies work. He files a complaint, undertaking a targeted suit that will uncover just what's happening in Parkersburg. Thousands of personnel hours and years later, Bilott finds that his obsession to ferret out the truth has not only jeopardized his family, particularly his relationship with his wife, Sarah but also his reputation, his health and his livelihood. Just how much is he, and by association, those around him, prepared to lose to bring the truth to light? What's the price for justice? "Dark Waters" tells the unbelievable 'David vs. Goliath' story of an attorney with unwavering conviction who fought for decades to obtain justice for a community victimized by a corporation driven by greed. It all begins on January 6th, 2016, when 'The New York Times Magazine' published Nathaniel Rich’s riveting chronicle of the work of Cincinnati attorney Rob Bilott. Employed at the law firm of 'Taft Stettinius & Hollister LLP', Bilott becomes an unlikely crusader who bravely uncovered the dangers of a chemical that had been contaminating for years; and to punish one corporate giant responsible for marketing it's uses. 'The Tennants', a family who had farmed the same sprawling property for generations, begin losing their cattle in startling ways. The animals, once docile like pets, turned ugly and aggressive. Lesions covered their hides, their eyes are rimmed with red, white slime dripped from their mouths, their teeth blackened. When one black calf died, it's eye is electric blue. Convinced that the cause is toxic runoff from the nearby 'Dry Run Landfill', where 'The Washington Works' factory, owned by 'DuPont', disposed of it's waste, Wilbur Tennant sought answers for years to no avail. Desperate, he finally turns to Bilott, who had spent time as a child near 'The Tennants' farm in 'Parkersburg, West Virginia'. Bilott helps figure out what should be going into the landfill and look at the permits; he finds out what chemicals are actually going in and what might be exceeding their limits. After nearly a year, Bilott discoverers just what they're dealing with; an unregulated chemical that didn’t fit into that word. The substance in question is perfluorooctanoic acid or 'PFOA', which dates to 1951, almost two decades before 'The Environmental Protection Agency' was established in 1970. Unfortunately, a lot of the federal rules and statutes that started coming out in the 1970s were primarily focused on new chemicals, things that were being produced and generated after that point in time. By 1990, the company had dumped 7,100 tons of 'PFOA' sludge into 'Dry Run Landfill'. From that point on, Bilott makes it his mission to secure justice not just for 'The Tennants', but also for anyone who had been exposed to 'PFOA; or forever chemicals as they’re called, since they don’t break down and stay in the subject’s system. In "Dark Waters" it's all anchored in the character of Rob Bilott, the unlikely hero par excellence, whose presumptions about corporate practices are turned on their head in his discoveries about 'DuPont". Mistrustful, unpartisan and constitutionally guarded by nature, Rob Bilott, like most classic whistleblowers, is already a solitary figure when the story begins. He’s a man caught between two worlds; he has roots in small-town 'West Virginia', where he spent portions of his childhood, but he’s also an attorney at one of Cincinnati’s most high-profile corporate law films charged with defending clients from lawsuits, not filing suits against them. He's living in a class that's's above the one he grew up in, and there are class clashes going on within his family. All of this makes for a balancing act; he's straddling this echelon of lawyers who are all really well-bred and well-schooled, and he's not really a part of that. And then there’s this schism of plaintiff/defense attorney. All these dichotomies is why Rob Bilott is able to bring down one of the biggest corporations in the world. The more you can layer in those complexities, just the better story it's, and the greater achievement it's when our hero does what he set out to do. At the outset, Rob really believes that corporations are people and in the concept of their self-governance. He reasons that this must be some simple oversight. What ends up happening is he uncovers this contamination and cover-up, perpetrated by 'DuPont' and spanning 40 years. Wilbur Tennant is tough. Even when Rob has completely put his job and reputation and family and mental health on the line to take on this case, Wilbur isn't content to just get a settlement from 'DuPont'. He wants the truth to get out. He wants this to be known to the world. Wilbur has a very simple life and a very strong moral understanding and balance of what’s right and what’s wrong. He’s passionate and fiery. There’s a simplicity to that; it’s foundational to his and the overall story. He has a natural human reaction to being lied to, to being wronged. His life has been completely upended, if not destroyed, by the corruption of this company. He sees this wrong done not just to him, but an entire community and the natural world. His only response is to take on this entity more powerful than himself. And true to form, the events that unfold only further that isolation. That this isolation, this stigma, is mirrored in the story’s precipitating force, Wilbur Tennant, and can be seen spreading across the network of interdependent players, crossing class differences, afflicting public life, family life, church life in it's wake, describes it’s unique insidious contagion. Despite these bonds, taking on powerful interests will shrink your world and rattle your faculties. Sarah is a very specific. She understands that her husband’s passion and commitment to this case is important to support, but it takes a great toll on the family. Sarah is vivacious, powerful. She has so much strength, and she’s full of contradictions. You can’t tell everything about her just by one aspect of her. Rob finds an unexpected source of support for his quest in his supervising partner at 'Taft Stettinius & Hollister, LLP', Tom Terp. Although the two weren’t necessarily close friends, Terp admired Bilott’s work ethic, and his initial reluctance over Bilott taking 'The Tennants’ case gave way when he was presented with evidence of wrong-doing. As Rob’s boss, he conveys what’s at stake for Rob. This is nothing less than his standing as a partner. He also very subtly provides a moral compass when he permits Rob to take on the case. You get the sense that what’s central for 'Taft' is the law. The law needs to be respected, and if that starts to get messed with, as lawyers, even corporate defense attorneys, they’re not going to stand for it. So, in very economical strokes, Tom represents those two possibly opposing forces. Tom Terp is the exception to the rule in corporate culture, which tends to protect itself. People don’t usually cross lines, generally. They tend to remain silent or willfully ignorant of information that might challenge their worldview and their power structure. Tom is someone that dared to go against that. He isn't a knight in shining armor. He's a man faced with an illegality that was undeniable, and he chose to go against his company’s culture to hold 'DuPont' accountable, not an easy thing to do. Phil Donnelly (Victor Garber) is a company man, in thrall to his own conviction. Other attorneys enter the picture, including plaintiff’s attorney Harry Deitzler (Bill Pullman). Harry is a bit brash, he’s a big personality. But he's a strategist with tactics. Harry is a version of an ambulance chaser, personal injury lawyer. Harry had been on 'The Parkersburg City Council' for 12 years. He has the ability to bring people together from all sides; that makes him a perfect candidate to be on the legal team. Darlene Kiger (Mare Winningham) served as lead plaintiffs in a 2001 class-action lawsuit against 'DuPont' over dangerously high levels of 'PFOA', also known as 'C8', in 'The Parkersburg' region’s drinking water supplies. She brings her grounded wisdom, warmth and gravitas to the character. She's very brave, to take this stand amidst gossip, stares and comments, in a community indebted to 'DuPont'. James (William Jackson Harper) is a junior associate at Bilott’s firm who believes the attorney’s work should cease. He's someone trying to climb the ladder in this corporate defense world that's now suddenly in ethically murky waters, we’re looking to prosecute the very people we serve. James role is to actually push to shut the case down. He thinks it’s a dangerous violation of their ethics to pursue this. It becomes divisive for the character, and for some others within the firm. This is the late ’90s, early 2000s. It’s still a really ambiguous time period that we all kind of remember but have forgotten at the same time. Who had what technology, like which cellphones? Televisions? What would be on desks in lawyers’ offices? It’s also interesting because 'Taft', as with other big firms, were beginning to brand themselves, advertising for legal services. So even they're switching tradition. There’s a lens we view society through, which picks up people’s differences within class structures, but we want to concentrate on the humanity that runs through everyone. We’ve been watching the environmental mandates for water, air, endangered species, and of course climate change be systematically unraveled, and so everything is at stake right now. The ultimate message is that we need each other. No one else is going to do it for us. No one else is going to make the world a better place. It's us together. And this story about water transcends all political divides, ideological beliefs, sex, race, religion. The film tells a gripping story based on the explosive exposé that uncovered an urgent public health crisis and corruption at the highest levels. We all know inherently how important it's for us to have clean water, and it's by framing these massive problems in these kinds of ways that we will see real positive change in the world. It’s a tremendous opportunity to be able to make people understand the nature and extent of this public health threat. But not only that; how does something like this happen in 'The United States'? In what we should be thinking of as the most sophisticated country on earth, how could a massive worldwide contamination problem like this not only occur, but originate here in 'The United States'? This film can convey to people in an understandable way that not only is this happening, but how it happens. Like most people we're astonished and outraged by the story Rob Bilott, the tenacious corporate defense attorney, unwittingly uncovers; the story of 'DuPont' and 'Teflon'. It clearly describes a recent, ongoing saga of corporate abuse with searing cultural and political relevance. Certainly, abuses of power, threats and cover-up, whether corporate, industrial or governmental, will be revealed. In fact they're the narrative expectation, often looming offscreen in advance of the stories. But the whistleblower film’s true focus is on the little guy, his process, and the peril, psychic, emotional, if not mortal, faced by that individual who stands up to the truth. This specificity of time and place can be feel in a visual language in which a cool observational style links the contrasting locations in an attempt to underscore their interdependence. What emerges is a complex, at times contradictory American landscape, though one in which the lines of economic power are clearly drawn; even as they're confronted with their limits. It's often as a result of these contradictions, or improbabilities, that 'The Wilbur Tennant Case' and the historic class action that followed could ever have been waged. The unlikelihood of a corporate defense attorney working for the chemical industry reversing his sites and taking on a corporate behemoth like 'DuPont' is precisely what provided Rob with the kind of time and resources required to succeed. So without the medical monitoring ruling in 'West Virginia', or the dual-state strategy linking Ohio law with 'West Virginia', it’s hard to imagine any of these remarkable outcomes; or the world ever learning about the dangers of forever chemicals like 'PFOA', lurking in every corner of our lives. Rather than concluding with the rewards of a win, it depicts the act of fighting as on ongoing condition, a primer for living imperfectly between knowledge and despair. In "Dark Waters", what begins as a regional and national contamination of air and water systems results in a global contamination of human bloodstreams, in effect, materializing our interconnectivity as residents of the planet, if not the unelected victims of capitalist and ideological systems. But in the massiveness of this manmade catastrophe we're invariably linked, and our knowledge and awareness are what connect us to one another, in what's both an unending struggle for justice and a fight for our lives.

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(Release Info London schedule; February 28th, 2020, Picturehouse Central, Piccadilly Circus, Corner of Great Windmill Street and, Shaftesbury Ave, London W1D 7DH, United Kingdom, 12:55 15:45 18:35 21:25) https://film.list.co.uk/listing/1517549-true-history-of-the-kelly-gang/ "True History Of The Kelly Gang" Legendary outlaw Ned Kelly (George MacKay) leads a band of rebel warriors to wreak havoc on their oppressors in this gritty and veracious western thriller. Set amidst the grueling badlands of 19th-century Australia, legendary outlaw Ned Kelly (Orlando Schwerdt) grows up under the bloody and uncompromising rule of 'The English'. Food is scarce, survival is filled with daily strife, and every opportunity the colonizers take to make their victims feel powerless is inflicted with searing brutality. In a desperate attempt to prime him for rebellion, Ned Kelly’s mother Ellie (Essie Davis), sells him off into the hands of the notorious bushranger Harry Power (Russel Crowe), where the young bandit discovers he comes from a line of warriors called 'The Sons Of Sieve'. Fueled by his roots and a voracious appetite for revenge, Ned Kelly leads an anarchist army to wreak havoc on their oppressors in one of the most audacious attacks the country has ever seen. Based on the novel by Peter Carey, "True History Of The Kelly Gang" brings a revolutionary twist to an iconic piece of folklore. The film spans two periods of Ned Kelly’s life. Ned Kelly wants to be a better man and wants to be great. Also in the book you could feel and understand that Ned Kelly is a writer, he isn't’t just some kind of ruffian and that there's something incredibly sophisticated about him. He has enormous potential, and there's a creative side to him that could have easily seen him as our 'Prime Minister' as opposed to our most famous bushranger. It's also important to be able to transform that innocence to the eventual violent, brutal and unforgiving man. It's not going to be 'Mad Max'. It’s not going to be 'Walkabout'. It’s not going to be 'Connor McGregor'. It’s just going to be like the tiniest flicks of colours, and then you just make what you want. We’ll all make what we want. Ned Kelly has become something to a culture, and has a meaning and an identity that's tied up in the folklore surrounding him. Joe Byrne (Sean Keenan) has a kind of beautiful, charming, loyal, very Australian beauty about him that seemed very timeless. Joe is of 'Irish' background and was mistreated by 'The English'. Byrne has grown up next to a community of 'Cantonese' miners and is subsequently fluent in 'Cantonese' and an opiate addict. It’s assumes in the film that he meets Ned in prison, their shared cultural backgrounds initiating a bond. Meeting Ned is a big turning point for Joe. Joe sees something in this man that he’d seen in a lot of others around him. And while he’s an addict, he sees things really clearly. He’s a bit of a fatalist and a nihilist, while Ned is so full of hope and has these massive dreams. Joe sees that in him and is attracted to the purity of that. Dan (Earl Cave) is Ned's brother. They're almost symbiotic. They've taught each other a lot, stole horses together, got tattoos together and had to grow up in this sort of tough atmosphere with everyone hating them. The brothers that Ned and Dan would have been, if Ned didn’t go to prison. Steve (Louis Hewison) is a quiet reticent guy, and then you hear stories from the family who say they use to call him the demon when he was young. He brings out both those sides, the gentle hippie and then the side that becomes at home in a film like 'Easy Rider. The character of Ellen Kelly is complex, a mother but also a survivor. She’s somebody who’s deeply yoked to her family and has a strong sense of family. But there’s a duality in her, she’ll do anything to survive, including using her own children to do that. Ellen is such a firecracker. She’s a fantastic mother but she's a wildebeest and she has so many elements and angles to her, she’s all about life and all about death. And she loves her children and, particularly, her sons, fiercely but she's a survivor and she’ll do anything to survive. Their relationship is incredibly powerful, controlling and manipulative but a deeply loving relationship, that the mother has for her boy. It happens a lot when suddenly there are really ambitious children who want to travel or have huge ambitions, that there can be a tendency for that to be fearful for parents, to want to kind of bring those ambitions back to them for fear of losing them. That becomes a kind of potent motivation to lead to the end of the film and understand the context of this massacre and siege at the end of the film. Young Ned is somebody who yearns for something else to kind of break away from the destiny that’s mapped out for them, of a future of crime and prison; it’s a really familiar path for 'The Irish' in Australia in that period. In that story is a kind of sweetness that you’re looking for but you’re also looking for somebody who has that edge and has the possibility of what they’re going to become. Next to 12-year-old Ned it needs an authority. Harry Power is an infamous bushranger. He's the greatest bush ranger in Australia. In the film Harry Power says to little Ned 'always make sure you’re the author of your own story because 'The English' will always take it and fuck it up' and that sort ingrains in little Ned that words matter and writing matters and documentation matters. You also need a sense that he's no longer Harry Power anymore and that he's getting towards the end and that there's a kind of tragedy in that; it's feels soppy. As mentors go he’s a dangerous one but there's actually a lot of love in Harry and a lot of the things that he’s passing on to Ned are about the reality of the world. When we reach older Ned’s life, two seminal characters in his trajectory are Constable Fitzpatrick (Nicholas Hoult) and Mary Hearn (Thomas McKenzie). Fitzpatrick is a man who’s been taken away from this sophisticated land of 'United Kingdom', arriving in Australia and sort of looking around and thinking ‘my god, where am I going to get my brandy'. He's mischievous and perverse. Fitzpatrick always has attraction to Ned, which is something forbidden. He has to be a certain sort of class and authority and Ned represented to him a kind of wildness, masculinity, a rebellion and spirit that he's attracted to. Ned is curious of Fitzpatrick and there's a sophistication he admires. Fitzpatrick actually really wanting to be friends with Ned and being intrigued by that family, their closeness and environment and what they're, and also probably being quite lonely. It's through Fitzpatrick that Ned meets Mary Hearn. Mary provides moments of a sort of clarity, an if only Ned would just leave with Mary moment in the unfolding of what's heading sharply towards tragedy. Bad characters and good characters are sharing the same bed in those times. What's happening then and the difference between cops and robbers is very thin. There's genocide happening in Australia and crimes of enormous proportions committed by authority so the line of what's good and what's right is obviously a very different conversation to what it's to now. An incredible piece of landscape called 'The Winton Wetlands' are the playground for 'Kelly Selection'. It's a meeting site where hundreds of Aboriginal peoples have met and that in Kelly’s time it would have been a supermarket, providing shelter, food and water. It has a varied history environmentally, having been damned, then dried up and subsequently all the trees started dying, although it's now also an amazing habitat for flora and fauna. While currently under restoration, it presents a gothic and scarred backdrop for 'The Kellys’ home. The landscapes the characters go through are incredibly varied in the film. There's something about going up and seeing Marysville, and 'The Gang' would’ve ridden through there, the landscape is extraordinary now after the fires, and there's a tragedy about that place and a beauty about it, that seemed to encapsulate this kind of story. Australia in the 70’s and 80’s, especially on men, is really similar to the silhouette in the 1870’s. It's taking a favourite period in Australian music, and art, and fashion and combining it with the 1870’s and seeing where that sweet spot hit. That whole kind of era becomes a massive influence for the gang. You can look at them and go it’s just a punch of skaters or it’s just a young kind of punk band just starting out. All of the references are of a particular period of Australian music and art, that's extremely exciting and fortunately the four of them are really attracted to those references There's a timelessness in Peter Carey’s novel as being the attraction to the story but also the springboard for not just the visual and character references, but the wider themes that can be explored in "True History Of The Kelly Gang". The novel is the quintessential take on the overgrown myth that Ned Kelly is to this country. It’s brutal. It’s visceral. There’s kind of a darkness in the violence to it but there’s also a very strong emotional through-line that’s really clear in the book, between that journey from boy to man. Ned’s been very much portrayed in the past as a hero, and the film is interested in characters on the wrong side of the law in terms of how they got there and why. A huge part of this film is about what's true and what's not and your history and your story and what you've done in your life can be easily stolen from you and recreated. The film shows Kelly as he was in this story, both the good and the bad, and let others decide. Some people will still call him a hero, and some people will still call him a cop killer, and that’s not for us to say. You don’t really know what’s said between those walls, between those men, so you've to invent. There's been a lot in the media about terrorism and people being persecuted because of their culture and their background; where they’re from. And when you put up with that persecution long enough, you decide that that’s enough and you decide to burn the world. On the flip side of the relevance to the current world, the film points to the danger of viewing characters with today’s societal worldview.