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Wildlife anatomy has been preserved for thousands of years, and the film outlines the evolution of Walker's profession from cave drawings onward. It also explores his remarkable knowledge of anatomy. And this isn't the first time he has recreated an animal that doesn't exist anymore, as previous prize-winning projects include a sabre-tooth tiger and an Irish elk, plus his first championship win with a hyper-realistic giant panda. Everyone agrees that Walker has an extraordinary eye for creating animals that seem to be alive.

This is fiendishly enjoyable documentary that, with several amusing touches, takes the viewer on a tour of an elaborate subculture that has been on the wrong end of stereotyping. Along the way it explores how the urban-rural divide threatens the wilderness. And it also digs in to the myth of the sasquatch, including fossil records, first-hand accounts (there have been some 3,500 reported sightings), and the prized bag of bigfoot scat Walker guards in his freezer. Indeed, it's Walker's passion for life that wins us over.

some themes

10.Aug.20

President Carter and his team tried to use diplomacy to resolve the situation peacefully, getting personally involved in negotiations with Iran as well as contact with the hostages' families. He didn't care about making America look strong; he just wanted the Americans returned home safely. Journalist Koppel still criticises this approach as playing a weak hand. And the Delta Force commanders planned an elaborate secret rescue mission, which the team rehearsed in detail. But of course it didn't go to plan, and what went wrong is recounted in nerve-jangling detail.

For this doc, each point is backed up by photographs and archival footage, plus some vivid animated recreations, all narrated by the people who were right there, including the hostages, political advisers, rescue team members and the captors themselves, who speak about being students at the time, demanded that US stop interfering in Iran. The also recal that, after making some horrific threats, they began to see the captives as guests and even friends. Meanwhile in the US, a bitter presidential campaign complicated everything.

Kopple's approach is so thorough that the film often takes the breath away. The range of interviewees alone makes it worth a look, as they recount personal anecdotes and perceptions. These are augmented by a terrific collection of film and video footage, edited together into an involving chronology. This intensely personal approach, combined with some harrowing unseen footage, gives the film a strong kick of resonance.

themes, violence

13.Aug.20

Lokken talks about the freedom of acting without clothing, because it's all yourself. Grier laughs about her popular series of women-in-prison movies. Blair speaks of feeling violated by script changes on the set of Chained Heat (1983). But while mainstream actresses like Julie Andrews and Jamie Lee Curtis have done nudity, very few male actors have the nerve. This double standard is touched on, but never unpicked. Which gives the film a distinct male gaze, spending more time to how studios require actresses to get naked but are uncomfortable with naked men.

Balancing the male/female clips would easily cut down this film's extended running time. But it takes a remarkably straightforward, educational approach, never winking at the skin on display. The array of people discussing scenes and genres highlights the contrast between integral and gratuitous nudity (Mitchell says it's about empathy). And because it tackles bigger issues, the film becomes properly provocative in what it says both about what audiences want to see and who's making the decisions behind the cameras.

themes, language, sexuality, violence

19.Aug.20