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Wednesday, April 21, 2010
Sunday, February 15, 2009
113226: 'The Reader' and Foregiveness
There is some public outcry over the allegedly exculpatory underpinnings of the film The Reader.
For my part, I think The Reader is an important work that sparks much needed reflection and debate.
My father, David Peres, was born in Thessaloniki, Greece on January 10th, 1916 - in the middle of WWI - and died in the Fall of 2004. He was a survivor of Birkenau/Auswitz, and a brave and lucky man who emerged victorious over adversity and ignorance because he maintained a positive and forgiving attitude throughout his entire life .
113226 was the number a cruel son of a bitch punctured into the flesh of my father's left forearm in April 1942 on Passover night. 113226, a number that bears existential witness to the barbaric reality and mind numbing cruelty of the holocaust, tatooed on David by a prison guard, a real life male counterpart to the fictional Reader's Hannah, an actual guard at Birkenau/Auswitz who processed victims with painful and unsanitary efficiency. This guard left my Sephardic Jewish/Greek daddy, the sole survivor of a large extended family that had thrived for centuries in Salonika, a northern Greek port city, tatooed for life with the evidence that that sick and dangerous Holocaust denying Catholic bishop was looking for the other week.
113226 made palpable a child's confusion over how people might behave in this incomprehensible way towards other living, breathing human beings. Of course, I still haven't sorted that out yet, emotionally, that is. Intellectually, I've always accepted my father's explanation:
"Esther, they picked the stupidest and cruelist people to work the Camps. A normal person doesn't make it through whole; you go meshuga and the guards, they thought of us like rats, no, even less than animals. The guards were brainwashed and stupid. The lowest of the low."
For me, Hannah's behavior with her 15 year old lover is consistent with her work history and consistent with my father's assessment of her ilk. She is a cold, cut off and ignorant woman. As much as the film is about Germany's terrible cultural inheritance and the effects of the Holocaust on the German psyche, it represented more to me. The film gave me with the opportunity to let go of my hatred and anger over what happened to my family, and in some sense, to let go of my anger at the Hannahs of the world, for my own sake, for my own mental health. (This will be an ongoing process for me in any case.) So yes, I like this film for that reason alone. I don't feel that it let the Germans off the hook in any way. Yes, at the end of the film, the average person will feel more sympathy for 'poor' Hannah than they might for that rich, haughty New York Jew and perhaps that's unfortunate. Perhaps the novel, or the screenwriters might have chosen an elderly haunted grandmother living in a cramped Queens row house to represent Jewish victimhood but that would have been a manipulation of another sort.
All in all, I was positively moved by this film, and I believe that the debate it has sparked is a positive contribution to Holocaust history.
The filmmakers printed this statement today which fairly well sums up the issue:
NEW YORK, NY - (February 20, 2009) The following is a joint statement from Stephen Daldry, Donna Gigliotti, David Hare and Harvey Weinstein, who condemn the fringe criticism of THE READER:
We are proud of THE READER and everyone who made this film. It is outrageous and insulting that people have called it a "Holocaust denial film." While entitled to their opinion, these allegations are fueled by ignorance and a misunderstanding of the material, and are based on unsubstantiated arguments. The greatest films elicit great debate and conversation. Unfortunately, the recent attacks on THE READER have generated debates, not about the substance of the film, but about what people believe to be the intent of the filmmakers. To take a piece of art that was constructed with the hard work of many talented people and turn it into propaganda is plain ignorant. No one is suggesting that THE READER must be beloved by everyone. On the contrary, there is always room for criticism. If one does not like the film that is one matter; but to project one's personal bias on the filmmaker's objective is wrong and something we could no longer remain silent about.THE READER is a film about how a generation of Germans lived in the shadow of one of the greatest crimes of the 20th century. Some detractors of the film have said that it is a piece of Holocaust revisionism; however Holocaust survivors, children of Holocaust survivors and a Nobel Peace Prize winner feel differently.
Elie Wiesel, a Holocaust survivor and Nobel Peace Prize winner, has praised, THE READER as "a film that deals powerfully with Germany's reconciliation with its past." He said that "it is not about the Holocaust; it is about what Germany did to itself and its future generations." He called it "a faithful adaptation of an important book, that is still relevant today as genocide continues to be practiced around the world."Abe Foxman, the ADL National Director and a Holocaust survivor agrees with Mr. Wiesel. "As we move further away from the Holocaust we must continue to tell the story of the Shoah in ways that will reach and touch new generations. The Reader, which takes place in post-WWII Germany, clearly portrays the horrors of the Holocaust, not visually but intellectually and emotionally. There is no doubt to what Kate Winslet's character, Hannah Schmitz, did during the war. Her guilt is given. At her trial her crimes are portrayed in detail and she is brought to justice for them. The Reader is not meant to be a factual re-telling of the Holocaust; for that we have documentaries. Rather it is about guilt and responsibility that is as important for our times as it was for post-war Germans."
Unfortunately we live in a world where Holocaust denial still exists. Just a few weeks ago, the Vatican made headlines when the Pope lifted the excommunication of a Catholic Bishop who made statements denying the full extent of the Holocaust. In today's world, with the recent genocides in Darfur, Cambodia, Rwanda and Bosnia, there are enough signs that bigotry still exists to an alarming degree. Denial and revisionist history of some of the greatest atrocities of our time can only lead to further violence and horrors.
THE READER is a film that has sparked controversy and it is not something we are shying away from. In this day and age we need healthy debate but what some have written is mudslinging at its worst and we think it is time to rise above it.
For my part, I think The Reader is an important work that sparks much needed reflection and debate.
My father, David Peres, was born in Thessaloniki, Greece on January 10th, 1916 - in the middle of WWI - and died in the Fall of 2004. He was a survivor of Birkenau/Auswitz, and a brave and lucky man who emerged victorious over adversity and ignorance because he maintained a positive and forgiving attitude throughout his entire life .
113226 was the number a cruel son of a bitch punctured into the flesh of my father's left forearm in April 1942 on Passover night. 113226, a number that bears existential witness to the barbaric reality and mind numbing cruelty of the holocaust, tatooed on David by a prison guard, a real life male counterpart to the fictional Reader's Hannah, an actual guard at Birkenau/Auswitz who processed victims with painful and unsanitary efficiency. This guard left my Sephardic Jewish/Greek daddy, the sole survivor of a large extended family that had thrived for centuries in Salonika, a northern Greek port city, tatooed for life with the evidence that that sick and dangerous Holocaust denying Catholic bishop was looking for the other week.
113226 made palpable a child's confusion over how people might behave in this incomprehensible way towards other living, breathing human beings. Of course, I still haven't sorted that out yet, emotionally, that is. Intellectually, I've always accepted my father's explanation:
"Esther, they picked the stupidest and cruelist people to work the Camps. A normal person doesn't make it through whole; you go meshuga and the guards, they thought of us like rats, no, even less than animals. The guards were brainwashed and stupid. The lowest of the low."
For me, Hannah's behavior with her 15 year old lover is consistent with her work history and consistent with my father's assessment of her ilk. She is a cold, cut off and ignorant woman. As much as the film is about Germany's terrible cultural inheritance and the effects of the Holocaust on the German psyche, it represented more to me. The film gave me with the opportunity to let go of my hatred and anger over what happened to my family, and in some sense, to let go of my anger at the Hannahs of the world, for my own sake, for my own mental health. (This will be an ongoing process for me in any case.) So yes, I like this film for that reason alone. I don't feel that it let the Germans off the hook in any way. Yes, at the end of the film, the average person will feel more sympathy for 'poor' Hannah than they might for that rich, haughty New York Jew and perhaps that's unfortunate. Perhaps the novel, or the screenwriters might have chosen an elderly haunted grandmother living in a cramped Queens row house to represent Jewish victimhood but that would have been a manipulation of another sort.
All in all, I was positively moved by this film, and I believe that the debate it has sparked is a positive contribution to Holocaust history.
The filmmakers printed this statement today which fairly well sums up the issue:
NEW YORK, NY - (February 20, 2009) The following is a joint statement from Stephen Daldry, Donna Gigliotti, David Hare and Harvey Weinstein, who condemn the fringe criticism of THE READER:
We are proud of THE READER and everyone who made this film. It is outrageous and insulting that people have called it a "Holocaust denial film." While entitled to their opinion, these allegations are fueled by ignorance and a misunderstanding of the material, and are based on unsubstantiated arguments. The greatest films elicit great debate and conversation. Unfortunately, the recent attacks on THE READER have generated debates, not about the substance of the film, but about what people believe to be the intent of the filmmakers. To take a piece of art that was constructed with the hard work of many talented people and turn it into propaganda is plain ignorant. No one is suggesting that THE READER must be beloved by everyone. On the contrary, there is always room for criticism. If one does not like the film that is one matter; but to project one's personal bias on the filmmaker's objective is wrong and something we could no longer remain silent about.THE READER is a film about how a generation of Germans lived in the shadow of one of the greatest crimes of the 20th century. Some detractors of the film have said that it is a piece of Holocaust revisionism; however Holocaust survivors, children of Holocaust survivors and a Nobel Peace Prize winner feel differently.
Elie Wiesel, a Holocaust survivor and Nobel Peace Prize winner, has praised, THE READER as "a film that deals powerfully with Germany's reconciliation with its past." He said that "it is not about the Holocaust; it is about what Germany did to itself and its future generations." He called it "a faithful adaptation of an important book, that is still relevant today as genocide continues to be practiced around the world."Abe Foxman, the ADL National Director and a Holocaust survivor agrees with Mr. Wiesel. "As we move further away from the Holocaust we must continue to tell the story of the Shoah in ways that will reach and touch new generations. The Reader, which takes place in post-WWII Germany, clearly portrays the horrors of the Holocaust, not visually but intellectually and emotionally. There is no doubt to what Kate Winslet's character, Hannah Schmitz, did during the war. Her guilt is given. At her trial her crimes are portrayed in detail and she is brought to justice for them. The Reader is not meant to be a factual re-telling of the Holocaust; for that we have documentaries. Rather it is about guilt and responsibility that is as important for our times as it was for post-war Germans."
Unfortunately we live in a world where Holocaust denial still exists. Just a few weeks ago, the Vatican made headlines when the Pope lifted the excommunication of a Catholic Bishop who made statements denying the full extent of the Holocaust. In today's world, with the recent genocides in Darfur, Cambodia, Rwanda and Bosnia, there are enough signs that bigotry still exists to an alarming degree. Denial and revisionist history of some of the greatest atrocities of our time can only lead to further violence and horrors.
THE READER is a film that has sparked controversy and it is not something we are shying away from. In this day and age we need healthy debate but what some have written is mudslinging at its worst and we think it is time to rise above it.
Wednesday, January 14, 2009
My films Come as Your Mother and Woman Vs. Machine
Will be posted on free sites shortly. Look for them. I will make links available as soon as they are up.
Thursday, July 3, 2008
11:11 in a meaningless world
If you've seen my short 35mm film, 11:11, perhaps you suspect I believe we live in a meaningless universe. Although I sense and often experience the extraordinary magic of the universe, I don't believe that flawed homo sapiens hold any special place or worth along the spiritual food chain of existence. The Hobbesian view of life as nasty, brutish and short, has been the norm for most creatures, human or otherwise, during our rather short evolutionary history on planet Earth. No matter how evolved some people may become, there will always be enough backwards, spiritually sick, greedy and horrible individuals happy to make other people's lives a living hell through neglect, antipathy or malice. Someday, perhaps we can repair the human heart and create a world of plenty where all maladies are cured. But for now, here we are, making up stories about God, miracles, angels and the devil, because all we have are our own insecurities, fears and ghoulish nightmares. We come up with all sorts of ridiculous belief systems. We pray for order and sense. We want answers but life only presents us with more questions, more uncertainty, more disease, more death. We make up as many reassuring bedtime stories as we can swallow to assuage the horrible knawing fear that we are all dying and nothing really matters in the end. Well, yes, at bottom, life is meaningless but that doesn't mean your life has to be meaningless.
For a lot of people 11:11 has some sort of personal or spiritual meaning. Of course, even though there is much in new age philosophy that I find completely ridiculous, I pass no judgment on people of faith. Who knows what dimensions or realities lurk beneath our commonplace awareness. I know back in the 90's some sort of 11:11 portal was supposed to open up and something big was supposed to happen. Don't think it did. Don't think it ever will. But that's me. I chose 11:11 as a title partly to lampoon that new age phenomenon of signs and predictions and partly just because it's a palindrome. So don't expect 11:11 to be a new agey film. It's biting satire. It's sexy and silly and fun.
For Otto, 11:11 is 'lucky time' but any meaning he finds is illusory and self-manufactured.
I believe human beings create meaning from what is otherwise a meaningless universe. But meaning itself must be grounded in authentic connection between yourself and members of your community or family. Everything else is make believe or worse, delusion. Find connection, not based on what someone can do for you, but grounded on selfless action. Then, somehow, you will be counted along the continuum of consciousness that binds us all together as creatures of light and purpose. Remain a narcissist and face depression, meaninglessness, and the void. Just ask Woody Allen. Hell, if you're only here to serve yourself, you may as well be going backwards. At least, that could be what I might be implying. Of course I love Woody's early films, and his latest, Vicky Christina Barcelona. But I digress...
If you end up reading more posts (and you'd be the only one on the planet ; ), you'll find more about the technical aspects of our film and less of my moralizing, because, when it comes down to it, I hate moralizing more than anything. Especially when government or church officials are doing it. 'Hypocrisy is the greatest luxury.' Who gives a damn what I say about this film, after all, it's up to you whether you groove with it or not, or as I like to say, our next movie will be even better.
For a lot of people 11:11 has some sort of personal or spiritual meaning. Of course, even though there is much in new age philosophy that I find completely ridiculous, I pass no judgment on people of faith. Who knows what dimensions or realities lurk beneath our commonplace awareness. I know back in the 90's some sort of 11:11 portal was supposed to open up and something big was supposed to happen. Don't think it did. Don't think it ever will. But that's me. I chose 11:11 as a title partly to lampoon that new age phenomenon of signs and predictions and partly just because it's a palindrome. So don't expect 11:11 to be a new agey film. It's biting satire. It's sexy and silly and fun.
For Otto, 11:11 is 'lucky time' but any meaning he finds is illusory and self-manufactured.
I believe human beings create meaning from what is otherwise a meaningless universe. But meaning itself must be grounded in authentic connection between yourself and members of your community or family. Everything else is make believe or worse, delusion. Find connection, not based on what someone can do for you, but grounded on selfless action. Then, somehow, you will be counted along the continuum of consciousness that binds us all together as creatures of light and purpose. Remain a narcissist and face depression, meaninglessness, and the void. Just ask Woody Allen. Hell, if you're only here to serve yourself, you may as well be going backwards. At least, that could be what I might be implying. Of course I love Woody's early films, and his latest, Vicky Christina Barcelona. But I digress...
If you end up reading more posts (and you'd be the only one on the planet ; ), you'll find more about the technical aspects of our film and less of my moralizing, because, when it comes down to it, I hate moralizing more than anything. Especially when government or church officials are doing it. 'Hypocrisy is the greatest luxury.' Who gives a damn what I say about this film, after all, it's up to you whether you groove with it or not, or as I like to say, our next movie will be even better.
Sunday, November 4, 2007
Mostly Technical Info on the Making of 11:11
Since I like to start at the tale end of narratives, I'll discuss the sound design in 11:11 first, because in the end, it's the crucial element that makes the whole movie work.
Backwards imagery has universal appeal but reversing sound creates aural fatigue in the listener. Not only that, the presence of sound before an event takes the viewer right out of a story. It reverses that old standby, cause and effect, and belies the impossibility of a backwards universe. Getting the soundtrack to work was going to be the biggest challenge, that is, after successfully completing the script.
Since I took on film's own idioms when I decided to write, direct and edit 11:11, every part of the process had inherent difficulty so it was just another problem to be solved.
I made the decision early on that 11:11 should have a forwards score that included some backwards elements in the music. Eckart Seeber, the movie’s talented composer, did a great job with the score. In fact, if one listens to the totality of 11:11's soundtrack, it is, in some ways, a conventional sounding film—if you can get past the weird language. This treatment of sound is the movie’s biggest cheat. And probably the one element that made the movie bearable to listen to and believable as an alternate universe. In addition to the forwards music score, production sound effects were minimized to begin with, first by shooting in a controlled atmosphere. Then any production sound effects were stripped away and replaced with manipulated (foleyed) sound effects by my genius sound designer, Paul Ottosson. His biggest feat was taking backwards dialogue and minimizing the satanic slur that always accompanies the end of a word when it is reversed, a result of normal speech and breathing patterns.
I won’t bore you with too many post-production stories, but suffice it to say, I provided Paul Ottosson - a genius sound designer, with an OMF of the cut dialogue tracks. By the way, creating original backwards sound takes in the AVID and laying them off to DAT and then re-inputting them into the AVID for syncing was the most tedious part of the whole process. Obviously, since we shot the film backwards with reversing mags, no syncing happened in telecine. But we did get a frantic late night call from a telecine operator telling us all our film was running backwards. My response to him: “Great. That’s how it should be.” By the way, since I did my own assistant editing I want to single out Gretchen Hatz, our second assistant camera, who tail slated every single take religiously during the shoot.
Concerning the shooting of the film, it's true that we shot the film through the camera’s gate backwards. As the film editor and screenwriter of the film, it was important to me that every take loaded into the AVID appeared in the right order, reflecting the action in the screenplay.
To this end, I created a shooting script, which reflected how the actors really performed the screenplay, in real time, or forwards. We ended up shooting 28 scenes for 11:11, so page one of the shooting script starts with scene 28.
I ended up having to number the shooting script for the 1st AD, not to dimish her contribution or participation as Melissa Barnes is a great 1st AD in every way. Just that after talking with her for a bit, I realized the screenplay/shooting script relationship would be more efficiently mined from my head and that once she had a template for what we would really be shooting, as is generally the course, we would be all set. And we were. We planned all our shots and transitions. Our DP (Best Cinematography in a Short Film at the Boston International Film Festival in 2006) was (and is) amazing and brilliant so that made all the difference when it came to editing. It also made for a small shooting ratio. Also, I knew when the actors and crew had nailed the take backwards. Afshin Shahidi (DP) really got what I was doing, and we were able to collaborate seamlessly.The best cinematography award belongs to Afshin even though the festival felt that it belonged to the film and therefore to its chief architect. Thank you Afshin.
Regarding the actors. I de-emphasized the technical aspects of what we were doing as I wanted Mataji Booker (also Matagi) and Doug Bennett to stay focused on their craft , rather than worrying over whether what they were doing was working backwards. Mataji has some real 'acting chops' as my producer Harve Cook said after we wrapped. It bears mentioning that everyone is witnessing Mataji's first few days in front of a movie camera when they watch 11:11. And she does a great job. Mataji Booker has since evolved into a very talented singer song writer as well, so check her out on myspace.
Of course, Doug Bennett is a consummate professional, and Mataji’s background as a dancer really pays off visually. 'Great casting' -- as Bill Bob Thornton remarked -- a strong concept, and the technical expertise to pull it off from start to finish was the basic recipe.
Hats off to the cast and crew involved. I wish to meet again on the playground.
Backwards imagery has universal appeal but reversing sound creates aural fatigue in the listener. Not only that, the presence of sound before an event takes the viewer right out of a story. It reverses that old standby, cause and effect, and belies the impossibility of a backwards universe. Getting the soundtrack to work was going to be the biggest challenge, that is, after successfully completing the script.
Since I took on film's own idioms when I decided to write, direct and edit 11:11, every part of the process had inherent difficulty so it was just another problem to be solved.
I made the decision early on that 11:11 should have a forwards score that included some backwards elements in the music. Eckart Seeber, the movie’s talented composer, did a great job with the score. In fact, if one listens to the totality of 11:11's soundtrack, it is, in some ways, a conventional sounding film—if you can get past the weird language. This treatment of sound is the movie’s biggest cheat. And probably the one element that made the movie bearable to listen to and believable as an alternate universe. In addition to the forwards music score, production sound effects were minimized to begin with, first by shooting in a controlled atmosphere. Then any production sound effects were stripped away and replaced with manipulated (foleyed) sound effects by my genius sound designer, Paul Ottosson. His biggest feat was taking backwards dialogue and minimizing the satanic slur that always accompanies the end of a word when it is reversed, a result of normal speech and breathing patterns.
I won’t bore you with too many post-production stories, but suffice it to say, I provided Paul Ottosson - a genius sound designer, with an OMF of the cut dialogue tracks. By the way, creating original backwards sound takes in the AVID and laying them off to DAT and then re-inputting them into the AVID for syncing was the most tedious part of the whole process. Obviously, since we shot the film backwards with reversing mags, no syncing happened in telecine. But we did get a frantic late night call from a telecine operator telling us all our film was running backwards. My response to him: “Great. That’s how it should be.” By the way, since I did my own assistant editing I want to single out Gretchen Hatz, our second assistant camera, who tail slated every single take religiously during the shoot.
Concerning the shooting of the film, it's true that we shot the film through the camera’s gate backwards. As the film editor and screenwriter of the film, it was important to me that every take loaded into the AVID appeared in the right order, reflecting the action in the screenplay.
To this end, I created a shooting script, which reflected how the actors really performed the screenplay, in real time, or forwards. We ended up shooting 28 scenes for 11:11, so page one of the shooting script starts with scene 28.
I ended up having to number the shooting script for the 1st AD, not to dimish her contribution or participation as Melissa Barnes is a great 1st AD in every way. Just that after talking with her for a bit, I realized the screenplay/shooting script relationship would be more efficiently mined from my head and that once she had a template for what we would really be shooting, as is generally the course, we would be all set. And we were. We planned all our shots and transitions. Our DP (Best Cinematography in a Short Film at the Boston International Film Festival in 2006) was (and is) amazing and brilliant so that made all the difference when it came to editing. It also made for a small shooting ratio. Also, I knew when the actors and crew had nailed the take backwards. Afshin Shahidi (DP) really got what I was doing, and we were able to collaborate seamlessly.The best cinematography award belongs to Afshin even though the festival felt that it belonged to the film and therefore to its chief architect. Thank you Afshin.
Regarding the actors. I de-emphasized the technical aspects of what we were doing as I wanted Mataji Booker (also Matagi) and Doug Bennett to stay focused on their craft , rather than worrying over whether what they were doing was working backwards. Mataji has some real 'acting chops' as my producer Harve Cook said after we wrapped. It bears mentioning that everyone is witnessing Mataji's first few days in front of a movie camera when they watch 11:11. And she does a great job. Mataji Booker has since evolved into a very talented singer song writer as well, so check her out on myspace.
Of course, Doug Bennett is a consummate professional, and Mataji’s background as a dancer really pays off visually. 'Great casting' -- as Bill Bob Thornton remarked -- a strong concept, and the technical expertise to pull it off from start to finish was the basic recipe.
Hats off to the cast and crew involved. I wish to meet again on the playground.
Thursday, November 1, 2007
Jaman
New developments in the distribution of the film. It is going up on more sites. Jaman.com for one. Soon the film will be available as a loop. So viewers can watch the film in both directions. Keep an eye out for it as it allows one to really enjoy Doug Bennett's performance. He is great in all directions but is especially funny forwards.
Monday, August 27, 2007
Every download helps pay for the next film
Raising money for my trippy, sexy (almost entirely forwards) ultra-violet, heat radiating, blood pumping film starring 3 multi ethnic girls attending a prestigous women’s college twenty minutes outside of Boston. Not wanting to give away too much... it's like no other coming of age sex comedy you’ve ever seen.
Every dollar helps get it made. Having you as my numerous patrons and potential audience is a real gift because it allows me creative freedom. I'm raising funds with no pre-packaged agenda attached save my own 'bizarre' one, apparently. By the way, if there really is someone out there reading or watching, I get down on my knees before you and kiss your feet or is that pandering!?
So download 11:11 so you can help me make a film that will reclaim the sexual revolution, reclaim the body from the distorting effects of religion and society and at the very least, you could have an original film watching experience and you can tell your friends you helped the new film happen when you are sitting in the theater a few years from now, watching sexy girls explode with sexual energy, but it's still a date movie.
Anyway, lots of sites have the movie from jaman.com to bside.com. Just do a search on Esther Peres and that should get you to links for the backwards movie, 11:11. Make sure you see it forwards too.
Onwards to the next film.
Every dollar helps get it made. Having you as my numerous patrons and potential audience is a real gift because it allows me creative freedom. I'm raising funds with no pre-packaged agenda attached save my own 'bizarre' one, apparently. By the way, if there really is someone out there reading or watching, I get down on my knees before you and kiss your feet or is that pandering!?
So download 11:11 so you can help me make a film that will reclaim the sexual revolution, reclaim the body from the distorting effects of religion and society and at the very least, you could have an original film watching experience and you can tell your friends you helped the new film happen when you are sitting in the theater a few years from now, watching sexy girls explode with sexual energy, but it's still a date movie.
Anyway, lots of sites have the movie from jaman.com to bside.com. Just do a search on Esther Peres and that should get you to links for the backwards movie, 11:11. Make sure you see it forwards too.
Onwards to the next film.
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