Top 5 Records of The Decade

This past decade was the digital revolution. At the beginning of the "aughties", I used to buy CDs and within a few years into the decade, I started using MP3s, exclusively. I can't remember the last CD I bought for myself. (Wait, I do! Slowreader's Self-Titled record on Fueled By Ramen. Awesome Record!! A true gem!) With the emergence of iPods and broadband internet, buying physical media has been dying out for years.

As I wrote yesterday, "The decade started off with sounds that were so simple and melodies so uninvolved that throughout the years, the sound just got more and more complex." I may have made this statement in haste. My #5 pick for the decade is far from simple. I think this comment pertains more to my #1 pick, if anything. Plus, I think I meant to say that 2009 was a year that saw the melding of many genres into one. If there could be a word that could sum up 2009, I would think it would be "pastiche". But I digress... Yesterday, I listed my Top 5 records of 2009 and as promised, I present my Top 5 records of the decade.

5) In Rainbows (2008) by Radiohead
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"Kid A" or "In Rainbows"? This was a tough decision but I feel I made the right one. Don't get me wrong, I love "Kid A". I wore that shit out in 2000. But I ultimately decided on "In Rainbows" as a better record. Radiohead released "Kid A" at the beginning of the decade and it's interesting to see how Radiohead fits in the "aughties". Their next release was "Hail To The Thief" which was a return to form, of sorts. It took that sound from "Kid A" and broke it down back to their sound from "Pablo Honey" or "OK Computer". "Hail To The Thief" was considered a failure or a step back for the band. Then we didn't hear anything from Radiohead for nearly 5 years. Then in 2008, they gave us "In Rainbows". Some would say, a return to form, a natural progression or the next step. But I see it as the perfect fit. Blending their sounds from each previous album and building upon them to create this one.

But not just the sound of the record is why it's important to the decade but how it was delivered. "In Rainbows" was released on Radiohead's official website months before it was released in stores. But not only was it early, it was free! Or at least to most it was free. Radiohead made a fantastic record and put a tip jar next to it. They came up with a model where fans could name their own price. If you wanted to pay $10 for it, you could, if you wanted to pay $20 for it, you could, or if you wanted to pay nothing for it, well then you could do that too. This was a success for the band and later that year we saw other artist like Nine Inch Nails and Madonna following suit. Could this be the future of music delivery?

Also the band released the single "Nude" as 5 different versions. They released versions with each individual track with just its instrumentation. They did this so their fans could remix their own version of the song. The internet exploded with an enormous amount of remixed versions of "Nude". Radiohead continues to take advantage of all the tools of the internet and their loyal die hard fan base.



4) Funeral (2004) by Arcade Fire
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Arcade Fire's debut record on Merge Records singlehandedly saved the record label from going out of business (arguably). (Well, this record and Neutral Milk Hotel's "In The Aeroplane Over The Sea" are the 2 best selling records in Merge's history) When this album was released in 2004, it quickly became the Indie scene's best kept secret, and I do content that this record brought indie rock into the mainstream. Not only did it bring Arcade Fire into the national spotlight but it brought the Indie Canadian scene to the attention of many record companies. In the middle of the decade, practically every popular Indie Rock band came out of Canada (Montreal, namely). With its infectious, drumbeat and scream out loud chorus and piercing strings made every dance floor and college dorm room a breeding ground for smiles and cheers.

The way this record plays, track after track is just so haunting and blissful at the same time. Most songs starting off slow and somber but then breaking away into a frenzy of percussion and strings like as if to break conventional song writing and performance. And still to this day, songs like "Wake Up" are used to illustrate the feeling of pure joy and at times, isolation. (see Spike Jonze's Where The Wild Things Are trailer below.)



This record is very special to me. This was my soundtrack when I first moved to Chicago in 2005. I can't listen to it with out thinking of the Windy City. My first show in Chicago was the Arcade Fire at the Riveria Theater (Is that place still around?). This is also how I started my bond with my dear Borders co-workers. My time in Chicago would have been horrible if it wasn't for them. Goddamn! I do miss Chicago.

This record is a landmark in Indie Rock in the 2000s. A must for any hipster or anyone really. It's that good!



3) Stankonia (2000) by Outkast
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Before they entered the ring for song of the decade with "Hey Ya!" and (obviously) before they release their wildly popular and mainstream record "Speakerboxxx/The Love Below", Outkast released this turn of the century gem. It melds so many genres from funk to rock, disco to soul, techno to jazz. They do this so effortlessly and with such ease and it still remains their edgiest record to date. Full of sex and political sentiment, it is brimming with feelings of youth and energy.

This record will always remind me of going on tour with a local Cleveland Punk/Emo band, The Interns. I set out on an east coast tour with them in 2001. This was our soundtrack (along with Saves The Day's Stay What You Are and The Stereo's Three Hundred). It reminds me of endless driving on endless roads. With the youth and energy we had it seemed fitting. This record is something that I will always love "forever ever....forever ever?....yes, FOREVER."



2) Yankee Hotel Foxtrot (2002) by Wilco
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At first this is a very unassuming record. But then you let it sink in after a few listens. You realize that the things that make this record great are in the details. The details are so intricate and exact, that to take one piece away would make the whole house of cards fall. So much effort has gone into this record and it shows. It masterfully melds electronic percussion with alt. country roots with very creative production design. But when it comes down to it, it's all these sounds and mixes so well with Jeff Tweedy's simple guitar chords progressions and eloquent word play.

One of my favorite songs on this record, "Ashes of American Flags", which harkens to this idea of the lost American dream. "All my lies were only wishes..." This is eerie because of the seminal event that happened only months before its release, September 11th. Even the album cover of the Marina Towers in Chicago resemble the World Trade Center Twin Towers in New York City.

But the reason why this record is regarded so highly, is all in the documentary "I Am Trying To Break Your Heart". This film is about the process of making this record and the battle over it with Wilco's old record label, Warner Bros. It capture the essence and joy of this record, along with the end of Wilco's relationship with one of its primary founders, the late Jay Bennett. This is a must watch and a wonderful supplement to this great record.



1) Is This It (2001) by The Strokes
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For the past few weeks, I've been getting a lot of shit from a number of people after they hear what my #1 record of the decade is (it's all in good fun). I can see why, who the hell really likes The Strokes this much to put them on the top of a list. Their songs are so simple and easy. Julian Casablancas mumbles his way through these songs in such a half-assed manner. Well, you're right! But in a broader sense, you're wrong. "Is This It" started a revolution and a decade of great music.

The stripped down sound and simple drumbeats bring back the essence of Rock N' Roll. This record is pure sex! This record is youth! What Outkast did for hip-hop with "Stankonia" by building and mashing the sounds up, The Strokes did for Rock N' Roll by tearing it down to its core. The record is a wild ride of women, liquor and drugs. "Is This It" is not a question but rather a statement. A statement The Strokes have made on music. Its brash and cocky and I love every minute of it!!



This record also paved the way from many, many New York hipster bands like the Yeah Yeah Yeahs, Interpol and The Rapture. The Strokes made New York City cool again. Boy Bands and Rap Metal were no longer the convention. That party was over. And thank God! Rock N' Roll was back in a big way and this record set the tone for the next 10 years!



Honorable Mention:

Give Up by Postal Service
Lie Down In The Light by Bonnie "Prince" Billy
College Dropout by Kanye West
For Emma, Forever Ago by Bon Iver
White Blood Cells by The White Stripes
XO by Elliott Smith
Oracular Spectacular by MGMT
O by Damien Rice
Return To Cookie Mountain by TV On The Radio
Chutes Too Narrow by The Shins
Arular by M.I.A.
Veckatimest by Grizzly Bear
Turn On The Bright Lights by Interpol

Top 5 Records of 2009

With the end of the year almost upon us, I've been looking back and thinking about my favorite records of 2009. This has been a wonderful year in music. Plus living in Brooklyn, New York has kind of spoiled me to what a great music scene can offer. So please excuse me if most of my picks are Brooklyn based. Looking back at the past 10 years in music has led up to this final year in the decade. The emergence of indie rock and folk in the mainstream was unheard of 10 years ago. The decade started off with sounds that were so simple and melodies so uninvolved that throughout the years, the sound just got more and more complex. Tomorrow, I will share my list for my Top 5 records of the decade but before I do that, I present to you my top 5 records of 2009. The sound that reaped the benefits of those past salad days.

5) Wolfgang Amadeus Phoenix by Phoenix
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This record is my favorite record from Phoenix! They really hit it huge with this one! It's so fun and joyous, I defy anyone not to smile or dance around their apartment when this record is playing. Songs like "Lisztomania" and "1901" are one that will get you off your seat. This past summer was my first summer in Brooklyn and this record was one the soundtracks to it. Practically every bar I went to this summer was playing this record. Phoenix reached a new height by creating one of the best pop albums of the year.



4) Actor by St. Vincent
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Actor is a wonderful record and a natural progression from St. Vincent's previous record, Marry Me. The record sets out to create a certain tone and mood from the opening track, "The Strangers". The record is full of wonderful textures but at the same time it feels clean. You can feel practically every nuance she tries to create. Wonderfully structured and paced, this record is one to fall in love with. It is immaculate!



3) Bitte Orca by Dirty Projectors
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This band is hard to define, and with this record they come close to a definition that everyone can understand and enjoy. Bitte Orca is a rich experiment of guitars and vocals. The exacting guitar lead and sweet melodic vocals makes this record worth listening to. Lead singer and guitarist Dave Longstreth seems to be channeling David Byrne and The Talking Heads. This record is just so sweeping and you just can't help but be taken away by the layers and textures of their sound. If you've ever heard the song "Stillness Is The Move" then you'll understand the complexities that come with the Brooklyn based experimental indie band. It's one part almost hip-hop, one part doo-wop and one part Jimmy Page-esque guitars in an exciting blend of sound.



2) Merriweather Post Pavilion by Animal Collective
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This record came out very early in 2009. In January I believe. So it's hard to believe that I've spent a whole year talking about and listening to this record. From the moment I heard how haunting and hypnotic the opening track played, I knew this was going to be a special experience. It's so full of breathtaking vocals and harmonies that were somewhat influenced by The Beach Boys. Animal Collective impressed a lot of music lovers and critics alike with their sound. And talk about creating a mood, Animal Collective doesn't let you go as soon as you press play on your... what do kids use to listen to music these days? Oh yes, iPods. With their dizzying tones and mesmerizing sound, Animal Collective has created an achievement in experimental indie rock.



1) Veckatimest by Grizzly Bear
(iTunes || amazon.com)



Animal Collective's Merriweather Post Pavilion came really close to being my top record of 2009, but one record that I did enjoy more was the latest effort from Brooklyn based indie/psycho/folk/rock band, Grizzly Bear. This one is one to appreciate as a benchmark for seamlessly blending musical genres in a certain sound, tone and mood. Playful sections of R&B-esque vocals with folk guitar and textured pianos with melodic characteristics. From the opening track, "Southern Point", you get the impression that Grizzly Bear is experimenting with their past sound with something exciting and new. It really does start off unassuming but then wows you with a crescendo of sound that builds slowly and slowly to a majestic end. Such a wonderful record that everyone like minded needs to experience!



Honorable Mention:

Hungry Bird by Clem Snide
Reservoir by Fanfarlo
It's Blitz! by Yeah Yeah Yeahs
Man On The Moon: End of The Day by KiD CuDi
The Shape of Energy by We All Have Hooks for Hands
Why There Are Mountains by Cymbals Eat Guitars
Wilco (The Album) by Wilco
Brother's Blood by Kevin Devine

Top 5 Movies of The Decade

It's also the end of a decade. It's interesting to look back and examine the last 10 years. A measurement of how much I've grown as a cinephile. I entered the "aughties" as a wide eyed 19 year-old and I'll be leaving it as an optimistic yet realistic 29 year-old. My taste in movies have changed over the years. In this decade, I've learned to not pass judgement on a movie after only one viewing. Movies, much like people, deserve second chances. I call this "The Magnolia Rule" (For obvious reasons). I present to you, my top 5 movies of the past decade.

5) Peter Jackson's Lord of The Rings (Trilogy) (2001, 2002, 2003)



What more can be said about these films? It's an accomplishment in filmmaking, special effects, performance capture, set design, costume design, sound, editing, acting and so on and so on and so on. This is a labor of love and it shows on the screen. Peter Jackson is a master filmmaker and these three films are his master works. I know, it's a cheat to put three movies as my number 5 pick, but how can you just pick one of these movies. All three were made at the same time just released one year after another. It's rare in a trilogy where there are no weak films. All three films build upon one another. It would be like taking an important scene out of a movie then expecting to play as well to an audience. I mean, what you The Godfather be without the (spoilers ahead) Sonny getting brutally murdered scene? Or Titanic without the (again spoilers ahead) ship hitting an iceberg scene? Or Star Wars without the (spoiler alert!) Death Star blowing up scene? All three films are NEEDED to fully enjoy this journey.

4) Sofia Coppola's Lost In Translation (2003)



This film accomplishes something that a lot of film in the "aughties" do not, a sense of tone and pure emotion. This is the sophomore effort from writer/director Sofia Coppola and let me just say, there is no slump here. Lost In Translation transcends the typical movie going experience, it creates a sense of dizzying joy with heartbreaking moments. What do you do when you enter a relationship and the love is almost gone? What do you do when near the end of a relationship and you try to remember what made you whole? You go on a perfect night on the town and just feel like everything doesn't need an answer right now. The important thing isn't to choose floor samples sent to you via FedEx, the important thing is to love. Everything can wait and we only have these small moments live. That's what I think Bob Harris whispered into Charlotte's ear at the end of the film.

3) Quentin Tarantino's Inglourious Basterds (2009)



Like I mentioned in my previous post on my Top 5 movies of 2009, Inglourious Basterds is a film that will be discussed (and fought over) for many years to come. It is truly a wonderful pastiche of cinema at its best!!

2) Paul Thomas Anderson's There Will Be Blood (2007)



We are privileged to bear witness to two great filmmakers in cinema history this past decade. Their names will be uttered in the same sentences with the likes of Stanley Kubrick, Ingmar Bergman, Akira Kurosawa and Robert Altman, one being Quentin Tarantino (who I talked about with my #3 pick) and the brilliant, Paul Thomas Anderson. He delivered a very special film in 2007 called There Will Be Blood. A film that is so exacting, so meticulous and so uncompromising that audiences and critics just had to pay tribute to it. Daniel Plainview, played masterfully by Daniel Day-Lewis, is probably the most interesting American character since Orson Wells' Charles Foster Kane (Citizen Kane). He imbues the exact characteristics of an great American, hard working, driven and unrelentingly cruel. Daniel Plainview's motives are not charitable or noble, they are of money and greed. And this is the type of interesting character we look for in American cinema.

Paul Thomas Anderson does more in the first 20 minutes of the movie than any other filmmaker can do with 2 and a half hours. Thinking how far he came from his first movie, Sydney/Hard Eight, to now, There Will Be Blood. Not only can he tell a great story with very little to no dialogue, he does so with such ease and suspense it's no wonder the very end of the movie fulfills the title of it.


1) Kinji Fukasaku's Battle Royale (Batoru Rowaiaru) (2000)



The last film from a true artist, Kinji Fukasaku died only days after finishing the final cut of the film. Battle Royale is his masterpiece! It plays on so many levels from straight-up, non-stop, kids killing kids violence to smart and daring social commentary. From the opening scene of the news media and paparazzi gathering together to get the first glimpse of the winner of the past battle to the lyrical beauty of the island the "contest" is set upon. Fukasaku plays with tone in such a masterful way. Is it torture porn or satire? It's still shocking to me that this film has not received a proper DVD release (which it deserves, can you hear me Criterion?) in The United States after all these years. This is a movie that comes up in practically every conversation I have when I meet someone new. This film is truly legendary. Everyone who was coming of age in this past decade remembers the exact moment they first heard of this movie and also remembers the first time they actually saw this movie. It's a piece of taboo cinema which gains in notoriety year after year. A true gem to anyone who dares to see it.



Honorable Mention:

Mary Harron's American Psycho (2000)
Alfonso Cuarón's Children of Men (2006)
Steven Soderbergh's Traffic (2000)
James Cameron's Avatar (2009)
Brad Bird's The Incredibles (2004)
Baz Luhrmann's Moulin Rouge! (2001)
Wes Anderson's The Royal Tenenbaums (2001)

Top 5 Movies of 2009

Now at the end of the year, many people are coming up with their "Top" lists. 2009 has been a wonderful year for movies. Everything from the small and subtle to the large and revolutionary. This year we've seen a certain quality in film writing with 3 novelist turn screenwriters; Dave Eggers (Where The Wild Things Are), Vendela Vida (Away We Go, also co-written by Eggers) and hipster music geek, Nick Hornby (An Education). We've also seen movies that were once considered unfilmable, like Watchmen, Where The Wild Things Are and Avatar. Yes, 2009 has been a very special year in filmmaking. So I present to you my Top 5 Movies of 2009.

5) Pete Docter & Bob Peterson's Up



Up is a magnificent achievement in 3D animation. It almost transcends what is considered a conventional animated feature, something that is only targeted to children. Up appeals to adults as much as children. I don't know how much children can relate to one of the main themes of the film, aging and loss. The fear of getting older and feeling like you have nothing to show for it except an empty house and a dead wife. Life is rejuvenated through the eyes of the protagonist, Carl Fredrickson, played wonderfully by Ed Asner. Up is a revelation and a true mark in animation.

4) Lone Scherfig's An Education



An Education is a very charming film. I dare anyone to watch this film and not smile and smirk your way through it. This is all based on the performances of the entire cast. From Alfred Molina, who plays a rather strict but loving father to Peter Sarsgaard, playing a very charming and hypnotic sophisticated pursuer of Jenny, played by Carey Mulligan, the pursued. Mulligan is a breathe of fresh air. So beautiful and smart, it's hard not to see why anyone wouldn't want to take her off to see the world. The subtlety of the dialogue comes from the novelist and music critic, Nick Hornby. With An Education, he show that he can make the transition from the book to the screen, so smoothly he still retains everything that makes him a very special writer.

3) Olivier Assayas' Summer Hours (L'heure d'été)



Summer Hours is an exceptional film about family, loss and memories. The story is of three siblings, played by Jeremie Renier, Juliette Binoche and Charles Berling, coming to terms with the loss of their mother and what exactly to do with her house in the French Countryside. This film tells its story through the objects in this house. Through their connections to these objects, their memories and a sense of nostalgia over powers them. Olivier Assayas plays this film so delicately, in lesser hands it would be too melodramatic but rather it comes off has heartfelt and realistic. This is a special sort of film that plays with the subtleties of life. I can easily see this film joining The Criterion Collection. I wonder if I can somehow influence that. ;)

2) Rian Johnson's The Brothers Bloom



This film is pretty much everything I personally look for in a movie. It's daring, exciting and wonderful to watch. Rian Johnson follows up his 2005 cult hit, Brick, with a film about two con artist brothers played by Mark Ruffalo and Adian Brody. It's half Wes Anderson, half Paul Thomas Anderson and all Rian Johnson. He is an exciting voice in cinema today and warrants all the attention that comes with it. Full of wacky characters like Penelope, played by Rachel Weiss, a well to do shut in who "collects" hobbies and Bang-Bang, played by the very funny Rinko Kikuchi, a tight-lipped Japanese explosive artist. The Brothers Bloom is one to watch for an cinema lover!

1) Quentin Tarantino's Inglourious Basterds



I breakdown the work of Quentin Tarantino into two distinct eras, The Classic (Reservoir Dogs, Pulp Fiction and Jackie Brown) and The New (Kill Bill, Death Proof and Inglourious Basterds). Now, The Classics films are the ones that are set in reality. When we watch these films, we automatically think of Los Angeles, where they are set. These films are grounded in our reality which is why these films have a certain grit to them, that The New era just doesn't have. The New film are the ones that are completely set in a Tarantino reality. These films take place in Japan or Nazi occupied France but somehow they feel a little bit off. They belong in a world where Tarantino is The Fuckin' Master, I will say that again, The Fuckin' Master!

With that being said, I am not a fan of The New era of Quentin Tarantino. I missed the grit and grim of his former films. So when I first saw the trailer for Inglourious Basterds, I wasn't excited as I would've or should've been. Not impressed with Kill Bill Volume 2 or Death Proof, I was not looking forward to spending the time in his reality anymore. Sure these films are fun, but with Quentin Tarantino, I look for a little bit more. These films felt like someone was copying Tarantino rather than being Tarantino.



Much to my surprise when I found myself waiting in line to see Inglourious Basterds on its opening day. I found a seat at the Cobble Hill Cinema and waited for the lights to dim and the trailers to start. When the movie started with the title card, "Once Upon A Time In Nazi Occupied France...", I had a feeling this wasn't going to be a film that lacked the characteristics of The New era films. I sat there for the complete 2 and a half hour plus running time and was captivated, like I've never seen moving images projected on a screen before. The film flirted with the expectations of the audience scene after scene. He wasn't going to give you anything more than you needed to build upon. The film effortlessly went from language to language with such ease, as if Tarantino invented these words and sounds himself. The climax of the film leaves the audience reeling in their seats, applauding with joy then made to feel guilty after realizing what Tarantino has accomplished. This is his masterpiece and one that will be talked about for many, many years to come.



Honorable Mention:

Kathryn Bigelow's The Hurt Locker
James Cameron's Avatar
Spike Jonze's Where The Wild Things Are
Neill Blomkamp's District 9
J.J. Abrams' Star Trek
Mark Neveldine & Brian Taylor's Crank: High Voltage

Film Review: Matteo Garrone's GOMORRAH (CC #493)

The crime genre has, almost always, been a romanticized vision of gangsters, money and organized crime. Films like The Godfather, Goodfellas and Scarface are perfect examples of this romantic view. Film techniques such as slow motion, fast edits and the use of pop music are ways filmmakers glorify and magnify violence in these movies. In contrast, it was completely odd to me that the Italian film Gomorrah, which does not follow this pattern, was presented by Martin Scorsese, a filmmaker who is known for such romanticisms. Although I am very well aware of Scorsese's love for film and Italy, his name at the opening credits was a little jarring to me. After my viewing of the film, however, it felt perfect and fitting. This would be a good companion piece to Goodfellas as they both explore the same themes. This film exceeds and subverts my expectations on what the crime film should be.



Gomorrah is a haunting and sprawling tale of organized crime in Naples, Italy. It is based on the book of the same name by Roberto Saviano, an undercover journalist who exposed many of the practices of the Camorra (a criminal organization in Italy). Saviano is currently in hiding out of Italy because of the book as there has been a hit taken out on his life by actual Camorra bosses. The film follows five separate story arcs of everyday people in Naples and how the Camorra has effected their lives. It opens with three men enjoying the amenities of a tanning salon, the place quickly turns into a slaughterhouse as these men are gunned down in cold blood. We are introduced to these five stories in such a slowly paced way to construct a world we are not invited to view. We meet Totò, a 13 year old boy who becomes involved in this organization by observing a drug deal and returning items retrieved after police seizure. Other stories revolve around Don Ciro who is a fearful middleman that delivers money to the families of imprisoned gangsters, Roberto and his boss Franco who illegally dump toxic waste for the crime syndicate, a skilled tailor named Pasquale who runs a Camorra owned sweatshop, and finally Marco and Sweet Pea. These two cocky young boys are fascinated by this underworld and continuously quote Al Pacino in Scarface, but when they come across an arsenal of guns, they use the weapons to become part of it.

The acts of violence is executed with such precision and nuance although it is portrayed as to be almost random. In that way, the violence in the film is based in a reality that builds tension in almost every scene. The director, Matteo Garrone, plays with this tension. There is a point in the film where we are almost expecting gun play and brutality but at times it never comes. Somehow, he finds ways to show these acts when we are least expecting them. This just feels so real.

It is shot in a documentary style with peering camera work that appears to be drifting or floating between characters which adds to the realism of the film. The grittiness is explored through the use of shadows and light. Most of the film is dark, almost black. We are unable to see characters' faces or set pieces at times, which adds to the feel of intensity throughout the entire piece. We feel a certain looming presence that could be either the Camorra, violence or crime. Money doesn't seem to be a status symbol or motivation for most of these characters; rather they value survival and power. Characters don't drive fancy cars or dress in an expensive manner. In fact everything seems to be thrown together and shabby and much of the movie takes place in various poor housing projects in contrast to the romanticized view of crime being a lifestyle of excess. In Gomorrah, the only symbol of status is staying alive.

The most touching moment of the film comes at the end with Pasquale, the tailor. After surviving an attempt on his life he is forced out of the garment industry and takes up a job as a truck driver. While at a truck stop he sees the actress Scarlett Johansson on TV at the Cannes Film Festival on the red carpet wearing one of his dresses. Pasquale is heartbroken as he looks onto something he created and can no longer be apart of. As he watches, the TV commentators spout on and on about her beauty. They note that the dress is "an apparent simplicity, but it's really very complicated" which is a statement that can also be made about this film. The scene is shown as a reminder of how big the Camorra actually is - a Hollywood A Lister is wearing a dress from one of their factories.

Matteo Garrone delivers a very intense and gripping film. Moreover, he delivers a wonderfully composed and photographed film that warrants high praise and is a technical achievement. He doesn't glamorize the crime world, but rather he sheds light on the reality of its shadows.