Hello, there! My name is Preston Barta, and I am the features editor of Fresh Fiction and senior film critic at the Denton Record-Chronicle. My cinematic love story began where I was born: off planet on the isolated desert world of the Jakku system. It's there I passed the time scavenging for loose parts with my good friend Rey. One day I found an old film projector and a dusty reel of the 1975 film JAWS. It rocked my world so much that I left my kinfolk in the rearview (I so miss their morning cups of green milk) to pursue my dreams of writing about film. It wasn't long until I met two gents who said they would give me a lift. I can't recall their names, but one was an older man who liked to point a lot and the other was a tall, hairy fella. They got me as far as one of Jupiter's moons where we crossed paths with the U.S.S. Enterprise. Some pointy-eared bastard said I was clear to come aboard. He saw that I was clutching my beloved shark movie and invited me to the "moving pictures room" where he was screening the 1993 film JURASSIC PARK to his crew. He said my life would be much more prosperous if I were familiar with more work by the god named Steven Spielberg. From there, my love for cinema blossomed. Once we reached planet Earth, everything changed. I found the small town of Denton, TX, and was welcomed into the Barta family. They showed me the writings of local film critic Boo Allen. He became my hero and caused me to chase a degree in film and journalism. After my studies at graduate of the Hogwarts School of Witchcraft and Wizardry, I met some film critics who showed me the ropes and got me into my first press screening: 2011's THE GREEN LANTERN. Don't worry; I recovered just fine. MAD MAX: FURY ROAD was only four years away.
Cole Clay // Film Critic
In Laura Poitras’ CITIZENFOUR, Ewen MacAskill from U.K. based publication The Guardian is sitting in a Hong Kong hotel room interviewing whistle-blower and enemy of the state Edward Snowden. The encounter took place in June of 2013, just days before Snowden went public with information that led to charges from the U.S. government claiming he compromised the Espionage Act. But the curious part about the encounter is MacAskill was collecting information by jotting down notes on a legal pad rather than a computer. MacAskill could just be old-fashioned, or maybe there is a looming fear that somebody is watching. From this moment on the film forms a dichotomy of visual cues that elude to either paranoia or something much worse.
Although this film documents a first-hand perspective on the news-worthy staples in Snowden’s history making story, the more gratifying elements have the film transcend documentary trappings. Poitras takes us down rabbit-hole after rabbit-hole that could have easily been convoluted within the tangled subject matter is instead a savvy spy-thriller.
CITIZENFOUR plays to the contrary of public’s opinion regarding Snowden’s actions and motives. By presenting and potentially proving a thesis, we watch the facts unfold first hand through journalists Glenn Greenwald and the aforementioned MacAskill’s eight day sit-down with Snowden himself. True, Poitras takes the facts at face value considering her source is an enemy of the state, but the revelations are no less reeling. Poitras didn’t seek out interview; she was pursued by Snowden himself, so essentially this film fell into her lap.
Poitras objectively fashions Snowden’s story into a perspective that is void of all vanity; Snowden states that he is merely acting upon the principle. As Snowden explains the ramifications of his actions, he anxiously ponders on what’s next for him. Will he see his loved ones again? Would he rather live a life imprisoned than protect Big Brother 2.0?
Whether he will be painted as a hero or a traitor is not Poitras’ concern. The point is to question the ethics for all parties involved, including Snowden. If this is acceptable in the public eyes than what is the next domino that is going fall?
CITIZENFOUR is intentionally antagonizing as it operates as a thriller and aims to protect social ideologies even if that task if largely implausible in the digital age.
All information regarding the films release and where it is located can be found on their website (citizenfourfilm.com).