This Week in Movies with Meaning

Reviews of "Dogman" and "On Her Shoulders," as well as a podcast preview, are all in the latest Movies with Meaning post on the web site of The Good Media Network, available by clicking here. 

‘On Her Shoulders’ speaks for those without a voice

“On Her Shoulders” (2018). Cast: Nadia Murad, Murad Ismael, Amal Clooney, Borys Wrzesnewskj, Michelle Rempel, Barack Obama, Ki-moon Ban, Simone Monasebian, Ahmed Khudida Burjus. Director: Alexandria Bombach. Screenplay/Translation: Hishyar Abid, Nawaf Ashur, Deniz Ekici, Yousif Haskan and Shahnaz Osso. Web site. Trailer.

For those without a voice, it’s often difficult to be heard. In those cases, it generally takes someone with the courage and resilience to step up and make the case for them, not the easiest of undertakings. But, when an advocate with the right qualities emerges, incredible results are possible. So it is with an unlikely envoy for a little-known aggrieved people as seen in the stirring documentary, “On Her Shoulders,” available on DVD, Blu-ray Disc and video on demand.

Speaking for refugees whose story has largely gone ignored is difficult enough, but, when the spokesperson is one of those refugees herself, the burden can be a lot to carry. So it has been for Nadia Murad, a passionate advocate for the Yazidi people of northern Iraq, a religious and ethnic minority whose homeland was overrun by attacking ISIS forces in 2014. Through an orchestrated campaign of carnage that included murder, rape and sexual enslavement, the insurgents quickly overran their victims, including a 19-year-old Nadia, who was held captive for three months before escaping. Her ordeal became her cause, which is now told in director Alexandria Bombach’s documentary.

[caption id="attachment_10699" align="aligncenter" width="300"]Former ISIS captive Nadia Murad details her painful experiences and those of her fellow Yazidis in the moving documentary, “On Her Shoulders,” available on DVD, Blu-ray Disc and video on demand. Photo courtesy of Oscilloscope Laboratories.[/caption]

The film follows Murad as she seeks to make the story of her people known to a world that has heard precious little about them and their plight through mainstream media channels and official sources. Through visits to Canada, Germany and Greece, the film documents Nadia’s efforts to inform the public through interviews, personal appearances, and meetings with both refugees and political figures. In addition to increasing awareness about this humanitarian crisis and seeking the attention and support of the United Nations, Nadia’s work also includes tireless efforts to bring war crimes charges against the culprits who plundered her community, an initiative backed by human rights attorney Amal Clooney.

But “On Her Shoulders” is more than just a record of Nadia’s official activities. It also depicts the phenomenal pressure that has been unexpectedly thrust onto a young woman who wanted nothing more than to live a simple life in her homeland. This becomes apparent through her nonstop schedule of events to spread the word and to comfort those who were fortunate enough to flee the tyranny of their attackers. It’s also painfully obvious through the media interviews and hearing testimony that she gives in which she recounts in painful detail – over and over again – the ordeals that she and her people suffered at the hands of her enemies. The film thus reveals an individual of remarkable personal strength and fortitude, as well as a committed and eloquent spokesperson for an oppressed community.

Needless to say, all of this has carried a tremendous cost, both at the time of Nadia’s capture and torture, as well as in her constant reliving of the ordeal in making the case for her people. However, given what’s at stake, she refuses to capitulate to these circumstances, continually striving to promote awareness of the genocide and atrocities inflicted on the Yazidis. This is perhaps best reflected during her address before the U.N. General Assembly in 2016, when she stated, “This world was not only created for you and your families. We also want life, and it’s our right to live it. If beheading, taking women as sex slaves, raping children and the displacement of millions will not move you – when will you move?”

[caption id="attachment_10700" align="aligncenter" width="300"]With Yazidi activist Murad Ismael (second from right), former ISIS captive Nadia Murad (left) addresses a crowd in Germany in director Alexandria Bombach’s affecting documentary, “On Her Shoulders.” Photo courtesy of Oscilloscope Laboratories.[/caption]

Based on the foregoing, it’s easy to see how this unlikely champion of her cause is an embodiment of courage and inspiration. She’s firmly rooted in her convictions, convinced that she must carry through and fulfill her mission. These traits and ambitions are clearly indicative of someone well versed in the practice of conscious creation, the philosophy that maintains we manifest the reality we experience through the power of our thoughts, beliefs and intents. And, regardless of whether or not she’s consciously aware of the existence of this discipline, her actions and efforts nevertheless faithfully reflect its principles.

This is particularly true when it comes to the concept of value fulfillment, the principle that maintains we live out our beliefs to be our best, truest selves for the betterment of ourselves and those around us. Given what Nadia has undertaken, it’s hard to imagine someone more devoted to justice and the well-being of her people. Despite the tremendous personal pain she has suffered, she has carried forward fearlessly with an unshakable faith in her convictions, determined to see things through. We should all be so committed to our endeavors.

Thanks to her efforts, word of the plight of the Yazidis has finally begun to gain recognition. This remarkable young woman should be commended for everything she has accomplished thus far. Let us hope that we don’t let her down now that she’s made her case and gotten our attention.

[caption id="attachment_10701" align="aligncenter" width="300"]Speaking to Yazidi refugees in Greece, Nadia Murad (second from right), spokesperson for her displaced people, learns of the experiences of her peers in the stirring documentary “On Her Shoulders,” available on DVD, Blu-ray Disc and video on demand. Photo courtesy of Oscilloscope Laboratories.[/caption]

This incredibly moving documentary can be a difficult film to watch at times, but its impact is undeniable. One can’t help but feel for the fate of the Yazidis, as well as Nadia’s personal pain, accomplishments attained through Bombach’s masterful direction. The filmmaker genuinely earns our heartfelt emotions without becoming manipulative, maudlin or gratuitously graphic. “On Her Shoulders” is authentically affecting in a way that many other films telling similar stories fail to achieve.

For its efforts, the film received a number of honors and awards, most notably the National Board of Review’s prestigious Freedom of Expression Award. In addition, the picture earned two Independent Spirit Award nominations, including nods for best documentary and the competition’s Truer Than Fiction Award. It also picked up two Sundance Film Festival documentary nominations for best director and the Grand Jury Prize.



It’s truly unfortunate in this day and age that we still need advocates like Nadia Murad. But, as long as we as a species continue to engage in the kinds of atrocities like those committed against the Yazidis, the stories of these horrendous crimes must be told. Thankfully, we’re fortunate to have courageous souls who are unafraid to speak up and make the truth known in hopes that we can keep such horrific episodes from happening again.

Copyright © 2019, by Brent Marchant. All rights reserved.

‘Dogman’ unleashes one’s wont of personal power

“Dogman” (2018 production, 2019 release). Cast: Marcello Fonte, Edoardo Pesce, Nunzia Schiano, Adamo Dionisi, Alida Baldari Calabria, Laura Pizzirani, Aniello Arena. Director: Matteo Garrone. Screenplay: Ugo Chiti, Matteo Garrone, Massimo Gaudioso, Marco Perfetti, Giulio Troli and Fratelli D’Innocenzo. Story: Ugo Chiti, Matteo Garrone and Massimo Gaudioso. Web site. Trailer.

Few among us would deny the attraction we feel for a sense of personal power. It enables us to direct our destiny and shape the existence we want for ourselves. But it also comes with a temptation, one that can easily get out of hand if left unchecked. And it carries consequences, especially if we misuse it in our dealings with others or our community. It’s an issue that the residents of a neighborhood past its prime wrestle with every day in the tense new dramatic release, “Dogman.”

Life in a rundown Italian seaside community has its residents on the edge, thanks to the relentless crimes, bullying and intimidation of Simoncino (Edoardo Pesce), a former boxer with anger management issues and a serious cocaine habit. He does as he pleases, trashing property, burglarizing homes and businesses, and beating up the vulnerable, including his own mother (Nunzia Schiano), whenever he feels like it. The locals fear him, but they also believe that something has to be done about him, given that authorities do nothing to stop him. It’s like living on the American frontier in the 19th Century, a story that brings new meaning to the term “spaghetti Western.”

It doesn’t help matters that Simoncino has enablers who let him get away with what he wants. Whether they act out of self-preservation or the promise of rewards for their assistance, his shady colleagues quietly help him out when the need calls, often despite publicly condemning his actions. That’s most true of a kindly but weak-willed dog groomer, Marcello (Marcello Fonte), whose conciliatory gestures are mostly intended to keep Simoncino from unduly picking on him. Sometimes Simoncino throws a bone to his coerced cohort, but it’s often paltry and usually less than promised.

[caption id="attachment_10692" align="aligncenter" width="300"]Marcello (Marcello Fonte), a sensitive but weak-willed dog groomer in a rundown Italian seaside community, does his best to carve out a living while fending off the neighborhood bully in the tense new dramatic release, “Dogman.” Photo courtesy of Magnolia Pictures.[/caption]

Marcello’s willingness to help Simoncino seems puzzlingly out of character. Given how he dotes on his canine clients and lovingly cares for his young daughter, Alida (Alida Baldari Calabria), his readiness to go along with the bully’s schemes come across as wholly anomalous. At times Marcello’s actions appear aimed at quelling the tension. Sometimes they’re efforts to save his own neck. And occasionally he sees opportunities to potentially get something out of these schemes. But, most of the time, his involvement is inexplicable. One can’t help but wonder what he’s thinking.

As time passes, Simoncino’s offenses grow increasingly unpredictable and ever more despicable. Meanwhile, Marcello’s responses become progressively more desperate and humiliating. He even takes the rap for crimes he didn’t commit. And, as all of this plays out, the neighbors are losing their patience with the entire situation. But what can be done? Marcello’s faced with quite the dilemma, but he knows a resolution is desperately needed – and soon.

As much as Simoncino looks to profit materially from his antics, he’s obviously most concerned with the acquisition of power and control over his neighbors and community. He actively asserts himself to amass these commodities, while those around him (particularly Marcello) routinely and willingly hand them over. Understanding that dynamic is thus crucial to appreciate why each of these characters experiences life as they do.

[caption id="attachment_10693" align="aligncenter" width="300"]Simoncino (Edoardo Pesce, left), the neighborhood bully in a rundown Italian seaside community, intimidates Marcello (Marcello Fonte, right), a sensitive but weak-willed dog groomer, to get his way in director Matteo Garrone’s latest offering, “Dogman.” Photo courtesy of Magnolia Pictures.[/caption]

Simoncino succeeds in his efforts because he believes he can get away with them. He envisions what he wants and then makes sure he acquires or develops the means to get it, all of which are products of his thoughts, beliefs and intents. These are the cornerstones of the conscious creation process, the philosophy that maintains we employ these manifesting tools in materializing the reality we experience. The neighborhood bully understands and makes use of the power behind these metaphysical building blocks all too well, even if he’s unaware of the existence of this process or what it’s called.

By contrast, Marcello and the others in his neighborhood cower in fear, believing there’s nothing that can be done about the local nemesis. In embracing that belief, they create a reality based on that notion; they give their power away, leaving them with nothing to defend themselves against someone who wields it so effectively. Thus it should come as no surprise why they’re subjected to such intolerable conditions.

With such circumstances in place, one might think that all is lost, that remediation is impossible. But, given that conscious creation makes any conceivable option attainable, futility need not be inevitable; change is indeed possible. However, it requires an alteration to the manifesting beliefs that are creating these conditions in the first place. Nevertheless, as long as the prevailing thinking is allowed to hold sway, nothing will change; new beliefs must be formulated and implemented to make that happen.

Of course, it takes more than just new beliefs; they must be followed up with action. That means beliefs must be put into place envisioning both the nature of the sought-after change and how it’s to be achieved. For much of the film, that latter consideration seems to be the stumbling block to seeing new possibilities realized. If area residents really want something different for themselves, they must devise plans that get results and go beyond mere wishful thinking.

[caption id="attachment_10694" align="aligncenter" width="300"]Marcello Fonte gives an award-winning performance as a sensitive but weak-willed dog groomer in a rundown Italian seaside community in the tense new dramatic release, “Dogman.” Photo courtesy of Magnolia Pictures.[/caption]

This is where power again comes into play. Marcello and his neighbors must insist on taking it back and putting it to use to attain what they want. The question in this, of course, is, do they possess the personal fortitude to see this through? That means ditching any fear-based beliefs that they cling to, embracing the courage necessary to implement plans for change (and, in this case, change that’s inherently radical, far different from the circumstances to which they’ve grown accustomed).

For the results to be truly meaningful, they must also consider how personal integrity factors into the mix, for it will have tremendous impact on the nature and quality of the results. In Marcello’s case, for example, he’s a sensitive, thoughtful, caring individual, so, if he’s to come up with a plan that sincerely satisfies him, he needs to figure out how he can achieve results without violating his own code of personal conduct. However, that may prove to be a tall order under the circumstances.

Can Marcello indeed make that happen? That remains to be seen. It’s something that will require quite a feat of creativity, one that employs options that may not have been previously contemplated, surpassing the limitations of easy answers that could be construed as personal compromises. Should he resort to convenient fallbacks, he could well end up disappointed with the outcome, one that’s not in line with his standards, disappointingly demonstrating that he’s no better than the foe he’s attempting to vanquish. It’s something we must all heed when faced with situations like this, for the results might easily expose who the real “dogman” is in these circumstances.

I must confess to having a love-hate relationship with this offering. While the film presents an interesting premise that’s well constructed during the first two acts, it seems to paint itself into a corner as it heads toward the conclusion, not quite sure how to wrap up the story. To avoid losing the essence of its central message, the picture regrettably resorts to predictable, conventional means to accomplish this goal, creating something of a letdown in light of the originality depicted at the outset. Sensitive viewers should also be aware that the film features some violent and disturbing sequences. They never get gratuitously out of hand and are generally presented in context, but they’re far from tame, and those who are easily upset by such images should bear this in mind. “Dogman” has been featured at many film festivals and is currently playing in limited release in theaters specializing in independent and foreign film.



Despite its shortcomings, “Dogman” has received its share of accolades. At the 2018 Cannes Film Festival, director Matteo Garrone’s latest earned Fonte the best actor award for his portrayal of the timid dog groomer, a role in which he comes across like an edgy version of a young Jerry Lewis. In addition, the film captured the Festival’s Palm Dog Award in recognition of its outstanding canine cast, as well as a nomination for the Palme d’Or, the event’s highest honor. What’s more, at the BAFTA Awards, the picture picked up a nomination for best foreign language film.

An old adage maintains that “absolute power corrupts absolutely.” Based on the story presented here, it’s easy to see how that can happen, too. But personal power need not become a runaway carriage; it can be tempered and focused into productive pursuits, provided that we make the effort to funnel our beliefs in that direction. And, if we should get off on the wrong path, it’s something we earnestly should consider doing before our lives go to the dogs.

Copyright © 2019, by Brent Marchant. All rights reserved.

Catch The Cinema Scribe

Tune in for the latest Cinema Scribe segment on Bring Me 2 Life Radio, Tuesday, May 7, at 2 pm ET, available by clicking here. And, if you don't hear it live, catch it later on demand!

Symbolism in Cinema

What can symbolism in movies tell us about contemporary society? A lot. Find out more by listening to the latest edition of The CoffeeCast with host Tom Cheevers in which we discuss how movies like "Us," "Captain Marvel" and "The Shape of Water" symbolically reflect the issues of the day, available by clicking here.

This Week in Movies with Meaning

Reviews of "Diane," "Searching" and "The Trouble with You" are all in the latest Movies with Meaning post on the web site of The Good Media Network, available by clicking here.

‘Searching’ distinguishes what we know from what we think we know

“Searching” (2018). Cast: John Cho, Debra Messing, Sara Sohn, Michelle La, Joseph Lee, Alex Jayne Go, Megan Liu, Kya Dawn Lau, Ric Sarabia. Director: Aneesh Chaganty, Screenplay: Aneesh Chaganty and Sev Ohanian. Web site. Trailer.

We can take comfort in knowing that certain aspects of our life are exactly as they seem to be. Or can we? Are we getting a clear, accurate picture of the people, places and things that make up our existence? Or are we falling prey to what we’d like to think we know about such elements of our reality? The result can be eye-opening – and disillusioning – as an anguished parent discovers for himself in the sizzling thriller, “Searching,” now available on DVD, Blu-ray disc and video on demand.

When David Kim (John Cho) loses his wife, Pam (Sara Sohn), to lymphoma, he’s devastated by her death. However, with his teenage daughter Margot (Michelle La) to raise, he needs to pull things together to help the adolescent become the talented and successful young woman who has made him and her late mother so proud. He provides a deft mixture of love, support and gentle but firm guidance in hopes that he’ll be able to complete a task on his own that he had so lovingly shared with his deceased beloved.

One evening while Margot is at a study group meeting at a friend’s home, she contacts her dad via video phone to let him know that she’ll be staying late with her classmates. He takes note of her call and, not long thereafter, goes to bed. While David’s asleep, though, Margot apparently phones again, leaving a message to have him call her back. Upon awakening, David gets the message and returns the call only to get Margot’s voicemail – a process that’s repeated several more times with no response. Needless to say, he’s worried.



David methodically tries to track down his daughter’s whereabouts throughout the metropolitan San Jose area. He contacts friends, parents of friends, her piano teacher and others, all to no avail. He learns she didn’t show up for school, a cause for greater concern. He then goes through her computer records, tapping into her email and various web sites to see if he can obtain additional clues about new places to look. But, when those leads continually come up empty, he realizes he needs to contact authorities. He reaches out to the police, who assign Detective Rosemary Vick (Debra Messing) to his case.

Detective Vick takes a strong interest in the investigation, urging David to find out as much as he can about his daughter’s online life in hopes that any new revelations will provide help in solving her disappearance. He agrees and begins probing Margot’s cyber identity in earnest. And what he finds shocks him: Margot, it seems, is nothing at all like he’s thought she is – secretive, a relative loner and someone who has contacts with people he never dreamed she’d associate with.

The discovery overwhelms David, but, as requested by the police, he shares what he finds. Ever the professional, Detective Vick offers whatever official advice she can, but, as a parent herself, she also seeks to provide solace by telling David about her own personal experience with her troubled teenage son, a story not unlike what appears to be unfolding with Margot. David takes some comfort in this, but it doesn’t change the fact that his daughter is still missing.

Together, David and Detective Vick continue to work the process of trying to find the missing teen, an undertaking that grows ever more disturbing and confounding, especially when many seemingly possible leads don’t pan out or turn out to be utterly frustrating red herrings. It’s stressful, too, particularly when some of the revelations involve individuals David never would have suspected as being part of this, such as his brother, Peter (Joseph Lee). Many illusions, it seems, come up for shattering.

To say more would reveal too much about how this picture plays out. However, as the story progresses, David is faced not only with the challenge of finding Margot, but also with having to reconstruct the cherished and seemingly unshakable impressions he holds about her and others. It’s a lot to go through all at once, especially since it’s coming not long after his wife’s passing. And it’s a story that proves trying both for the protagonist, as well as those watching it.

“Searching” is a story that has much to do with what we believe about others. But, as becomes apparent, we find that those beliefs can prove inaccurate, largely because they’re rooted in what we would like to believe about them. Unfortunately, when we imbue others with traits that we hold dear and those qualities don’t jibe with those that they believe about themselves, we can come up against the devastatingly disillusioning outcome that our colleagues, family and friends may not live up to our expectations.

Understanding this is crucial if we hope to establish realistic and meaningful impressions of others. It means using the power of discernment to get an accurate handle on our beliefs about them and to avoid the pitfall of distorted wishful thinking. But, then, this goes without saying for any undertaking we attempt to pursue through the conscious creation process, the philosophy that maintains we draw upon such metaphysical resources in manifesting the reality we experience.

Of course, we must also understand that, when it comes to our interpersonal relationships, these are co-creations that involve both us and others. Their beliefs figure into the equation as much as ours do, and, while we may not be able to get a precise handle on the beliefs of others, we might be able to glean insights about them by tapping into our intuition, one of the key components that factor into our belief formation. Regrettably, this is a resource we tend to underutilize, mainly because its nature tends to be viewed with skepticism, seemingly less trustworthy than our rational, logical intellect. By shortchanging it, however, we cut ourselves off from something that could prove valuable in grasping the motivations and outlooks of those we seek to understand.

This is particularly crucial in the age of the Internet, where it’s possible – in fact, quite easy – to distort our persona, creating one that deviates significantly from the face we show the world in person. It’s even feasible to fabricate an entirely different profile of ourselves, one that’s intentionally cryptic or deceiving, making it difficult for others to discover who’s really behind the mask. That’s a point driven home here by setting the entire film in cyberspace, with the story told on computer screens using video cameras, web site pages, pop-up windows, and text and email messages, showing how easy it is to convey deliberately crafted, purposely camouflaged impressions of oneself. One might legitimately wonder why anyone would do such a thing, but, given that conscious creation makes any outcome possible, there may well be reasons behind such an endeavor that others may understand but that we don’t.

Such undertakings can prove particularly difficult to unwind in scenarios like the one David faces in this film. When one approaches these circumstances from a standpoint of heartfelt love and sincere intent but repeatedly comes up against calculated subterfuge and deliberate deception, the result can be devastating, both from a disillusionment standpoint, as well as where our emotions are concerned. It’s a situation no one would wish on another, especially a loving, desperate parent seeking to find a lost child.

This slow-burning, intense thriller has more twists and turns than a winding mountain road. What’s more, through this novel feature film debut, director Aneesh Chaganty, a former Google employee, has created a new storytelling approach that uses an innovative cinematic vocabulary, opening the door to an inventive way of spinning yarns on celluloid. Admittedly, some of the computer screen contents pass by a little too quickly and could stand to be enlarged in some instances, but this is a minor shortcoming in the overall narrative context. Moreover, in telling the story in this way, Chaganty offers viewers a potent cautionary tale about the pitfalls of cyberspace communications and what we can actually believe about the material showing up on our computer screens, particularly when it comes to the identity of the individuals we’re supposedly communicating with.

This largely overlooked cinematic gem came and went from theaters rather quickly when it was released in late 2018, but, thankfully, it seems to be finding a life of its own on home viewing options. It has also been the recipient of a number of accolades, such as its selection as one of the National Board of Review’s Top 10 Independent Films of 2018. It earned John Cho an Independent Spirit Award nomination for best male lead. And, at last year’s Sundance Film Festival, the picture picked up the Audience Award and the Alfred P. Sloan Feature Film Prize. Not bad for a first feature from a new industry voice.

In the end, as this film shows, we’re all searchers at heart, an effort made easier by the rise of the Internet and a growing understanding of our inner selves, phenomena that in many ways are mirrors of one another. As we try to grasp who we are, the nature of existence and our place in it, we embark on journeys of discovery of all kinds, hoping that they’ll give us meaningful insight into our conscious awareness and the human experience. But, as we set out on such odysseys, we must be prepared for a variety of situations, and the more we can do so by developing our proficiency as conscious creators, the better off we’ll be – or so one would hope.

Copyright © 2019, by Brent Marchant. All rights reserved.