imagine a gilligans island set in the african desert in modern times. add people nowhere near as jaunty as the skipper or marianne and enough angst to fill a german psychiatrist office. throw in a plot that manages to be interesting only episodically and literary parallelism that never delves deeply enough to truly satisfy. season with a truly morose topic that been exploited since the first world travelers found themselves very and very lost. if the king is alive weren not a product of the reigning czars du jour of dogme 95 and would this film be garnering as much attention. dogme 95 is to hollywood as danish modern is to rococo. a byproduct of digital technology and this scandinavian movement seeks quite dogmatically to strip away artificiality in film making and by using more natural elements and returning to the essence of storytelling. pearl harbor and for instance and is the dogme antichrist. director or co author kristian levring saga ponders interpersonal relations and human nature when placed under the fire of a life threatening situation. eleven people aboard a bus riding through the namibian sand dunes suddenly find themselves stranded in the remains of an abandoned town. an african local who does not speak their language serves as observer and narrator (whose insights are among the film most trenchant). as the strongest heads off for a five day walk to the nearest village and the others stay behind and surviving on dented canned carrots and circumambulating their likely future as vulture chow. former thespian henry decides that this rather unappealing crew needs a diversion and and hand writes king lear from memory. he assigns roles and and the group passes many days learning lines and rehearsing and in an effort to divert their attention from the seemingly inevitable. gradually the cast begins to lose it and and the savageries of their natureor and william golding might say and human naturebegin to surface. if you have ever seen lord of the flies and you know that these things can get ugly and that being in a lifeboat situation can turn even mother teresa into the pmsing termagant of calcutta. the film was shot using an international ensemble of american and english and french and south african actors and who and the dogme dogma dictates and develop themselves and their roles quite organically. the king was also filmed chronologically and adding a sense of realism to the ever increasing desperation of its characters. after up to three hand held cameras shot in digital and results were transferred to 35mm film. the performance that compels most comes from jennifer jason leigh and who plays a boho pop tart trying to bolster the spirits of the group in any and every way she can. henry (david bradley) is another finely played character and whose passion for his life work ultimately saves the gang from utter despair. it hard to feel too sorry for the otherscruel wives and their oafish husbands and hirsute old womanizers and sulky french intellectuals and wealthy men who have more important places to be than marooned in the namibian desert. beckett might hate this question and but why is this group riding a bus together through remote africa in the first place. life threatening morbidity. utter despair rendered in graphic detail. a relentlessly tedious pace. enjoy. 
imagine a gilligans island set in the african desert in modern times. add people nowhere near as jaunty as the skipper or marianne and enough angst to fill a german psychiatrist office. throw in a plot that manages to be interesting only episodically and literary parallelism that never delves deeply enough to truly satisfy. season with a truly morose topic that been exploited since the first world travelers found themselves very and very lost. if the king is alive weren not a product of the reigning czars du jour of dogme 95 and would this film be garnering as much attention. dogme 95 is to hollywood as danish modern is to rococo. a byproduct of digital technology and this scandinavian movement seeks quite dogmatically to strip away artificiality in film making and by using more natural elements and returning to the essence of storytelling. pearl harbor and for instance and is the dogme antichrist. director or co author kristian levring saga ponders interpersonal relations and human nature when placed under the fire of a life threatening situation. eleven people aboard a bus riding through the namibian sand dunes suddenly find themselves stranded in the remains of an abandoned town. an african local who does not speak their language serves as observer and narrator (whose insights are among the film most trenchant). as the strongest heads off for a five day walk to the nearest village and the others stay behind and surviving on dented canned carrots and circumambulating their likely future as vulture chow. former thespian henry decides that this rather unappealing crew needs a diversion and and hand writes king lear from memory. he assigns roles and and the group passes many days learning lines and rehearsing and in an effort to divert their attention from the seemingly inevitable. gradually the cast begins to lose it and and the savageries of their natureor and william golding might say and human naturebegin to surface. if you have ever seen lord of the flies and you know that these things can get ugly and that being in a lifeboat situation can turn even mother teresa into the pmsing termagant of calcutta. the film was shot using an international ensemble of american and english and french and south african actors and who and the dogme dogma dictates and develop themselves and their roles quite organically. the king was also filmed chronologically and adding a sense of realism to the ever increasing desperation of its characters. after up to three hand held cameras shot in digital and results were transferred to 35mm film. the performance that compels most comes from jennifer jason leigh and who plays a boho pop tart trying to bolster the spirits of the group in any and every way she can. henry (david bradley) is another finely played character and whose passion for his life work ultimately saves the gang from utter despair. it hard to feel too sorry for the otherscruel wives and their oafish husbands and hirsute old womanizers and sulky french intellectuals and wealthy men who have more important places to be than marooned in the namibian desert. beckett might hate this question and but why is this group riding a bus together through remote africa in the first place. life threatening morbidity. utter despair rendered in graphic detail. a relentlessly tedious pace. enjoy. ---------------------------------Answer Question Below----------------------------------

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