Sinopsis(1)
Passionate cinephiles can be found casting quizzical glances at the erratic and often conflicting decisions made by the Motion Picture Association of America (MPAA) as they slap ratings onto movies. So in an attempt to make sense of their working methods--which, until now, have remained shrouded in mystery--one of those cinephiles, Kirby Dick, has made this full-length motion picture about the inner workings of the MPAA. Dick begins by examining the MPAA's set-up as an anonymous group that is exclusively funded by the major Hollywood studios. Fundamentally established to prevent children's eyes from seeing anything society would consider unsuitable, the MPAA has blossomed into a powerful force, with the difference between an R and an NC-17 rating possibly leading to millions of dollars forfeited at the box office. Actors and directors such as John Waters, Maria Bello, Mary Harron, and Kevin Smith offer their forthright opinions on these decisions, and Dick highlights many of the clips that have fallen foul of the censors. The director also compares and contrasts similar scenes from indie pictures and films produced by major studios, with the latter seemingly allowed far more leniency when it comes to avoiding the dreaded NC-17. In a wonderful twist that adds a strong narrative structure to the film, Dick hires a private detective to hunt down the MPAA's members, thereby lifting the curtain on who these shadowy figures actually are. But the real cherry on the top of Dick's movie is his submission of THIS FILM HAS NOT YET BEEN RATED to the MPAA, which helps highlight the appeals process, and reveals the involvement of the Catholic Church and major cinema chains across the country. Entertaining and informative, Dick's movie is everything a documentary should be. Revelations come thick and fast throughout, and the director skillfully creates a palpable feeling of injustice that will leave many viewers feeling the MPAA is in urgent need of a drastic overhaul. (texto oficial de la distribuidora)
(más)Reseñas (1)
For Waters’ guileless admission “I know a lot of perverts...”, I would gladly give this film a full five-star rating, but its objective shortcomings, such as its lack of objectivity, won’t allow me to do that. If you want to prove at any cost that the MPAA is a non-transparent organisation in which a group of mysterious beings scheme against free-thinking filmmakers, you can do that (comparison of individual scenes is pointless when the rating relates to the content of the whole film). At the same time, it is necessary to take into consideration what this documentary doesn't take into consideration. If CARA had not been established, films like The Wild Bunch, Taxi Driver and several thousand others could not have been made, and we would still take offence at every F-word heard in a Hollywood film, and we would be unaware that cinema is enriched by the works of such lovable deviants as Waters, who, incidentally, is the only one to offer a few constructive comments (the effect of current political events on the strictness of rating films). Furthermore, it was the demonised Jack Valenti who at the end of the 1960s publicly defended the right of filmmakers to express themselves through appropriate cinematic means with respect to the events that drive society. Forgetting is just as easy as criticising. In short, entertainment and indifference won out over truth and respect. 70%
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