04 GENRE: Documentaries

Zeitgeist, the Movie is a no-profit 2007 documentary film by Peter Joseph

watch it for free, at http://www.zeitgeistmovie.com/

Zeitgeist (from German Zeit- time and Geist- spirit) is "the spirit of the times" and/or "the spirit of the age." Zeitgeist is the general cultural, intellectual, ethical, spiritual, and/or political climate within a nation or even specific groups, along with the general ambience, morals, and sociocultural direction or mood of an era (similar to the English word mainstream or trend).

This film has just one lack: it lasts too little.

Today, capitalism is not only a danger, is also emergency: although it has lost participation and political-cultural consciousness a few decades ago,the situation is highly dramatic and critical.
This economic system considering only the profit, has reduced the majority of people worldwide in slavery (under the fire of corporations): crushed by wars, genocides and dictatorships funded from the western hegemonic democratic imperialism that looking at globalization, also supports the public debt; and it even reached wildly the untouchable America, with a terrible crisis, which now looks with fear toward the east.

The contemporary situation of poverty sees 1 billion and 200 million people, 20% of the global population will ensure 1'84% of global GDP.
By contrast, the South, home to the other 4 billion and 600 million people participate in the global GDP for a share of 16%.
The result is that every inhabitant of the North has a richness that is almost 21 times higher than that of every inhabitant of the South (while an American consumes as 2 European, 6 Chinese, 22 Indians and 70 Kenyans)
but the problem it's treated by the media as something distant, even if it will look very early at the gates of the rich countries, troubling their appearance of status quo, with environmental disasters, over-population, migration flows and religious clashes.

Now, Michael Moore has certainly provided an opportunity for innovation in the panorama of cinema verite, because his ability to manipulate, since the beginning of his work, a mass of materials, combined till making the cinematic equivalent of the U.S. melting pot.
Nevertheless many people, not just in America, criticizes and hate him (in the artistic field and regardless of politics as well) some have even built websites against and made films, and it is not difficult to see why: his way of dealing with delicate and controversial issues is often biased and subjective, tending to impose his own vision, forcing sources.

So far his most successful works are also the most acclaimed: Bowling for Columbine and Fahrenheit 9 / 11, along with Roger & Me; and it's not far from the truth considering that he tried to replicate the abracadabra without getting into all the others, especially in the last two films (although successful in this one, when up the style of Roger & Me to follow the eviction of a family, sent away from home while having to clean up for the same bank criminals).
If even increased political commitment, he lacks the depth and seriousness to address certain arguments such as health and economy in an honest manner; and deespite the choice of topical issues, it is as if the director has lost his edge, that unfolds in Capialism out only occasionally.

In spite of other famous films on the subject, which Zeitgeist is the most important and credible (also because it was released free on the website of Peter Joseph), the criticism of mr. Moore is too mainstream to have real value, not only because it does not identify the actual causes, which he succeded in the two most famous films; but also because it agrees with Catholicism and institutions, involving the audience (as mass) to the Obama Yes We Can - Hope strategy.
It attempts to attract the attention with the usual subversive charge but lost in self exaltation, as in the final or in the case of the constitution, even with good ideas as to dub The last temptation of Christ, or comparison with the ancient Rome, but ignoring basic issues such as the origins of the debt, or eugenics, that if save him from imputations of conspiring, also relegate the film not so much to the socialist field but to a sectoral and corporate one.

Though, given the sensitivity of the issue, the audience, unaware and eager to acquire informations (where the only listed economy "experts" are the actor Wallace Shawn and a student out of the New York Stock Exchange), does not need banana skin like Moore's, lost as in wanting to explain important topics like the internal crisis (which was more valuable at the times of the video Rage Against The Machine - Sleep Now in the Fire, also shot in Wall Street), so light-minded and spectacular, as immature.

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