maditabannat
Joined Jul 2020
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Reviews2
maditabannat's rating
Once again, a program proves that if you meet people with dignity and respect, astonishingly good things can happen.
The film Sing Sing is based on the Rehabilitation Through the Arts (RTA) program, founded in 1996 at Sing Sing prison in NY. RTA creates a space where incarcerated individuals meet on equal footing-a true encounter beyond their assigned roles. And while I don't want to bore you with psychological theory, I couldn't help but notice just how many crucial skills this program fosters: the ability to tolerate frustration, the courage to be vulnerable, to open up, to let emotions in. Holding space for others, even when their process looks different from your own. And perhaps most importantly-feeling a sense of agency, of creating something that belongs to you. Because in the end, that's what art does: it reveals parts of yourself you might have forgotten were even there.
The film is beautifully shot, making it easy for the audience to connect emotionally with what unfolds on screen. It brings personal struggles into focus, breaking down stereotypes and expectations. While the program itself is inspiring, it would be naïve to see it as a singular, magical solution to reducing recidivism. The movie raises an important question: What else is needed to build a future outside prison? Personal growth and new skills are valuable, but what about the world waiting outside? Will you find a job? A home? A support system? Rehabilitation doesn't happen in isolation. Social structures, economic opportunities, and society's willingness to reintegrate former offenders all play a decisive role.
Sing Sing reminds us that transformation is possible, but it also challenges us to think beyond prison walls. Change isn't just about the individual-it's about the world they return to.
The film Sing Sing is based on the Rehabilitation Through the Arts (RTA) program, founded in 1996 at Sing Sing prison in NY. RTA creates a space where incarcerated individuals meet on equal footing-a true encounter beyond their assigned roles. And while I don't want to bore you with psychological theory, I couldn't help but notice just how many crucial skills this program fosters: the ability to tolerate frustration, the courage to be vulnerable, to open up, to let emotions in. Holding space for others, even when their process looks different from your own. And perhaps most importantly-feeling a sense of agency, of creating something that belongs to you. Because in the end, that's what art does: it reveals parts of yourself you might have forgotten were even there.
The film is beautifully shot, making it easy for the audience to connect emotionally with what unfolds on screen. It brings personal struggles into focus, breaking down stereotypes and expectations. While the program itself is inspiring, it would be naïve to see it as a singular, magical solution to reducing recidivism. The movie raises an important question: What else is needed to build a future outside prison? Personal growth and new skills are valuable, but what about the world waiting outside? Will you find a job? A home? A support system? Rehabilitation doesn't happen in isolation. Social structures, economic opportunities, and society's willingness to reintegrate former offenders all play a decisive role.
Sing Sing reminds us that transformation is possible, but it also challenges us to think beyond prison walls. Change isn't just about the individual-it's about the world they return to.
Kingdom of the Planet of the Alps" starts strong, capturing the audience's attention for the first ten minutes. However, it swiftly unravels, losing any semblance of justification for its cinematic release. As the film progresses, it feels as though one's IQ drops with each passing minute.
The storyline is poorly paced and seems to operate under the assumption that its audience lacks any intellectual capacity. The narrative is painfully stereotypical, making the experience of watching the film a test of endurance rather than entertainment. By the end of the first act, I felt a strong need for decompression, having only made it through one-third of the film.
The plot centers a young ape called Noa introduced as the hero, a chunky monkey with Friar Tuck vibes, who, along with a mysterious human companion, forms a team to rescue the villagers of Noa. This premise, while potentially intriguing, is executed without creativity or originality. The apes in the film behave far too human-like, stripping away any unique elements that could have distinguished this movie from other entries in the genre.
The storyline is poorly paced and seems to operate under the assumption that its audience lacks any intellectual capacity. The narrative is painfully stereotypical, making the experience of watching the film a test of endurance rather than entertainment. By the end of the first act, I felt a strong need for decompression, having only made it through one-third of the film.
The plot centers a young ape called Noa introduced as the hero, a chunky monkey with Friar Tuck vibes, who, along with a mysterious human companion, forms a team to rescue the villagers of Noa. This premise, while potentially intriguing, is executed without creativity or originality. The apes in the film behave far too human-like, stripping away any unique elements that could have distinguished this movie from other entries in the genre.