Diary entries forZero Day
Zero Day
Robert De Niro’s first TV role and nonetheless absolutely smashed it and you know what I actually enjoyed the twists and turns and the way we were also learning along with the story keeps you intrigued and want to finish the show to see how it all fits.
Zero Day
I appreciate how the film doesn’t attempt to make these guys sympathetic. This is certainly more effective than THE DIRTIES (https://boxd.it/4ZGa), but falls short of ELEPHANT (https://boxd.it/287i). For better or worse, this is really a Columbine movie with a thin veneer of fiction on top.
Zero Day
pretty boy natural blood stained blonde with the holes in his sneakers “the gun may be the perfect weapon, he said, standing between a rock and a hard place. but a gun is nothing without a bullet, i replied. i am my bullet. i live my life along the perfect, parabolic arch of purpose meaning. and then there was that time that you stepped on the land mine and i never forgave you. and you could feel the entire rise and fall of the third reich at your feet. it’s a wasted life.”
Zero Day
i realized halfway through the movie that that was the one and only willoughby tucker
Zero Day
“𝘍𝘜𝘊𝘒 𝘠𝘖𝘜 𝘍𝘜𝘊𝘒 𝘛𝘏𝘈𝘛 𝘍𝘜𝘊𝘒 𝘛𝘏𝘌 𝘙𝘌𝘈𝘚𝘖𝘕𝘚 𝘛𝘏𝘌𝘙𝘌 𝘈𝘙𝘌 𝘕𝘖𝘕𝘌.” Interesting to know that this came out a year before Van Sant’s Elephant (https://letterboxd.com/film/elephant-2003/). Though I prefer the elegance of emotions in Van Sant’s work, here we are given the very thing close to reality when it comes to the recreation of the Columbine shooting. How else are we to process grief in reality but by displacing it through the sift of the medium much like cinema? For Van Sant, a layer of fiction must exist to convince us that something more lies beneath the surface. But for Coccio, we must present reality as reality to the best of our ability. And so within the found footage format, we are given direct point of view of the shooters, seeing the world immediately through their eyes. And though not much of circumstances prompt the great big why of how it all happened, enough is present in the film to see where angst stems from, how it itches to become something more, aggressive, and then challenging. Challenging us, the viewer, right through the eyes of the killer. But the ending cuts off to CCTV, breaking form, to give us distance, to bring us back into the space of audience as mere spectator, as someone who flips the TV on to the news channel to know all about the factual miseries of the world. There was a time when the newscycle didn’t used to be 24/7. There was a time when it was reserved for mornings and evenings. We can only take so much pain and misery. But Coccio’s message is clear: as much as we may try to create or recreate reality, in the end, all we’re left with is reality. The dealing of it. The hurt of it. But what, really, are we to do with reality? ”𝘞𝘩𝘪𝘤𝘩 𝘨𝘶𝘯 𝘥𝘰 𝘺𝘰𝘶 𝘵𝘩𝘪𝘯𝘬 𝘸𝘰𝘶𝘭𝘥 𝘣𝘦 𝘵𝘩𝘦 𝘣𝘦𝘴𝘵 𝘵𝘰 𝘢𝘤𝘵𝘶𝘢𝘭𝘭𝘺 𝘬𝘪𝘭𝘭 𝘴𝘰𝘮𝘦𝘣𝘰𝘥𝘺?” “𝘐 𝘥𝘰𝘯’𝘵 𝘬𝘯𝘰𝘸, 𝘵𝘩𝘦𝘺’𝘥 𝘢𝘭𝘭 𝘱𝘳𝘦𝘵𝘵𝘺 𝘮𝘶𝘤𝘩 𝘬𝘪𝘭𝘭 𝘴𝘰𝘮𝘦𝘣𝘰𝘥𝘺.”
