― scott seward (scott seward), Tuesday, 22 June 2004 18:30 (nineteen years ago) link
Bungled that of course, should read: his weakness is his lack of objectivity, which if he is a documentarist, should be his focus.
This is all brought up on that other Moore thread.
― scott seward (scott seward), Tuesday, 22 June 2004 18:31 (nineteen years ago) link
― Gear! (Gear!), Tuesday, 22 June 2004 18:32 (nineteen years ago) link
What do you lefties think about Godard's quote, "Moore doesn't distinguish between text and image. He doesn't know what he's doing." Agree/Somewhat Agree/Disagree?
I think that's probably a fair point. Moore is working in a very different tradition than Godard. Considering he's such a corpulent man, it's interesting that his films don't tend to have a 'body' in the way Godard's do. I hear the editing in 'F9/11' is 'good', but I suspect the people saying that (I think it was some BBC critic covering Cannes) are not people who think Godard's Brechtian editing style is 'good'. It's like criticizing a newspaper op-ed column for not being James Joyce.
― Momus (Momus), Tuesday, 22 June 2004 18:32 (nineteen years ago) link
― Neb Reyob (Ben Boyer), Tuesday, 22 June 2004 18:33 (nineteen years ago) link
― Alex in SF (Alex in SF), Tuesday, 22 June 2004 18:34 (nineteen years ago) link
Why shouldn't subjectivity and point-of-view be the focus of a documentarist?
― Momus (Momus), Tuesday, 22 June 2004 18:35 (nineteen years ago) link
― hstencil (hstencil), Tuesday, 22 June 2004 18:35 (nineteen years ago) link
Because people are lazy and want to accept the 'truths' that other present for them :)
― deanomgwtf!!!p%3Fmsgid%3D4581997 (deangulberry), Tuesday, 22 June 2004 18:35 (nineteen years ago) link
― Alex in SF (Alex in SF), Tuesday, 22 June 2004 18:36 (nineteen years ago) link
― Gear! (Gear!), Tuesday, 22 June 2004 18:38 (nineteen years ago) link
You may have to ask someone who thinks that it is his fault.
― deanomgwtf!!!p%3Fmsgid%3D4581997 (deangulberry), Tuesday, 22 June 2004 18:40 (nineteen years ago) link
― Alex in SF (Alex in SF), Tuesday, 22 June 2004 18:41 (nineteen years ago) link
― The Devil's Triad (calstars), Tuesday, 22 June 2004 18:42 (nineteen years ago) link
― s1ocki (slutsky), Tuesday, 22 June 2004 18:42 (nineteen years ago) link
― s1ocki (slutsky), Tuesday, 22 June 2004 18:43 (nineteen years ago) link
― Alex in SF (Alex in SF), Tuesday, 22 June 2004 18:44 (nineteen years ago) link
― s1ocki (slutsky), Tuesday, 22 June 2004 18:44 (nineteen years ago) link
http://slate.msn.com/id/2102723/
― lovebug starski, Tuesday, 22 June 2004 18:44 (nineteen years ago) link
― Alex in SF (Alex in SF), Tuesday, 22 June 2004 18:45 (nineteen years ago) link
― Gear! (Gear!), Tuesday, 22 June 2004 18:45 (nineteen years ago) link
― deanomgwtf!!!p%3Fmsgid%3D4581997 (deangulberry), Tuesday, 22 June 2004 18:45 (nineteen years ago) link
― s1ocki (slutsky), Tuesday, 22 June 2004 18:46 (nineteen years ago) link
― Alex in SF (Alex in SF), Tuesday, 22 June 2004 18:47 (nineteen years ago) link
― s1ocki (slutsky), Tuesday, 22 June 2004 18:48 (nineteen years ago) link
― miloauckerman (miloauckerman), Tuesday, 22 June 2004 18:49 (nineteen years ago) link
oh no, please don't me bring poor Nanook back into another thread. He's tired.
― hstencil (hstencil), Tuesday, 22 June 2004 18:49 (nineteen years ago) link
Yours truly, Mister Obvious
― Mr.Obvious (scott seward), Tuesday, 22 June 2004 18:51 (nineteen years ago) link
― The Devil's Triad (calstars), Tuesday, 22 June 2004 18:51 (nineteen years ago) link
― miloauckerman (miloauckerman), Tuesday, 22 June 2004 18:53 (nineteen years ago) link
― VengaDan Perry (Dan Perry), Tuesday, 22 June 2004 18:53 (nineteen years ago) link
― miloauckerman (miloauckerman), Tuesday, 22 June 2004 18:55 (nineteen years ago) link
― hstencil (hstencil), Tuesday, 22 June 2004 18:55 (nineteen years ago) link
― hstencil (hstencil), Tuesday, 22 June 2004 18:56 (nineteen years ago) link
If everyone agreed that Nanook was a documentary, pure and simple, then you're right. You could argue that people shouldn't/can't hold Moore to a different standard. But that view of Nanook isn't universal or even a majority.
hstencil, that was in reference to the "it needs to be objective" arguments. "Objectivity" is a lame bogeyman raised by the right to attack Moore, when objectivity is neither necessary nor preferable (documentary without a POV = boring/pointless).
― miloauckerman (miloauckerman), Tuesday, 22 June 2004 19:00 (nineteen years ago) link
― J0hn Darn1elle (J0hn Darn1elle), Tuesday, 22 June 2004 19:04 (nineteen years ago) link
― J0hn Darn1elle (J0hn Darn1elle), Tuesday, 22 June 2004 19:05 (nineteen years ago) link
Reference Library: Encyclopedia
Main Page | See live article | Alphabetical index
Documentary filmAn incredibly broad category of cinematic expression, traditionally, the only common characteristic to all documentary films is that they are meant to be non-fiction films. The French used the term to refer to any non-fiction film, including travelogues and instructional videos. The earliest "moving pictures" were by definition documentary. They were single shots, moments captured on film, whether of a train entering a station, a boat docking, or a factory of people getting off work. Early film (pre-1900) was dominated by the novelty of showing an event. These short films were called "actualities." Very little storytelling took place before the turn of the century, due mostly to technological limitations: cameras could hold only very small amounts of film; many of the first films are a minute or less in length.With Robert J. Flaherty's Nanook of the North in 1922, documentary film embraced romanticism; Flaherty went on to film a number of heavily staged romantic films, usually showing how his subjects would have lived 100 years earlier and not how they lived right then (for instance, in Nanook of the North Flaherty does not allow his subjects to shoot a walrus with a nearby shotgun, but has them use a harpoon instead, putting themselves in considerable danger).
Some of Flaherty's staging, such as building a roofless igloo for interior shots, was done to accommodate the filming technology of the time. In later years, attempts to steer the action in this way, without informing the audience, have come to be considered both unethical and contradictory to the nature of documentary film. On the other hand, both the story line and content of any documentary are imposed by the filmmaker.
Amazon.com description:
Editorial ReviewsAmazon.com essential videoRobert J. Flaherty, who wrote, directed, produced, shot, and edited this landmark picture, will forever be remembered as the godfather of documentary filmmaking. While this landmark 1922 production, shot on the northeastern shore of Hudson Bay, isn't a true documentary by contemporary conventions, it remains the first great nonfiction film. With the help of Nanook and his friends and family, Flaherty undertook the mission of re-creating an Eskimo culture that no longer existed in a series of staged scenes. Nanook ice fishes, harpoons a walrus, catches a seal, traps, builds an igloo, and trades pelts at a trading post, all captured by Flaherty's inquisitive camera. Though he presents a "happy" culture bordering on primitive innocence (Nanook and his family were in reality quite westernized), his loving portrait is anything but condescending. Ultimately Flaherty shares his tremendous respect and awe for a culture that has learned to not just survive but thrive in such an inhospitable environment. On a purely visual level the film is a beautiful work of cinema, an understated drama in an austere, unblemished landscape of snow and ice. With unerring simplicity and directness, Flaherty re-creates the details and rhythms of a culture long gone and gives the world a glimpse.
review from Silent Film Sources:
Nanook of the North (1922) R E V I E W 1922. 6 reels. --------------------------------------------------------------------------------
Revillon Freres present NANOOK OF THE NORTH. A story of life and love in the actual arctic. Produced by Robert J. Flaherty F.R.G.S. Pathepicture. Opening title: The mysterious Barren Lands- desolate, boulder-strewn, wind-swept- illimitable spaces which top the world.
--------------------------------------------------------------------------------
Produced for video by David Shepard. Nanook of the North was the first of Robert J. Flaherty's romantic depictions of man's dignified perseverance in combating a malevolent nature. Flaherty is often called "the father of the documentary", and he did make the first theatrical documentary feature with Nanook. But that fact does not do justice to the humanism and the technical brilliance that makes his best works -- Nanook, Man of Aran and Louisiana Story -- beautiful and enduring.
imdb:
Nanook of the North (1922) Directed byRobert J. Flaherty
Writing credits Robert J. Flaherty
Genre: Documentary (more)
Tagline: A story of life and love in the actual Arctic. (more)
Plot Summary: Documents one year in the life of Nanook, an Eskimo (Inuit) and his family. Describes the trading, hunting... (more)
Shall I go on? Googling gets old.
― hstencil (hstencil), Tuesday, 22 June 2004 19:06 (nineteen years ago) link
― The Devil's Triad (calstars), Tuesday, 22 June 2004 19:06 (nineteen years ago) link
x-post
An IMDB entry for it says documentary - OK, IMDB also lists Häxan as a doc. Is Häxan a documentary? An Amazon review, a dictionary reference that includes the line "In later years, attempts to steer the action in this way, without informing the audience, have come to be considered both unethical and contradictory to the nature of documentary film."
None of these show a consensus of opinion on Nanook that lets you use it and its methods as a standard. (Because that consensus does not exist.)
― miloauckerman (miloauckerman), Tuesday, 22 June 2004 19:10 (nineteen years ago) link
I think your error is in assuming that a documentary is about accounting history. Documentary != history book.
― miloauckerman (miloauckerman), Tuesday, 22 June 2004 19:14 (nineteen years ago) link
― deanomgwtf!!!p%3Fmsgid%3D4581997 (deangulberry), Tuesday, 22 June 2004 19:17 (nineteen years ago) link
― hstencil (hstencil), Tuesday, 22 June 2004 19:26 (nineteen years ago) link
― The Devil's Triad (calstars), Tuesday, 22 June 2004 19:26 (nineteen years ago) link
― hstencil (hstencil), Tuesday, 22 June 2004 19:27 (nineteen years ago) link
I'm reminded of how effective this whole embedded journalist thing worked during the war's early stages... lame ass FOX reporters felt the espirit de corps and wouldn't report anything negative... they became buddies with the soldiers.
(And my point is....?)
― andy, Tuesday, 22 June 2004 19:30 (nineteen years ago) link
― lauren (laurenp), Tuesday, 22 June 2004 19:40 (nineteen years ago) link
― hstencil (hstencil), Tuesday, 22 June 2004 19:55 (nineteen years ago) link
― lauren (laurenp), Tuesday, 22 June 2004 19:57 (nineteen years ago) link
― J0hn Darn1elle (J0hn Darn1elle), Tuesday, 22 June 2004 20:04 (nineteen years ago) link
Armond gets in some more "Better Thans..." under the guise of reviewing Truffaut deep cut Blus
https://www.nationalreview.com/2023/02/the-truffaut-touch-and-touchstones/
― an icon of a worried-looking, long-haired, bespectacled man (C. Grisso/McCain), Sunday, 26 February 2023 01:09 (one year ago) link
I really don't want to give him clicks.
― Malevolent Arugula (Alfred, Lord Sotosyn), Sunday, 26 February 2023 06:34 (one year ago) link
Why did Spielberg abandon Indiana Jones? Not directing Indiana Jones and the Dial of Destiny — Spielberg was busy ruining West Side Story and fabricating The Fabelmans, instead — makes for the sorriest news of parental neglect since millionaire influence-peddler Hunter Biden got his child support reduced.
― fair but so uncool beliefs here (Eric H.), Friday, 7 July 2023 17:40 (ten months ago) link
https://i.imgur.com/3M7wYy1.gif
― the dreaded dependent claus (Alfred, Lord Sotosyn), Friday, 7 July 2023 17:55 (ten months ago) link
he goes after Spielberg like a scorned psychotic ex-lover. talk about a guy whose criticism says everything about him and nil about his subjects...
― omar little, Friday, 7 July 2023 18:03 (ten months ago) link
A fine new entry
Perfect, Robert Davi. A portrait of strength. https://t.co/G5vAwRKGXE— Armond White (@3xchair) August 25, 2023
― fair but so uncool beliefs here (Eric H.), Friday, 25 August 2023 02:24 (eight months ago) link
So many miniature American tragedies playing out in real time as they fall for that dude, and Armond would be another one if he wasn't already kind of a dickhead.
― omar little, Friday, 25 August 2023 02:33 (eight months ago) link
Tagging catturd2 and, instead, settling for Arm0nd is just one of those moments that make life worth living
― fair but so uncool beliefs here (Eric H.), Friday, 25 August 2023 02:37 (eight months ago) link
Maybe he can compile a special Better-Than list for famous mug shots.
― clemenza, Friday, 25 August 2023 02:48 (eight months ago) link
Unfollowed him on Twitter, finally
― 50 Best Fellas (Eric H.), Thursday, 28 September 2023 02:47 (seven months ago) link
The teens in TikTok clips who pitifully bounce and sing along with the film’s pre-recorded concert are the flip side of those nerds and sociopaths who lined up for The Dark Knight Rises ...
OK, sure.
... in Aurora, Colo.
oh.
― Dwigt Rortugal (Eric H.), Wednesday, 18 October 2023 14:53 (six months ago) link
dude is deeply unwell, just an actually mentally ill man ineptly weaponized by the right wing
― omar little, Wednesday, 18 October 2023 19:03 (six months ago) link
Sharing his "better than" list ONLY because it's now become the most sane thing he does any given year, frankly. (Or closest to sane, anyway.)
John Wick 4 > OppenheimerChad Stahelski climaxed the Keanu Reeves cult franchise with the year’s most visually, kinetically thrilling filmcraft. Movement is the perfect antidote to Christopher Nolan’s no-fun talkathon. Stahelski’s execution of dazzling choreographed combat extended silent-era and movie-musical slapstick — confronting mankind’s capacity for self-defense killing as a sublime moral act. He made antipathetic video-game artifice feel cathartic, unlike a nihilistic pseudo-history. Nolan, as ever, twists national defense into wearying social complexity. Hail the action genre gone nuclear, not pompous.Rebel Moon > Killers of the Flower MoonZack Snyder, Stahelski’s only rival, knows what Godard knew: Myth is how we learn who we are. So Snyder remakes the childish Star Wars series into rousing adult moral lessons, whereas Martin Scorsese succumbs to America’s current self-loathing in his first political film (and first Western)— a bland epic superficially preoccupied with white supremacy. It shows Scorsese learned nothing from John Ford.All of Us Strangers > SaltburnAndrew Haigh’s pop-melodrama finds family-based emotion in the erotic awakening of lonely Brit Andrew Scott. Emerald Fennell’s phony analysis of England’s class system attacks the family unit through feminist/sexual transgression. A triumph commemorating Pet Shop Boys sophistication vs. a disaster that perverts a great Pet Shop Boys song.The Taste of Things > MaestroTran Anh Hung’s exquisite re-creation of French culinary dedication practiced by Juliette Binoche and Benoît Magimel. It embarrasses the disingenuous dishonesty of Bradley Cooper’s autograph-hound pseudo-biography that toasts Leonard Bernstein’s political, sexual dissembling as modern virtue.Winter Boy > May December Christophe Honoré dares candid semi-autobiography in a coming-of-age story about Paul Kircher’s coming-of–personal responsibility. It bests another dishonest Todd Haynes academic thesis, this time indulging pedophilia as social defiance and artistic audacity.Asteroid City > Past LivesWes Anderson’s sunny, stylized nostalgic adolescent outing recalls America’s natural diversity in the ’50s, back when we believed in social, scientific, and artistic potential. Celine Song’s sad-sack narcissism prefers a tribal, Buddhist excuse for immaturity and social disconnection.Will-o’-the-Wisp > BarbieJoão Pedro Rodrigues interrogates Western art, sex, and politics when Portuguese heir Mauro Costa protests his heritage by becoming a dancing firefighter. This is genuine cultural radicalism, surreal and funny. Unlike Greta Gerwig’s toy-feminism, a marketing coup that sold misandry and ineptitude alongside vapid white privilege — all the more biased in its supporting cast of diversity tokens.Everything Went Fine > PassagesFrançois Ozon’s broken-family drama in which Sophie Marceau accepts the weirdness of her father André Dussollier as like her own. But Ira Sachs equates queerness with generational selfishness. Healing vs. rupture.Nobody’s Hero > American FictionAlain Guiraudie teases French liberalism when middle-class Jean-Charles Clichet harbors a Muslim terrorist and then falls in love with middle-aged hooker Noémie Lvovksy. Hypocrisy becomes farce whereas Cord Jefferson practices the same racial hypocrisy as the black pathology trend of American lit that he pretends to satirize. Deep vs. shallow.Full River Red > Origin and RustinZhang Yimou’s visually stunning ode to China’s warrior history is a movie to marvel at and heed. Ava DuVernay extolling Aunjanue Ellis-Taylor’s intellectual research into the global “root causes” of American racism is off-the-charts ludicrous. So is George Wolfe’s inadvertent civil-rights-era comedy Rustin. Strong, artful patriotism vs. Hollywood weakness.Full Time > The HoldoversEric Gravel’s empathy with Laure Calamy’s stressed young mother seeking pride and self-sufficiency teaches something real and non-cliché about working-class identity to indie-movie smarty-pants Alexander Payne.The Crime Is Mine > Poor ThingsFrançois Ozon’s delirious feminist farce captures the inanity of the #MeToo movement. His cinematic and theatrical artifice goes back through the history of sexual duplicity, while art fraud Yorgos Lanthimos defends feminist hypocrisy in his odious sexual horror comedy.Thanksgiving > Oppenheimer, Killers of the Flower Moon, BarbieEli Roth has made the first movie to evoke J6, not shying away from how national chaos was distorted and misunderstood by mainstream corporate media. Brash, hilarious Roth satirizes American self-destruction, leaving Nolan, Scorsese, and Gerwig with moral and ideological blood on their hands.
Chad Stahelski climaxed the Keanu Reeves cult franchise with the year’s most visually, kinetically thrilling filmcraft. Movement is the perfect antidote to Christopher Nolan’s no-fun talkathon. Stahelski’s execution of dazzling choreographed combat extended silent-era and movie-musical slapstick — confronting mankind’s capacity for self-defense killing as a sublime moral act. He made antipathetic video-game artifice feel cathartic, unlike a nihilistic pseudo-history. Nolan, as ever, twists national defense into wearying social complexity. Hail the action genre gone nuclear, not pompous.
Rebel Moon > Killers of the Flower Moon
Zack Snyder, Stahelski’s only rival, knows what Godard knew: Myth is how we learn who we are. So Snyder remakes the childish Star Wars series into rousing adult moral lessons, whereas Martin Scorsese succumbs to America’s current self-loathing in his first political film (and first Western)— a bland epic superficially preoccupied with white supremacy. It shows Scorsese learned nothing from John Ford.
All of Us Strangers > Saltburn
Andrew Haigh’s pop-melodrama finds family-based emotion in the erotic awakening of lonely Brit Andrew Scott. Emerald Fennell’s phony analysis of England’s class system attacks the family unit through feminist/sexual transgression. A triumph commemorating Pet Shop Boys sophistication vs. a disaster that perverts a great Pet Shop Boys song.
The Taste of Things > Maestro
Tran Anh Hung’s exquisite re-creation of French culinary dedication practiced by Juliette Binoche and Benoît Magimel. It embarrasses the disingenuous dishonesty of Bradley Cooper’s autograph-hound pseudo-biography that toasts Leonard Bernstein’s political, sexual dissembling as modern virtue.
Winter Boy > May December Christophe Honoré dares candid semi-autobiography in a coming-of-age story about Paul Kircher’s coming-of–personal responsibility. It bests another dishonest Todd Haynes academic thesis, this time indulging pedophilia as social defiance and artistic audacity.
Asteroid City > Past Lives
Wes Anderson’s sunny, stylized nostalgic adolescent outing recalls America’s natural diversity in the ’50s, back when we believed in social, scientific, and artistic potential. Celine Song’s sad-sack narcissism prefers a tribal, Buddhist excuse for immaturity and social disconnection.
Will-o’-the-Wisp > Barbie
João Pedro Rodrigues interrogates Western art, sex, and politics when Portuguese heir Mauro Costa protests his heritage by becoming a dancing firefighter. This is genuine cultural radicalism, surreal and funny. Unlike Greta Gerwig’s toy-feminism, a marketing coup that sold misandry and ineptitude alongside vapid white privilege — all the more biased in its supporting cast of diversity tokens.
Everything Went Fine > Passages
François Ozon’s broken-family drama in which Sophie Marceau accepts the weirdness of her father André Dussollier as like her own. But Ira Sachs equates queerness with generational selfishness. Healing vs. rupture.
Nobody’s Hero > American Fiction
Alain Guiraudie teases French liberalism when middle-class Jean-Charles Clichet harbors a Muslim terrorist and then falls in love with middle-aged hooker Noémie Lvovksy. Hypocrisy becomes farce whereas Cord Jefferson practices the same racial hypocrisy as the black pathology trend of American lit that he pretends to satirize. Deep vs. shallow.
Full River Red > Origin and Rustin
Zhang Yimou’s visually stunning ode to China’s warrior history is a movie to marvel at and heed. Ava DuVernay extolling Aunjanue Ellis-Taylor’s intellectual research into the global “root causes” of American racism is off-the-charts ludicrous. So is George Wolfe’s inadvertent civil-rights-era comedy Rustin. Strong, artful patriotism vs. Hollywood weakness.
Full Time > The Holdovers
Eric Gravel’s empathy with Laure Calamy’s stressed young mother seeking pride and self-sufficiency teaches something real and non-cliché about working-class identity to indie-movie smarty-pants Alexander Payne.
The Crime Is Mine > Poor Things
François Ozon’s delirious feminist farce captures the inanity of the #MeToo movement. His cinematic and theatrical artifice goes back through the history of sexual duplicity, while art fraud Yorgos Lanthimos defends feminist hypocrisy in his odious sexual horror comedy.
Thanksgiving > Oppenheimer, Killers of the Flower Moon, Barbie
Eli Roth has made the first movie to evoke J6, not shying away from how national chaos was distorted and misunderstood by mainstream corporate media. Brash, hilarious Roth satirizes American self-destruction, leaving Nolan, Scorsese, and Gerwig with moral and ideological blood on their hands.
― stephen miller is not your friend (Eric H.), Friday, 5 January 2024 16:28 (four months ago) link
I agree more than I disagree!
― poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Friday, 5 January 2024 16:29 (four months ago) link
I'd say this is not a contrarian take but my Twitter and Letterboxd feeds disagree.
― stephen miller is not your friend (Eric H.), Friday, 5 January 2024 16:33 (four months ago) link
Certainly Nobody's Hero, Everything Went Fine, and Will-o’-the-Wisp deserve more mentions.
Wonder how the NRO crowd will dig the oral sex sequence in Will-o’-the-Wisp.
― poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Friday, 5 January 2024 16:38 (four months ago) link
Almost fitting that they'll chase it down with the decapitations of Thanksgiving, really
― Wack Snyder (Eric H.), Friday, 5 January 2024 16:39 (four months ago) link
Eli Roth has made the first movie to evoke J6, not shying away from how national chaos was distorted and misunderstood by mainstream corporate media.
if I hold up this sentence in front of a mirror will it make more sense or
― poppers fueled buttsex crescendo (Alfred, Lord Sotosyn), Friday, 5 January 2024 16:41 (four months ago) link
the closer you were to get to understanding that, the more I'd worry about you
― ɥɯ ︵ (°□°) (mh), Friday, 5 January 2024 22:16 (four months ago) link
Pairing Asteroid City with Past Lives is so ridiculous, it's intriguing. It's also ridiculous.
― clemenza, Friday, 5 January 2024 22:46 (four months ago) link
(I won't even get into his valuation of their relative worth.)
― clemenza, Friday, 5 January 2024 22:58 (four months ago) link
A little disappointed he didn't have Sound of Freedom > Zone of Interest or Chicken Run II or something...
― an icon of a worried-looking, long-haired, bespectacled man (C. Grisso/McCain), Saturday, 6 January 2024 00:15 (four months ago) link
Super Mario Bros. > Occupied City
― underwater as a compliment (Eazy), Saturday, 6 January 2024 08:20 (four months ago) link
Lady Ballers > Orlando, My Political Biography
― Wack Snyder (Eric H.), Saturday, 6 January 2024 15:15 (four months ago) link