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Valley of the Wolves: Palestine: Focus on the Israeli-Palestinian Conflict
Valley of the Wolves: Palestine is the latest instalment of a popular and successful film series in Turkey. In this sequel, the story focuses on a team of Turkish operatives on a mission to avenge the deaths of the aid workers killed by Israeli commandos in the flotilla that was bound to Gaza.
Polat Alemdar (Sasmaz) and his men put their lives at risk by crossing more than just the enemy’s lines as they head to Palestine on a mission of revenge, honour and patriotism.
The freedom fighters’ main objective is to locate and eliminate Moshe Ben Eliezer (Besikcioglu), the Israeli military commander responsible for the killing of innocent aid workers in the Gaza flotilla raid. However, Eliezer’s arrangements take an unexpected turn as Polat Alemdar will stop at nothing to bring him down.
Valley of the Wolves: Palestine is clearly influenced by the Palestinian conflict. The main stars are just drawn into the plot as supplementary elements; the real chronicle focuses on the people of Palestine and their suffering.
However, the highlight of the plot is how such undercover teams make their way through Israeli intelligence and the numerous army forces. The brutality of some scenes will stir compassion and empathy for the Palestinian people: one scene in particular shows a disabled child buried alive under the wreckage of his home by Israeli soldiers.
The supporting actors in Valley of the Wolves: Palestine actually give more memorable performances than any of the leads, who are pretty average at best. As the most expensive film ever made in Turkey, Valley of the Wolves: Palestine is full of action scenes from beginning to end. While the action element is not exactly top-notch when compared to Hollywood standards, audiences will still appreciate the effort. However, many scenes are over the top as our heroes seem to be superhuman; it quickly becomes insulting to the audience’s intelligence!
The film was actually shot in Turkish and Hebrew, but the version in Cairo cinemas is dubbed in Arabic, which is frustrating as Egyptian audiences may not fully understand the dialogue because of the poor translation and strange accents.
Overall, Valley of the Wolves: Palestine is a well-made film that demonstrates the violence and injustice of the Palestinian people’s struggle.
Created and directed by award-winning animators, Helene Giraud and Thomas Szabo – and based on a popular French animated television series – Minuscule: Valley of the Lost Ants is a story of friendship and courage told entirely without words.
Set in the diminutive world of insects, the film opens with a sprawling and sun-drenched forest landscape setting, where wildlife is at peace.
After witnessing the birth of ladybug triplets, their very-first flying lesson and the ill-fated separation of the youngest offspring, the story brings its focus on an abandoned picnic, left behind by a live-action couple.
It doesn’t take long before a group of animated black ants move in, delighted to get their hands on a tin box of sugar cubes. However, before they can whizz off back to their colony with their newly-found treasure, they discover a ladybug trapped in the box.
Intrigued and fascinated by their discovery, the black ants quickly make friends with the little bug, who – as they will soon learn – is set to play an important role in their quest; their plan is intermitted by an army of evil red ants, who just like everyone else, wish to get their hands on the sugary fortune.
Unlike the more flashy and boisterous Hollywood animated, Minuscule takes a whole different approach to the matter. Simple, undemanding and dialogue-free, with no star-studded cast to fill the void, the story celebrates wildlife, relishing in the glorious beauty of Mother Nature.
Shot in 3D, the visuals are wonderful, but never overbearing. Everything from the cleverly-constructed creepy-crawlies, their boggy eyes and their indistinguishable voices, to the picturesque dense-forest scenery, makes the film a truly unique, unforgettable experience.
Playful and entertaining, Minuscule: Valley of the Lost Ants offers a terrific insight into the world of these hard-working and untiring little soldiers, who – not unlike humans – have their own barriers to cross and battles to conqueror.
Zack Snyder wowed audiences back in 2006 with his super-slick fictionalised retelling of the infamous Battle of Thermopylae in 300. Now, the long-awaited sequel is here; bloodthirsty and unforgiving, it's safe to say that 300: Rise of an Empire will not disappoint fans of the first film.
Serving as both a sequel and a prequel, 300: Rise of an Empire takes its attention away from the Spartans and their army of noble men, this time putting its focus on the origins of their enemies and the wider ramifications of the events from the first film. The story is centred on Athenian General, Themistocles (Stapleton); a fearless warrior who, during the Battle of Marathon, fatally injured King Darius I (Naor), the great leader of Persia and father of God-King-to-be Xerxes (Santoro).
Ignited with anger and an incredible desire to spill Grecian blood, Greek-born Persian warrior, Artemisia (Green) plans to transform Prince Xerxes from a fearful Prince into a Persian God-King, to ultimately guide their people into war with the Greeks.
Ten years later, Xerxes is ready to send his troops into battle, concurrently engaging King Leonidas and his 300 Spartan men in the overwhelming Battle of Thermopylae, as well as General Themistocles, who goes on to battle Artemisia's naval army at sea. The fate of Greece lies entirely with Themistocles, whose army is once again devastatingly outnumbered, but whose determination and courage go a long way in their fight for freedom.
Santoro returns to reprise his role as the towering giant that is Xerxes and although the character’s backstory is one of the most engaging elements of the film, the Brazilian actor fails to offer any depth to the complex kind. As the lawful Queen Gorgo, Headey retains a very royal pride intensity as the wife of the fallen Leonidas, while Stapleton – as the film’s lead – delivers just enough to score a passing grade, but ultimately lacks the charm and presence of Gerard Butler.
On the other hand, adding Green into the picture is arguably one of best decisions that the filmmakers could have made; as the trouble-brewing Artemisia, she steals the show.
Sticking to the same visual aesthetic, 300: Rise of an Empire is just as absorbing as its predecessor, with director Noam Murro given the freedom to paint on a much larger – and bloodier – canvas.
Although the thrust and energy of 300 seems like an awfully difficult feature to replicate, there are still plenty of adrenaline-pumping moments behind the blood-stained battles to make 300: Rise of an Empire an enjoyable follow-up.