Movies about Silk
Writer/director Tiller Russell doesn’t directly ask us to take a side in «Silk Road,» a dramatization of the creation and downfall of the eponymous darknet website. But the implications of which side the filmmaker wants us to lean toward are strong—and feel a bit disingenuous.
On one side, there’s Ross Ulbricht, the man who created Silk Road when he was 27 and, within three years, became a multi-millionaire from operating the site. On the other side is a fictional DEA agent, an amalgamation of two such government officials who were legally proven to have committed crimes connected to the investigation of Ulbricht for their personal gain.
Who’s the real bad guy here? That seems to be Russell’s primary question. He also appears to have taken a side, especially considering the tone of and comparisons made by the movie’s coda, in which we learn the fates of the real-life figures from this story. By the end of this movie, though, one likely will be asking: Why do we have to choose?
Ulbricht is played by Nick Robinson, and his character first appears in a pointless flash-forward to the very end of this story, surrounded by federal agents during a sting operation in a public library in San Francisco. In voice-over, Ross offers a bit of his philosophy about freedom and liberty, and sure enough, the next time we meet him, several years earlier, he’s chatting up a friend at an Austin bar about his opinion that the Affordable Care Act is an act of government overreach.
His suave diatribes about the free market and whatnot even get him into bed with Julia (Alexandra Shipp), who’s shocked in the morning to learn that she slept with a libertarian. It’s not a deal-breaker for her, apparently, and she’s there when Ross comes up with a guaranteed—and highly illegal—way to make some quick cryptocurrency. Namely, it’s a site on the dark web that will allow people to buy almost anything they want, particularly drugs, and have the items shipped to their door—or, ideally, a friend’s door, a neighbor’s house, or a P.O. box.
Meanwhile in Baltimore, DEA agent Rick Bowden (Jason Clarke) has just been released from a psychiatric facility on account of his addictions to drugs and alcohol. Due to an incident during an undercover operation in Puerto Rico (when he blew an investigation by insulting a drug cartel leader), Rick is given a desk job in the cyber-crimes division, so that he can whittle away the time until his retirement without getting into more trouble.
Even though the actual time is split pretty evenly between Ross and Rick, the heft of this story (based on a magazine article by David Kushner) belongs to the federal agent, whose motives are of questionable honor and whose actions are rarely within the bounds of his job. At first, he’s petty about being left out of the loop and ill-equipped for a job that relies on computers (he watches online videos about how to use one and calls in his younger boss for tech support). Later, when his young daughter is denied a scholarship to a school that will cater to her unspecified learning disability, Rick realizes he needs lots of money—and fast.
Tiller connects these characters—the renegade cop and the freedom-loving outlaw—by their obsessiveness and their obsession. It’s not subtle, for sure (Julia points out that Ross has let Silk Road come between him and the real world, and Rick’s wife, played by Katie Aselton, has a similar conversation with her husband). Russell doesn’t have much to say about this shared trait, either. It’s the beginning and ending of what defines these characters. That is, of course, apart from Ross’ libertarian ideology, which doesn’t make him as interesting as either the character or Russell believes.
The characters’ unique obsessions primarily drive a plot filled with a lot of games, such as using the online anonymity Ross prizes against him, and some procedural elements and a whole lot of acts of questionable morality. Russell digs into the extent of Rick’s mounting corruption—from torture, to entrapment, to extortion. On the other side, Russell makes a point of emphasizing how far removed Ross is from the dealings of people buying and selling increasingly dangerous drugs on his website (the character spends a lot of time in front of his laptop or checking his cellphone, making him even duller).
Neither of these men comes out looking like the hero or, later, the victim he believes himself to be. It’s never clear, though, if Russell has a similar opinion about his crooked protagonists. Some of that confusion comes from the filmmaker focusing on the winding turns of the plot, while taking a simplistic approach to these characters. More to the point, «Silk Road» can see through the justifications of one criminal actor in this story, but the movie almost seems to be making its own excuses for the other.
Nyní se hraje ve vybraných kinech a je k dispozici na digitálních platformách.
Films From Along the Silk Road: Central Asian Cinema
- Revenge, September 15
- Připravované
Filmy - Připravované
Události - Vybraný
Objekty - Minulost
Filmy - Minulost
Události
Minulé filmy
Adoptovaný syn
- Friday, September 30 19:30
«Taking the patterns of handmade Kirghiz rugs as both his narrative rhythm and visual template . . . [Aktan] Abdikalikov examines village life through the eyes of a 13-year-old boy. . . . Remarkable for its slyly resonant imagery.»-Village Voice
První učitel
- Friday, September 30 21:10
Andrei Konchalovsky’s first feature, set in a Kirghiz village shortly after the Revolution. «The conflict . . . between Asia and Europe, the beauty of tradition and the need for change . . . expressed with a deft simplicity of style and a rare quality of emotion.»-Michel Ciment
Osama
- Friday, September 23 20:50
A young woman disguises herself as a boy in Taliban-ruled Afghanistan. «Truth shines through every frame.»-Čas
Střecha světa
- Friday, September 23 17:00
Joel Adlen on Piano. Introduced by Davlat Khudonazarov. Feats of mountaineering and priceless ethnographic details in a 1928 documentary from Tadjikistan.
Angel on the Right
- Friday, September 23 19:00
In Jamshed Usmonov’s dark Tajik comedy, «ancient traditions butt up against the lawless world of the new capitalism.»-Filmový komentář
Takhir and Zukhra
- Friday, September 16 19:30
«The Uzbek film tradition is [Central Asia’s] oldest, and Takhir and Zukhra (1945) -a Romeo a Julie variation, based on a regional folktale-is the series’ ancestral touchstone.»-Vesnický hlas. Photographed by Daniil Demutsky, cinematographer of Dovzhenko’s Arzenál a Země.
Něha
- Friday, September 16 21:20
Greatly influenced by Italian cinema and the French New Wave, Elyer Ishmukhamedov’s 1967 film tells three intertwined stories of young love in Tashkent.
Pomsta
- Thursday, September 15 19:30
Kazakhstan’s «Ermek Shinarbaev, who has to be one of the great storytellers in movies, takes the finest psychological threads and traces them down to their frayed ends. . . . [In] the altogether astonishing Pomsta . . . the urge to wreak vengeance for the murder of a child is followed across two generations and three countries.»-Filmový komentář
Pád Otraru
- Friday, September 9 19:30
Ardak Amirkulov’s epic, «a pageant of medieval delirium in which the great Khan extinguishes an entire civilization the way a CEO would downsize a corporation, is shot through with the strangest kind of melancholy, brought on by the knowledge that an entire way of life is going to disappear.»-Filmový komentář
Man Follows Birds
- Thursday, September 8 19:30
Ali Khamraev’s Uzbek tour de force has been called an Eastern Western, and «a Paradjanovian medieval pageant of boyhood under primal pressure.»-Village Voice
Bílá loď
- Thursday, September 8 21:15
A boy’s way of life, tied to the earth and centuries-old myths, is threatened by the New Soviet Way in this Kirghiz film combining ethnographic fantasia and embittered social realism, based on a Chinghiz Aitmatov story. «A treat for the eyes and the spirit.»-NY Times
Beze strachu
- Friday, September 2 19:30
The women of an Uzbek village provoke a conflict between Islamic and Communist values. «Fuses history, melodrama, and political allegory into a compact narrative. . . . [Ali] Khamraev dramatizes a complex cultural shift with subtlety and vigor.»-N.Y. Sun
Snacha
- Friday, September 2 21:25
From Turkmenistan, Khodjakuli Narliev’s «fascinating artifact of Soviet style and Muslim propriety, as the shy wife of a WWII pilot counts out her days in the desert with her kindly father-in-law, waiting for a return that may never come.»-Village Voice
The Last Stop (Free Screening!)
- Thursday, September 1 17:30
A young soldier in the Soviet army returns to his dead-end village in Serik Aprimov’s evocative film, «a landmark in the valiant heyday of the Kazakh New Wave.»-Filmový komentář
Divoký
- Thursday, September 1 19:30
In the Kirghiz mountains, a boy rescues a wolf cub. «This tough-minded coming-of-age story from Tolomush Okeev . . . snarls with emotion.»-N.Y. Sun
Films From Along the Silk Road: Central Asian Cinema
9/1/05 to 9/30/05
Between the Middle East and the western Chinese border lies a vast stretch of the continent that has barely registered on the Western cultural radar. This is the world where Genghis Khan ruled, and through which the great trade route called the Silk Road ran. The five former Soviet Asian republics are known to some as “the stans”-Turkmenistan, Tadjikistan, Kyrgyzstan, Kazakhstan, and Uzbekistan, linked by geographical proximity yet each possessed of its own unique culture. And its own distinctive national cinema.
Chances are you’ve never heard of most of the films in this series. You may wonder why. The reason is nothing more or less than an accident of history. When the Soviet Union collapsed, so did the apparatus for the promotion and distribution of films from Central Asia. Every time the films have surfaced, it’s been the result of a titanic effort on the part of a few valiant scholars, programmers, and festival.
Between the Middle East and the western Chinese border lies a vast stretch of the continent that has barely registered on the Western cultural radar. This is the world where Genghis Khan ruled, and through which the great trade route called the Silk Road ran. The five former Soviet Asian republics are known to some as “the stans”-Turkmenistan, Tadjikistan, Kyrgyzstan, Kazakhstan, and Uzbekistan, linked by geographical proximity yet each possessed of its own unique culture. And its own distinctive national cinema.
Chances are you’ve never heard of most of the films in this series. You may wonder why. The reason is nothing more or less than an accident of history. When the Soviet Union collapsed, so did the apparatus for the promotion and distribution of films from Central Asia. Every time the films have surfaced, it’s been the result of a titanic effort on the part of a few valiant scholars, programmers, and festival organizers. But the films are worth the effort. These countries are as culturally rich as they are cash poor, and the films, spanning eight decades and representing all five of the Central Asian republics plus Afghanistan, are rich in artistic and poetic miracles.
Presented in conjunction with the Modes of Contemporary Central Asian Culture Program taking place on the UC Berkeley campus on September 24 and 25, organized by the Caucasus and Central Asia Program in the Institute of Slavic, East European, and Eurasian Studies at UC Berkeley; for information, please call (510) 643-6737.
Silk movies and TV shows
The list contains the best, new and most relevant silk movies ordered by relevance. The recommendation service has sorted out realistic, serious, psychological, independent film, tense and period drama films and TV shows about / with silk, husband wife relationship, death, flashback, female nudity, love, couples, sex, murder and family relations plots mostly in Drama, Romance and Thriller genres shot in USA, France, UK and other countries.
TOP 10 movies tagged as silk: Silk (2007), Red Shoe Diaries (1992), Raise the Red Lantern (1991), Night Peacock (2015), The Outfit (2022), Benedetta (2021), Jamaica Inn (2014), Little Women (2019), The Third Wife (2018), Sweet Bunch (1983).
List of silk movies
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Žánr: Drama, Romantický
Country: Canada, France, Italy, UK, Japan, USA
Délka: 107 min.
Story: Based on the best-selling novel by Alessandro Baricco, this visually stunning film tells the story of a French trader who finds unexpected love far away from home.
Style: romantic, stylized, realistic, sentimental, sensual .
Publikum: chick flick, dospělý
Plot: love story, betrayal, travel, life philosophy, smuggling, interracial love relationship, love and romance, couple relations, passion, obsession, love, adultery .
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