Andy Bichlbaum and Mike Bonanno are two guys who just cannot take no for an answer.
They have an unusual hobby: posing as top executives of corporations they hate.
|Entertainment editor Amanda Palmer and The Yes Men, Andy Bichlbaum and Mike Bonanno
Armed with thrift-store suits, they lie their way into business conferences and parody their corporate nemeses in ever more extreme ways – doing everything they can to wake up their audiences to the danger of letting greed run our world.
For their latest undercover adventure, they tackle laissez-faire capitalism, casting companies like Exxon, Dow Chemical and Halliburton in rarely seen roles as victims.
They carry off their performances as official representatives of these global players with such aplomb that they are able to mercilessly expose the networks of lobbying, hobnobbing and sheer corruption that are employed to land big deals.
Yes Men Andy Bichlbaum and Mike Bonanno (not their real names) join Amanda Palmer and the FPS audience for a flat-out funny Q&A in which they recount some of their amazing adventures in media monkeying.
With his excruciating Funny Games, back in 1997, Austrian director Michael Haneke set out his stall as one of the most challenging filmmakers on the world stage.
|Haneke's White Ribbon, winner of the coveted Palme D'Or at this year's Cannes Film Festival
And with such later films as The Piano Teacher and Hidden, plus a shot-for-shot English-language remake of Funny Games, the critical kudos came pouring in.
But with his latest, The White Ribbon, which won the Golden Palm at Cannes this year, Haneke ascends to the Pantheon of world cinema.
The White Ribbon takes place in a small German village on the eve of the First World War. But this is no idealised little hamlet – it is rife with cruelties both large and small, and is particularly rough on its children.
Haneke shows how such an atmosphere inevitably leads to later aggression - such as two world wars in the case of Germany.
But, as he tells Amanda Palmer in an exclusive interview, the film is not specific to that time and place. It shows that the roots of all terrorism in general can be in those small moments that form our characters.
There is one undisputed master of Polish cinema: 83-year-old Andrzej Wajda, whose career has spanned (and documented) Poland's six tumultuous decades since the end of the Second World War, including Soviet subjugation, the solidarity movement (which harkened the beginning of the end of the Soviet empire), and the struggles of independence.
|Poland's great cinematic master Andrzej Wajda
Rather than retiring gently into that good night, Wajda's latest two films are amongst his most personal and challenging.
Tatarak is a film within a film about loss and mourning, and the monumental Katyn tells the incredible and long-suppressed story of how Soviet troops massacred 20,000 Polish officers and intelligentsia during the war, and then blamed it on the Nazis. Amongst those dead was Wajda's father.
FPS correspondent Lama Matta speaks to Wajda about this ultra-personal phase in his filmmaker's journey.
This episode of The Fabulous Picture Show aired from Thursday, July 16, 2009.
Source: Al Jazeera