Dirty Energy

Dirty Energy

Dirty Energy의 스틸사진
감독
Bryan D. HOPKINS
상영시간
94'
제작국가
USA
장르
Documentary
출시년도 2012
색채
color
포맷
DCP
화면비율
16:9
자막
Korean
배급

상영정보

International Film

시놉시스

On April 20th, 2010, the Deepwater Horizon exploded in the Gulf of Mexico, killing eleven workers and spewing 200million barrels of oil into the ocean. DIRTY ENERGY gets the inside story from Louisiana residents themselves—people whose jobs and health are directly impacted by one of history’s worst environmental disasters—and whose voice quickly faded from American television screens. The film explores the human cost of having millions of gallons of oil and toxic dispersant in the ecosystem, and exposes the management failure of BP and the U.S. Government in the clean up, which will affect the world’s oceans and rivers for generations.

감독소개

브라이언 D. 홉킨스 감독

Bryan D. HOPKINS

Bryan D. Hopkins is an independent filmmaker based in Detroit, MI. He is best known for his narra[ve film QING LOU NU (The Pros[tute), for which he was awarded “Best Director” at the Detroit Independent Film Fes[val. The film also won two "Best Short Film" accolades at the Detroit Windsor Interna[onal Film Fes[val and the Philadelphia Independent Film Fes[val. DIRTY ENERGY is Hopkins feature directorial debut and highlights his passion for raw and honest storytelling. Although a narra[ve filmmaker at heart, Hopkins embarked on this documentary journey because of the anger and helplessness he felt watching the television screen as oil gushed into the sea from the Deepwater Horizon Oil Spill. He perceived a void in mainstream media coverage of the disaster. Where were the stories on the tough personal struggles of those immediately affected by the spill? He passionately felt these stories needed to be explored more fully, and with an unblinking eye. Producing the film on a micro-­‐budget, Hopkins slept on couches and lived in the homes of the “local” people featured in DIRTY ENERGY. Ul[mately, this allowed him to capture the real stories of ordinary folks more deeply than he imagined. Hopkins is currently in the process of producing two narra[ve features that con[nue in his favored mode of storytelling—raw and with a social jus[ce theme.

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