Two recent Golden Globe winners for the year 2007 and 2008 are Babel and Atonement respectively.
Atonement ( 2008) :
Atonement spans several decades. In 1935, 13-year-old fledgling writer Briony Tallis(Saoirse Ronan) and her family live a life of wealth and privilege in their enormous mansion. On the warmest day of the year, the country estate takes on an unsettling hothouse atmosphere, stoking Briony's vivid imagination. Robbie Turner(James McAvoy), the educated son of the family's housekeeper, carries a torch for Briony's headstrong older sister, Cecilia(Keira Knightley). Cecilia, he hopes, has comparable feelings; all it will take is one spark for this relationship to burn. When it does, Briony--who has a crush on Robbie--is compelled to interfere, going so far as to accuse Robbie of a crime he did not commit. Cecilia and Robbie declare their love for each other, but Robbie is arrested--and with Briony bearing false witness, the course of three lives is changed forever. Briony continues to seek forgiveness for her childhood misdeed. Through a terrible and courageous act of imagination, she finds the path to her uncertain atonement and to an understanding of the power of enduring love.
Babel (2007) :
BABEL is the crowning achievement in the trilogy from the excellent creative pairing of screenwriter Guillermo Arriaga and director Alejandro Gonzalez. Building upon its predecessors' method of weaving together disparate storylines, BABEL reaches new heights of ambition with a tale that, in the absence of traditional narrative and protagonist, relies on numerous incredible performances to evoke an affecting relevance by framing contemporary issues in very human struggles and mistakes. Richard and Susan (Brad Pitt and Cate Blanchett) are a wealthy couple from San Diego who are vacationing in Morocco in order to heal after the death of their young child; their other two children are at home with their Mexican maid, Amelia (Adriana Barraza). In a complex shift of ownership to which the audience is privy, a rifle finds its way into the hands of a local herdsman's young sons (Said Tarchani and Boubker Ait El Caid), who recklessly take a shot at a tour bus and catch Susan in the shoulder, causing her to nearly lose her life. The distraught Richard calls home to tell Amelia of the situation, who promptly departs for Mexico to attend her child's wedding, with Richard and Susan's children in tow. Disaster thus multiplies, with the situation in Morocco ascribed to terrorists in the media, while Amelia meets with the harsh immigration policies of the Bush administration. Meanwhile, in Tokyo, a widower (Koji Yakusho) tied to the rifle in question attempts to deal with his memories and his raucous, promiscuous, deaf daughter (Rinko Kikuchi). Nearly every performance of the film is devastating, offering an intimate, emotional experience that would approach melodrama if it weren't rendered so realistically. Cinematographer Rodrigo Prieto's color palette masterfully captures the muted tones of the harsh natural landscapes of Morocco and the Mexican border, as well as the fluorescent lights of Tokyo that denote another, though equally barren, end of the spectrum. The misunderstandings born of cultural, language, and class barriers are on par with those that occur between family members, depicting a world that, while connected in the least expected of ways, is also faced with a deep-seated crisis that threatens to alienate humanity from itself.
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