Can Art Stop a Bullet: William Kelly's Big Picture
Dec 01 2020
•2h 33m
•Documentary
The film documents the creation of Kelly’s monumental artwork “Peace or War/The Big Picture”. It is a tapestry of history and art, drawn from major artworks and photos from the defining conflicts of their times. This immense visual collage allows the audience to navigate through time and place, meeting survivors of these horrific moments in history and the artists who have created work commenting on these periods, some of which have become iconic. Through Kelly’s drawings, the audience is transported to the concentration camps of the Third Reich, the bombing of Hiroshima, “the troubles” in Ireland, the race riots in the US and Pol Pot’s Year Zero. Interwoven with archival footage of these cataclysmic events, the audience is invited to visit anti-war and anti-gun demonstrations today, events that call for similar injustices to be stopped. The film is a parallel work to Kelly’s masterpiece, unfolding to create the ‘Big Picture’ in documentary form.
Cast
See all
Martin Sheen
Self
William Kelly
Self
Nick Ut
Self
Rama Mani
Self
Recommendations
See all
Wrath of Souls
A neighborhood is plagued by mysterious tragedies when a young man becomes the conduit for an unknown spirit, the "Aiyai," which lures victims to their chilling fates.

The Vicious Circle
In Hungary, a rich baron discovers that there are extensive oil deposits underneath nearby properties owned by villagers. He manages to convince all the property owners to sell to him, except for a few properties owned by Jewish families. Infuriated at their refusal to sell to him, he attempts, with the help of some corrupt local police, to have the men charged with the murder of a local woman, who in reality actually committed suicide.

Rewind 2: 1996
When Marty's car is stolen, he sets out on a mission to find it; however, he soon realizes that the person who stole it is much more dangerous than he thinks.

Hapax Legomena VI: Remote Control
“A ‘baroque’ summary of film’s historic internal conflicts, chiefly those between narrative and metric/plastic montage; and between illusionist and graphic space.” – HF