Granik never strains to dot the story with
regular dramatic peaks and troughs, instead managing to create and sustain an atmosphere where every moment and every character is charged with raw and real emotion.
I think the language of catastrophism, chaos, doom — whatever you like to call it — has actually sobered up, in the UK at least, having
peaked about three or four years ago when newspapers such as The Independent ran
dramatic front pages on a
regular basis, a new umbrella body for activists called Stop Climate Chaos came into existence, Roland Emmerich had the Atlantic Ocean freezing in an instant in The Day After tomorrow, and a leading thinktank lambasted a portion of the British press for indulging in «climate porn».