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If you ask somebody about the war films they’ve seen, the first titles that come to mind are usually large-scale epics that feature scenes of combat and violence. These films effectively depict the horrors of war. However, the level of action in some of these films can be distracting and compromise our emotional involvement with the characters once we see how quickly they can vanish, and the level of violence that can occur.

Chilean Filmmaker Pablo Larraín never mentioned the word Trilogy when he embarked on creating Tony Manero (2008), Post Mortem (2010) and No (2012), however, these three films do act as part of a whole: Larraín’s vision regarding Pinochet’s military coup of 1973 and the ensuing dictatorship. Tony Manero and Post Mortem are both grim parables of folks stuck in a moral stupor, wandering the streets of a Chile that no longer knows itself, that silently witnesses the arrest and disappearance of hundreds of people every day, violence and torture a common thing and a convenient shroud for the crimes of civilians.

What I love about Martin Scorsese is that he is a filmmaker who loves movies. Over the years his personality has taken on new dimensions as a film historian as well as a director. The movies he’s restored through his non-profit Film Foundation company has brought tons of movies that would have either gone unseen, or deteriorated without his restoration projects.

In this internet savvy age, successfully avoiding spoilers for movies and TV shows is a talent we all wish we had. All it takes is a brief glance at Twitter after an opening day or a TV air-date to find that what you’ve been waiting to watch for ages has been spoiled before you’ve even been granted a chance to watch it. Yet these overly enthusiastic tweeters aren’t exactly the biggest threat to my enjoyment of a film, even if they do deserve a slap across the face for making me enjoy it far less; the biggest threat is the trailers for the films themselves, which increasingly spoil crucial elements of a movie before it even opens.