By Tom Pearce and Paul Mitchell, 21 January 2019
In the documentary, we witness the distress resulting from teacher shortages, large class sizes, dilapidated buildings and insufficient support for children with special needs, all in pursuit of “balancing the budget.”
By Joanne Laurier, 19 January 2019
Netflix began streaming Bird Box on December 21 and, a week later, reported that the film had the largest seven-day viewership, 45 million accounts, of any of its original productions.
By Richard Phillips, 14 January 2019
The main problem of We The Workers is not the director’s stylistic approach but the film’s uncritical attitude towards the political agenda of the labour activists.
By Matthew MacEgan, 12 January 2019
One of the top anime series of 2018, based on a 2015 video game of the same name, deals with a small group of friends who discover a way to time travel, with dangerous consequences.
By Joanne Laurier, 10 January 2019
The film centers on the love between two African American youth, one of whom faces a police frame-up, in New York City’s Harlem.
By Joanne Laurier, 5 January 2019
The six-episode documentary released in December is based on bestselling novelist John Grisham’s only non-fiction effort. The miniseries chronicles the wrongful incarceration of four men in the 1980s in Ada, Oklahoma.
“Life is forbidden to us … do you want to comply with that?”: The rediscovery of Ulrich Alexander Boschwitz’s The Traveler in Germany
By Clara Weiss, 4 January 2019
Though written 80 years ago, The Traveler is not just a remarkable literary document of the Nazi period, but speaks immediately to the major political and historical questions of our time.
By Kevin Martinez, 3 January 2019
Eastwood’s latest film fictionally dramatizes the potentially intriguing true story of Leo Sharp, an elderly World War II veteran and horticulturist who smuggled drugs for a Mexican cartel. However, it is a conformist and clichéd work.
By David Walsh and Joanne Laurier, 31 December 2018
The film world in 2018 can be viewed and judged in different ways and by distinct standards.
By David Walsh and Joanne Laurier, 29 December 2018
In regard to the Bush-Cheney administration, the WSWS pointed in the early 2000s to an unprecedented development, the “rise to the pinnacle of the American political system of elements of a gangster character.”
By Rafael Azul, 17 December 2018
Roma is a sensitive portrait of a family breaking apart in the broader context of a social crisis. It follows Cleo, a Mixtec Indian, as she performs her daily chores, which include caring for the family’s four children.
And Can You Ever Forgive Me?
By Joanne Laurier, 13 December 2018
Set in 1960 in Great Falls, Montana, Wildlife is a relatively somber look at postwar American life. Can You Ever Forgive Me? focuses on an eccentric forger.
By David Walsh, 11 December 2018
Icebox focuses on a 12-year-old Honduran boy, Oscar (Anthony Gonzalez), forced by gang activity to flee his home country and head for the US, where an uncle lives.
By Joanne Laurier, 8 December 2018
Tom Volf’s Maria by Callas, about the legendary Greek-American opera soprano, has opened in the US.
A quarter-century since the release of Steven Spielberg’s film
By David Walsh, 7 December 2018
Schindler’s List opened in movie theaters in the US in December 1993. A restored version is now playing in selected theaters. We are reposting today a review published in the International Workers Bulletin, a forerunner of the WSWS, in January 1994.
And Widows, Bohemian Rhapsody
By Joanne Laurier, 6 December 2018
Jason Reitman’s The Front Runner chronicles the downfall of Gary Hart, the leading contender for the 1988 Democratic Party presidential nomination, whose campaign was abruptly brought to an end by a sex scandal.
By David Walsh, 4 December 2018
Given the film’s subject matter, the generally hostile or condescending treatment Submission received at the hands of the major film critics in March 2018 should not have come as a surprise.
By Joanne Laurier, 29 November 2018
Set in 1962, Green Book is a heartfelt film about the relationship between a famed black pianist and his white, working class chauffeur. In At Eternity’s Gate, artist Julian Schnabel treats the last period in the life of legendary Dutch painter Vincent van Gogh.
By Richard Phillips and David Walsh, 28 November 2018
Bertolucci will be remembered for valuable films he made in the 1960s and 1970s, including La commare secca (1962—English title, The Grim Reaper), Before the Revolution (1964), The Conformist (1970) and 1900 (1976).
By David Walsh, 26 November 2018
The Coens’ latest film is made up of six stories set in a mythical “Old West.” The thread connecting the various episodes is a generally nasty attitude toward humanity, and American humanity in particular.
By Ed Hightower, 20 November 2018
The often humorous drama follows beloved children’s television personality, Mr. Pickles, through personal and social tragedy.
… And two much weaker series, Maniac and Wanderlust
By David Walsh and Joanne Laurier, 17 November 2018
Homecoming, a compelling, disturbing 10-episode web television series, concerns itself with a facility in Florida that supposedly helps Iraq and Afghanistan war veterans.
By Paul Bond, 15 November 2018
Jackson’s documentary, assembled from footage shot in World War I and soldiers’ oral recollections, has resonated with millions of people.
By Nick Barrickman, 12 November 2018
The film addresses itself to the phenomenon of police violence and its effect on a young African-American working class girl and her family.
By David Walsh, 8 November 2018
On November 2, Netflix released The Other Side of the Wind, a film directed by Orson Welles, who died in 1985. The footage was shot, with many breaks and delays, from August 1970 to January 1976.
By Matthew MacEgan, 7 November 2018
The latest Marvel film from Sony serves up a dish of superficial characters and contrived drama for a big box office success.
By Carlos Delgado, 5 November 2018
The 2016 miniseries, available on HBO’s online streaming service, is an indictment of a criminal justice system that is massively biased against the working class.
By Benjamin Mateus, 3 November 2018
The Wife is being celebrated, in the context of the #MeToo movement, as further proof that brutish, overbearing men largely exist to crush talented, deserving women’s hopes and dreams.
By David Walsh, 1 November 2018
Each is a relatively unpretentious, low-budget, “independent” film. Each follows a group of middle-class adults as they attempt to navigate certain complicated moral or emotional situations. Each film is slight.
Two short films: The Overcoat, based on the Nikolai Gogol story, and Detainment, about the Jamie Bulger murder case
By David Walsh, 29 October 2018
The Overcoat, directed by Patrick Myles, is based on the famed 1842 short story by Russian author Nikolai Gogol. Detainment treats the aftermath of the killing of a toddler on Merseyside, England in 1993.
By Joanne Laurier, 24 October 2018
Having assured his kids they will be welcomed in France, Abbas, a refugee from the Central African Republic, encounters the opposite: a horrible web of bureaucracy and personal abasement.
The Waldheim Waltz: A timely film about the World War II role of the former right-wing Austrian president
By Stefan Steinberg, 23 October 2018
The events surrounding Kurt Waldheim’s campaign and subsequent election in June 1986 played a major role in exposing the foul role played by Austria’s ruling elite during the Second World War.
By Joanne Laurier, 18 October 2018
The Netflix fiction feature 22 July recreates the attacks in Norway on July 22, 2011, perpetrated by neo-Nazi Anders Breivik, during which he murdered 77 people, including 69 youth.
Toronto International Film Festival 2018: Part 5
Errol Morris provides Steven Bannon a platform (American Dharma), Werner Herzog celebrates Mikhail Gorbachev (Meeting Gorbachev) and other appalling developments
By David Walsh, 12 October 2018
Certain works either conceal critical features of contemporary life, falsify or are overwhelmed by them.
Mack the Knife—Brecht’s Threepenny Film: The famed “play with music,” and the controversies surrounding it, brought to life
By Sybille Fuchs, 11 October 2018
Joachim A. Lang’s film deals with the failed attempts of left-wing German dramatist Bertolt Brecht in 1930 to make a film based on his successful play The Threepenny Opera (1928).
By Joanne Laurier, 10 October 2018
Starring Lady Gaga, Bradley Cooper’s A Star Is Born is a film about a rising star and a declining one in the music business.
Toronto International Film Festival 2018: Part 4
Damien Chazelle’s First Man: Reduced in space—and opera singer Maria Callas, the Afghanistan war, small-town America
By Joanne Laurier, 8 October 2018
Damien Chazelle’s First Man—which opens in the US October 12—focuses on US astronaut Neil Armstrong and his role in Apollo 11, the first manned mission to the moon.
Toronto International Film Festival 2018: Part 3
Icebox and Twin Flower: The US government locks up children—and, in Italy, an African refugee finds a kindred spirit
By David Walsh, 4 October 2018
At the recent Toronto film festival, several films took up the global issue of the horrendous treatment of immigrants and the desperate conditions facing refugees.
Toronto International Film Festival 2018: Part 2
Capernaum, Screwdriver, Rosie, The Public and Black 47: Socially critical films from the Middle East, Ireland and the US
By Joanne Laurier, 1 October 2018
Film writers and directors live in this world too. There must be those who reject upper-middle class triviality and self-involvement.
Toronto International Film Festival 2018: Part 1
By David Walsh, 28 September 2018
The recent Toronto International Film Festival screened some 340 films (including 255 features) from 74 countries.
Toronto International Film Festival 2018
By David Walsh, 21 September 2018
Despite various criticisms of leading Democrats and the American liberal establishment as a whole, Moore urges his viewers to retain—or perhaps regain—confidence in the Democratic Party.
By David Walsh, 18 September 2018
Hal Ashby (1929-88) was an American film director, generally underrated or unrecognized today, responsible for a number of valuable or, in some cases, provocative works in the 1970s.
By Fred Mazelis, 15 September 2018
The film is long on suspense but rather short on history and insight.
By Joanne Laurier, 10 September 2018
In July 1917, 1,200 striking copper miners in Bisbee, Arizona were illegally kidnapped, loaded in cattle cars and dumped in the southwest New Mexico desert. This episode is the subject of Bisbee ’17.
By Kevin Martinez, 6 September 2018
From director Debra Granik (Winter’s Bone, 2010) comes the story of an Iraq War veteran with PTSD living in the woods near Portland, Oregon with his teenage daughter.
… and homelessness in Seattle in The Road to Nickelsville
By Joanne Laurier, 30 August 2018
Scott Cooper’s Hostiles opens in 1892 in Fort Berringer, New Mexico, as the mass destruction of the Native Americans population is winding down.
By Nick Barrickman, 29 August 2018
A great deal of fanfare has surrounded the opening of the film, due principally to the fact that Crazy Rich Asians is the first major Hollywood picture since The Joy Luck Club (1993) to feature an all-Asian cast.
By Joanne Laurier, 21 August 2018
Robin Williams (1951–2014) was an exceptional comic whose ability to create personalities and move among them seemed at times almost supernatural. He contained within himself an apparently infinite number of human types.
By David Walsh, 16 August 2018
Lee’s new film takes as its point of departure the infiltration in the late 1970s of the racist Ku Klux Klan by a black police officer, Ron Stallworth, in Colorado Springs, Colorado.
By Joanne Laurier, 6 August 2018
Alexandra Dean’s documentary focuses on 1940s Hollywood movie star Hedy Lamarr’s recently uncovered career as an inventor of technology that paved the way for secure Wi-Fi, GPS and Bluetooth.
By Hiram Lee, 2 August 2018
Fifty years after the debut of Mister Rogers’ Neighborhood on US public television, a new documentary explores its history and influence.
Based on a horrific 1988 murder in Rome
By Emanuele Saccarelli, 30 July 2018
Dogman is a serious attempt to deal with a difficult, and in this climate not especially promising subject.
By David Walsh, 23 July 2018
Ramin Bahrani, the Iranian-American filmmaker, has directed a new version of Ray Bradbury’s well-known novel, Fahrenheit 451, published in 1953.
By Joanne Laurier, 20 July 2018
The Yellow Birds is based on the 2012 novel of the same title by Kevin Powers. The story revolves around three American soldiers and the devastating impact of the Iraq War on their lives and psyches.
By Clara Weiss, 6 July 2018
The documentary amounts to an appeal to the Kremlin, Washington and the liberal intelligentsia, to make peace and negotiate an orderly transition from the Putin presidency.
By Joanne Laurier, 5 July 2018
A new film biography of Mary Shelley, directed by Saudi filmmaker Haifaa al-Mansour, coincides with the 200th anniversary of the publication of Shelley’s Gothic masterpiece Frankenstein: Or, the Modern Prometheus.
By David Walsh, 30 June 2018
Michael Mayer has directed a new film version of Russian writer Anton Chekhov’s play, The Seagull, written in 1895 and first produced in 1896.
By Kevin Mitchell, 23 June 2018
An unusual documentary was recently released that traces the journey of the filmmaker’s grandparents and parents to Mexico in 1939 as refugees from the Spanish Civil War.
By Joanne Laurier, 22 June 2018
This documentary exposé of the US prison and criminal justice system includes a host of celebrities commenting on the phenomenon of mass incarceration.
“Unfortunately, none of this happened”: Kirill Serebrennikov’s Summer (Leto), a take on the pre-perestroika period in the USSR
By Clara Weiss, 21 June 2018
Serebrennikov’s new film treats two of Russia’s most famous rock groups, Kino and Zoopark, in the early 1980s, while managing to avoid all the major questions of the time.
By Carlos Delgado, 20 June 2018
The film stars Sandra Bullock as Debbie Ocean, a professional criminal who concocts a plan to steal a $150 million diamond necklace during New York City’s Met Gala.
By Matthew MacEgan, 4 June 2018
The fourth Star Wars film released by Disney serves as a shallow adventure story with some reference to world politics, but very little that will be challenging to viewers.
By Pani Wijesiriwardane and Gamini Karunatileka, 23 May 2018
Peries’s best films, like the great dramas directed by India’s Satyajit Ray and Japan’s Akira Kurosawa, have left their mark on Asian and world cinema.
By Stefan Steinberg, 21 May 2018
An examination of recent movies by prominent women filmmakers reveals that they share the problems of their male counterparts.
By Joanne Laurier, 18 May 2018
The story of a struggling Hollywood screenwriter and his deadly encounter with a delusional silent film star.
Revisiting Hollywood’s Censor: Joseph I. Breen & The Production Code Administration (2007)
By Charles Bogle, 17 May 2018
The bulk of Thomas Doherty’s work covers the period from 1934 to 1954, when his subject was the enforcer of the Production Code.
By Wasantha Rupasinghe, 15 May 2018
Rahul Jain’s austere but effective documentary focuses on one of the hundreds of textile plants in Gujarat state on India’s west coast.
By Joanne Laurier, 11 May 2018
It soon comes to light that certain townspeople had a hand in the deportation of Jews from the Hungarian village to concentration camps and benefited in the confiscation of their property.
By Stefan Sternberg, 9 May 2018
The fate of refugees is the subject of Transit, the latest film by prominent German director Christian Petzold, which featured at the 2018 Berlinale and is now on public release in Germany.
By Tom Peters, 8 May 2018
The Changeover, highly praised in New Zealand, is a formulaic supernatural teen romance imbued with definite class prejudices.
By Joanne Laurier, 7 May 2018
It’s not clear that good movies resemble one another, but recent history certainly suggests there are many different ways in which films can be weak.
By David Walsh, 5 May 2018
The blindness and stupidity of the identity politics-obsessed upper middle class knows no bounds. This issue comes up most recently in connection with the different critical responses generated by Isle of Dogs and Avengers: Infinity War.
2018 San Francisco International Film Festival—Part 5
By David Walsh, 2 May 2018
The impact of years of stagnation and official reaction still sharply influences artistic work.
2018 San Francisco International Film Festival—Part 4
Documentary about singer M.I.A. (“Use your art to say something!”) and Paul Schrader’s First Reformed (small-town preacher struggles with life and death)
By Toby Reese, 30 April 2018
Matangi/Maya/M.I.A., a feature-length documentary about rapper-songwriter, “M.I.A.” is a breath of fresh air. First Reformed is a dismal, confused film about a middle-aged former military chaplain turned preacher.
2018 San Francisco International Film Festival—Part 3
I Am Not a Witch, The Workshop, The Distant Barking of Dogs, Garry Winogrand and Louise Lecavalier
By Joanne Laurier, 27 April 2018
I Am Not a Witch in particular is an elegantly crafted tale that comments on the exploitation of Zambia’s poor by an elite that shamelessly promotes superstition and backwardness.
By Richard Phillips, 24 April 2018
Stanley Tucci’s film, set in 1964, two years before Alberto Giacometti’s death, is about the artist’s portrait of James Lord, a young American writer.
2018 San Francisco International Film Festival—Part 2
How are striking miners (Bisbee ’17), a great painter (Gauguin: Voyage to Tahiti), Native Americans (The Rider) and others treated by the filmmakers?
By Joanne Laurier, 20 April 2018
A further look at the recent San Francisco film festival and its variety of films. Interesting, complex subjects may still receive inadequate or uneven treatment.
2018 San Francisco International Film Festival—Part 1
Contemporary life, and those who make films about it (in Iran, the US, Russia, Switzerland, Kyrgyzstan …)
By David Walsh, 18 April 2018
The San Francisco International Film Festival, founded in 1957 and one of the longest-running such events in the Americas, this year screened some 180 films from 45 countries.
Director of The Loves of a Blonde, One Flew Over the Cuckoo’s Nest, Amadeus
By David Walsh, 16 April 2018
Forman was originally identified with the so-called Czech New Wave, a group of directors whose lively and honest films came to international prominence in the mid-1960s.
By David Walsh and Joanne Laurier, 9 April 2018
The result is surprisingly optimistic and confident, not what one might have expected from Fassbinder, known for his emotionally dark, harsh and even cynical films.
68th Berlin International Film Festival—Part 8
By Bernd Reinhardt, 6 April 2018
Two feature films, part of the Berlin International Film Festival retrospective section, reflect a militant mood among workers in the late 1920s, in particular their striving for a common struggle and international solidarity.
68th Berlin International Film Festival—Part 7
By Bernd Reinhardt, 3 April 2018
The major retrospective at this year’s Berlinale, “Weimar Cinema Revisited,” presented films—along with their directors in many cases—that have been forgotten for decades.
By Sybille Fuchs, 2 April 2018
Babylon Berlin’s action takes place in the German capital, then the third largest municipality in the world, at the end of the so-called Golden Years of the Weimar Republic (1919-1933).
By Joanne Laurier, 30 March 2018
Alfred Hitchcock’s masterpiece, Vertigo, endures as one of the most troubling American films of the postwar period.
By David Walsh, 28 March 2018
Set in London in the 1950s, Anderson’s film concerns the relationship between a celebrated fashion designer, Reynolds Woodcock (Daniel Day-Lewis), and a young woman, Alma (Vicky Krieps).
68th Berlin International Film Festival—Part 5
By Verena Nees, 26 March 2018
Karim Aïnouz’s impressive documentary about the mass housing of refugees at the former Berlin Tempelhof Airport was awarded the Amnesty International Film Prize.
Shedding light on the conditions of “millions of women in the shadows of mainstream America”
By Norisa Diaz, 24 March 2018
The 28-year-old Swedish director, Niclas Gillis, represents a new generation of artists and filmmakers responding to inequality and social misery.
By Nick Barrickman, 23 March 2018
Far from rejecting Black Panther’s “pro-black” message, white racists have endorsed its depiction of a feudal African monarchy whose rulers have sealed the borders.
68th Berlin International Film Festival—Part 4
By Stefan Steinberg, 22 March 2018
A handful of movies at the 2018 Berlinale dealt powerfully and insightfully with the European Union’s criminal policy toward refugees.
68th Berlin International Film Festival—Part 3
By Stefan Steinberg, 20 March 2018
The events surrounding Kurt Waldheim’s campaign and subsequent election in 1985-86 played a major role in uncovering the real role played by the Austrian ruling elite in the Second World War.
By Hiram Lee, 19 March 2018
Italian director Guadagnino’s film is beautifully photographed, and the performances are generally very good. Why, then, does the whole thing feel so flat?
By Joanne Laurier, 17 March 2018
Woody Allen’s newest film, Wonder Wheel, set in the 1950s, involves four characters whose unhappy lives become entwined in Coney Island—New York’s iconic amusement park.
68th Berlin International Film Festival—Part 2
By Stefan Steinberg, 16 March 2018
Three films at this year’s festival shed a piercing light on social relations in the United States.
68th Berlin International Film Festival—Part 1
By Stefan Steinberg and Verena Nees, 14 March 2018
The 68th Berlin Film Festival, whose 2018 edition ended February 25, is the world’s largest film festival open to the public.
By George Morley, 13 March 2018
Warwick Thornton’s second feature is a visually striking and powerful historical drama, which confronts audiences with some ugly truths about Australia’s colonial past.
By Carlos Delgado, 12 March 2018
The film depicts the life and times of Tonya Harding, the former Olympic figure skater who became the center of a media firestorm after the assault on rival Nancy Kerrigan in 1994.
By David Walsh, 9 March 2018
Ianucci’s new film about the demise of the gravedigger of the Russian Revolution is not so much maliciously anticommunist as it is, above all, historically clueless.
By David Walsh, 6 March 2018
The 90th Academy Awards ceremony Sunday night, as one media commentator observed, “passed off without a hitch.” How unfortunate.
By Fred Mazelis, 1 March 2018
Filmmaker Raoul Peck discusses his portrait of the young Marx and Engels.
By Stefan Steinberg, 26 February 2018
Nazif Mujić, according to first accounts, has died in extreme poverty in the impoverished hamlet of Svatovac in Bosnia.