Civil War without politics or social context
Alex Garland’s film provides violent images of a civil war in America, divorced from any examination of the social forces that would produce such a conflict.
Alex Garland’s film provides violent images of a civil war in America, divorced from any examination of the social forces that would produce such a conflict.
The announcement read: “The artist and curators of the Israeli pavilion will open the exhibition when a ceasefire and hostage release agreement is reached.”
The star’s new album, which alternates between the forgettable and the ludicrous, is a ready-made vehicle for the promotion of racialist and gender politics, along with the generation of corporate profits.
The pro-Israeli campaign of lies and intimidation has its limits, as evidenced by the principled and courageous statements of world-renowned actors Hugo Weaving and Miriam Margolyes.
Trevor Griffiths, who died last week aged 88, was one of the outstanding radical dramatists of the last 50 years.
Their overriding message is that the critical experience of class struggle in post-war Britain was essentially a tragic misunderstanding. However heroic and self-sacrificing the miners’ actions over their year-long strike, the escalation was regrettable, and moderation could have ensured the industry’s managed decline.
Creator/director Christopher Storer based the film’s setting on a childhood friend’s restaurant, Mr. Beef, in Chicago’s River North neighborhood.
The real relationship of forces, above all the role of the working class, is missing from this account.
Alex Garland’s film provides violent images of a civil war in America, divorced from any examination of the social forces that would produce such a conflict.
The newest film by Woody Allen had to be made in France because the US movie industry has essentially excluded the veteran writer-director.
Villeneuve hits most of the major plot points of the novel. However, so much of the book’s vitality is missing, substituted for by action sequences and dazzling special effects.
I Am a Noise sheds relatively little light on Baez’s artistic and social development, and what light it sheds on her inner life seems distorted.
The star’s new album, which alternates between the forgettable and the ludicrous, is a ready-made vehicle for the promotion of racialist and gender politics, along with the generation of corporate profits.
West is unrepentant about his previous provocative statements sympathizing with Hitler and antisemitism.
Pollini was one of the most important pianists and artistic personalities of the second half of the 20th century and the early 21st century.
I Am a Noise sheds relatively little light on Baez’s artistic and social development, and what light it sheds on her inner life seems distorted.
Zeineddine’s stories concern immigrants who escaped the civil war in Lebanon (1975-90) and their children, who are negotiating their own escapes.
Perhaps half the pieces are coming-of-age stories, that lyrical standby now usually written in a gritty but still rhapsodic voice.
David Marr’s Killing for Country documents many mass killings of indigenous people but falsely blames the entire population, not the ruling class and Australian capitalism.
The documentary follows the writer from his boyhood in the 1930s through his service during World War II and throughout his tumultuous literary, journalistic and personal life.
One of his most accomplished works is Omar, a 2013 film about a young Palestinian baker (Adam Bakri) who becomes involved in complex political and moral matters.
“I strongly denounce state-sponsored witch-hunt and prosecution against artists and activists who have come forward against Israel’s genocide.”
Department of Defense interventions into American entertainment media is to “get people acclimated to the presence of military personnel, military bases, military operations, and weapons… normalizing the presence of the military in almost every aspect of life.”
The WSWS recently spoke to filmmaker Nadav Lapid, director of Ahed’s Knee, on a video call.