Films about the end of the welfare state, government surveillance and a new form of global wage slavery.
The life story of Leonardo (1452–1519), one of history’s most extraordinary intellects and artistic geniuses, always stirs the imagination.
Shot over four years before and during the pandemic, Made in Ethiopia shows the impact of this first industrial park that hosts 103 companies producing cement, ceramics, aluminium, and fast fashion and employs 20,000 people, at a time of profound crisis.
The film distribution network has refused to see to it that the work is actually shown to the public in the US.
Andres Veiel is the first filmmaker to be able to draw on materials from Riefenstahl’s extensive estate, which contains documents, letters and conversations she recorded, as well as masses of photos.
This is vital history, from more than six decades ago, that the vast majority of today’s global population knows nothing about.
The issue of the restitution of such artefacts as the token 26 statues to the Republic of Benin, so long rejected by the colonial powers, has now become entangled in broader geopolitical conflicts, with a few institutions now repatriating--or offering to repatriate—a handful as a public relations exercise.
It was left to Jean Charles’s cousin, Katia da Silva, to question the firearm’s officer’s story in an interview with the Mirror and accuse him of “bragging about the brutality with which he took Jean’s life.”
The documentary’s objectivity lies in the fact that it presents historical and social truth.
Through a new documentary, the New York Times seeks to keep the #MeToo pot simmering, divert the attention of as many people as possible from big social issues and prepare the ground for further attacks on democratic rights.
In the late 1970s, residents of Love Canal discovered their homes, schools and playgrounds were built on top of a former chemical waste dump.
The film falls flat, presenting a largely sanitized vision of the band and the times when the group and its members came of age. Any serious examination of the music and its evolution is also lacking.
As the television documentary series progresses, historians and critics of US foreign policy are replaced by some—for lack of a better phrase—of the world’s leading war criminals.
“The Palestinians have been caught up in a struggle against colonialism, imperialism, so that we are talking about class, the class interests of the capitalist class—oil and finance—and opposition from the working class.”
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.
The real relationship of forces, above all the role of the working class, is missing from this account.
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.
The three-part series expresses frustration as the #MeToo campaign suffered a humiliating and public trainwreck in the case.
Ted Hall was only 19 years old when he passed classified secrets to the Soviet government. His role was not discovered until more than 50 years later, only a few years before his death in 1999.
In the film’s opening, John Goetz argues that “it’s a David and Goliath story … the whole weight and power of the American government focused against one individual.”
