Hollywood isn’t all glamour. It’s thousands of line workers. A Paramount takeover of Warner will make their lives more precarious. Billionaires usually get what they want. They get the government they want, so long as they make the right donations.
Criterion Channel is hosting a retrospective on Hollywood’s “corporate thrillers” from the 1980s through the early 2000s. If anything, their message about the capitalist rot in America’s institutions looks far too tame for how the last couple of deca
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Tomás Gutiérrez Alea brought the experience of postrevolutionary Cuba to the screen in classic movies like Memories of Underdevelopment and Strawberry and Chocolate. Alea’s committed, artistically dazzling work set a benchmark for political cinema.
This is a poignant tale of remembering parents in trouble, careers dashed and of steady FBI harassment. The end is not happy, except that the boy survives and makes his own life as an admired cultural commentator on radio.
Culture industries are dominated by a few big corporations that prefer to keep flogging old stories instead of taking a risk on something new. Creative workers can still produce fresh ideas, but they’re snuffed out before they get a chance to breathe
Disinformation and innuendo are weaponized. “Intruders” abound as well, even if they no longer need to take the Greyhound to the backwoods. Today’s agitators work through social media and podcasts.
The first time I saw Casablanca was 1992, The most recent was last night. On each viewing, I notice something I hadn’t seen before, walk away with something new. Casablanca is often described as a romance—and it is. It is a drama. It is a war film...
The film is a critique of the factory farm industry’s deceptive marketing to convince the public that animals are treated better than they are; a heavy message packaged in an entertaining children’s movie, and a radical departure from the usual.
Award-winning filmmaker Ava DuVernay about her latest feature film, Origin, which explores discrimination in the United States and beyond through a dramatization of the book Caste: The Origins of Our Discontents by Isabel Wilkerson.
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