As a film enthusiast who has spent countless hours immersed in the world of cinema, I find myself drawn to movies that not only entertain but also enlighten and inspire. The current political climate, with its uncertainties and challenges, has made me appreciate even more those films that mirror our society’s struggles and offer a glimmer of hope for change.
In Alex Garland’s novel Civil War, a group of war reporters encounter a harrowing sight midway through their journey. They find three of their comrades kneeling before an open grave, under the watchful eyes of a group of insurgents in the American South. As the journalists draw nearer, the leader of this rebel group (played menacingly by Jesse Plemons) subjects them to a harsh interrogation, requiring answers about their origin and intentions.
Joel, the photojournalist portrayed by Wagner Moura, states casually, ‘We’re American,'” responds Plemons’ character, feigning puzzlement and querying, “But what specific type of American are we talking about?
How would you describe your American identity? This question, and the underlying tension it carries, seems to define the current zeitgeist. And depending on how one identifies oneself, this “zeitgeist” could encompass a long span of time (perhaps even generations or centuries) or just last week, when a majority of Americans decided to reinstate Donald J. Trump as president.
Many people across the nation were taken aback by the election results, as they had anticipated that Vice President Kamala Harris’s election would shield the U.S. from global fascism. However, for certain groups—such as communities of color and LGBTQ+ individuals—Trump’s re-election served as a chilling reminder of fears about a country whose civil rights advancements are relatively recent compared to its oppressive past. In the days following the election, an overpowering feeling of despair has permeated the air.
It’s not surprising that we might look to art, particularly films this year, to help us understand our current situation better. However, I found fewer mainstream movies this season to be truly resonant with me. While “Civil War” explores the destructive outcomes of deep-seated divisions in America, it lacks a convincing message on how we can navigate or prevent such a state. The TV show “The Apprentice“, featuring Sebastian Stan as a young Trump and Jeremy Strong as his mentor Roy Cohn, is an intriguing character analysis of the man who will once again be our president. Although parts of Ali Abaasi’s film reveal how the media contributed to Trump’s early myth-making – insights that remain relevant today – they pale in comparison to its explicit portrayal of Trump as a con artist driven by personal issues with his father.
The movie titled “Conclave,” featuring Ralph Fiennes as a cardinal, presents the process of electing a pope as a tense and nerve-wracking event, much like the Harris versus Trump campaign. However, while the papacy’s dilemma between two imperfect candidates is evident, the enjoyment derived from observing the Vatican as a hotbed of backstabbing and political maneuvering can also be its downfall. The entertaining aspect of this intrigue often overshadows the deeper issue of corruption within the institution at hand.
In Ridley Scott’s Gladiator II, there’s an valiant effort to shed light on the flawed and corrupt systems rather than blaming individual actors, by hinting at decay within the empire and the insatiable desires of those in power. However, the film’s politically vague nature allows for misinterpretation, enabling even powerful figures to view themselves as underdogs. A more nuanced portrayal that goes beyond the obvious “empire is bad” message would have been refreshing.
Instead of seeking solace, movies won’t mend electoral disenchantment or replace political learning. However, they can aid us in understanding the world more profoundly. The films that have resonated with me lately are those with somber stories and foreign productions, some made by directors who work under or outside of oppressive political systems. They portray despair honestly without making it a permanent state. The way these movies express hope – be it through historical context or depicting possibilities in grim realities – is something we should consider carefully.
A good starting point could be watching a few documentaries that offer insightful perspectives on our current situation. “Bad Faith,” directed by Stephen Ujlaki and Christopher Jacob Jones, and “God & Country,” directed by Dan Partland, explore the roots of Christian Nationalism, particularly highlighting how leaders within this movement aligned with Trump. The first documentary delves deeper into the historical context of religious movements in America, while the second sheds light on how contemporary conservative podcasters are instrumental in stirring up right-wing anxieties.
Both movies suggest that the Christian Right didn’t come into existence due to the Roe v. Wade decision as commonly thought, but rather were galvanized by desegregation and driven by financial incentives. A 1971 lower court ruling that threatened to revoke tax-exempt status for segregated institutions enraged individuals like televangelist Jerry Falwell, who opposed integrating churches. This sparked anti-government sentiments, leading the conservative faction to seek power. Their 1981 presidential campaign to elect Ronald Reagan – a twice-married celebrity governor of California whose values differed from those espoused by the Christian Right – marked the start of many seemingly contradictory alliances within the movement.
During the recent election period, abortion was a significant topic of discussion, and it’s an area where the Christian Right has consistently mobilized for many years. In the documentary “Preconceived,” directors Sabrine Keane and Kate Dumke delve into the history of the anti-abortion movement since the case of Roe v. Wade. Their illuminating film focuses on crisis pregnancy centers (CPCs)—offices across the U.S. that misleadingly present themselves as abortion clinics, but instead attempt to dissuade pregnant individuals from seeking abortions. This documentary aims to expose the inconsistencies within conservative ideologies and uncover the true objectives of this movement.
In simpler terms, the film “Zurawski v Texas” can be seen as a counterpart to the documentary titled “Preconceived“. The film “Zurawski v Texas“, directed by Maisie Crow and Abbie Perrault, provides a troubling portrayal of our post-Roe world and documents a team striving to alter it. The movie adopts a straightforward approach and is steadfast in its beliefs as it follows a seasoned attorney from the Center for Reproductive Rights who, alongside other plaintiffs, takes legal action against the Texas government due to their restrictive anti-abortion laws. Similarly to “Zurawski v Texas“, the documentary shows how ordinary people work at the grassroots level to combat harmful policies, regardless of who is in power.
In a similar vein, Union and No Other Land may appear unrelated at first sight, yet they both provide blueprints for organization and defiance. Moreover, they both illustrate how power influences our existence. (Both documentaries faced challenges in securing distribution during fall but later managed to have limited releases.)
As a dedicated gamer, I’ve just watched “Union” directed by Stephen Maing and Brett Story. This documentary chronicles Chris Smalls and the Amazon Labor Union as they strive to unite workers at a Staten Island warehouse. The directors opt for an immersive style, capturing the intricate dance of collaboration needed to rally any group. In this journey, Chris and his allies grapple with tough discussions about their disparities, ironing out disagreements to build a union that truly represents its members. The process is far from smooth sailing, but it’s crucial and inspiring. It serves as a reminder that genuine democracy must take the concerns of the people seriously – whether they’re disillusioned Trump supporters or progressives who felt overlooked by the Harris campaign.
In the gripping documentary “No Other Land,” the act of organizing assumes a unique shape, focusing on Israel’s occupation of the West Bank, a subject tackled by a collective of Palestinian and Israeli filmmakers. This movie underscores the tenacity of residents in Masafer Yatta as they struggle to preserve their homes from encroachment by the Israeli military under apartheid-like conditions. Scenes depicting Palestinians rallying in protest and recording instances of abuse at the hands of Israeli soldiers echo images from 2020, when protests erupted across America in response to George Floyd’s death, with citizens taking a stand against police brutality. The film serves as a poignant reminder that the oppressed, no matter where they are in the world, rise up in various ways, both big and small.
This year’s international cinema offerings include thought-provoking films such as “The Seed of the Sacred Fig” by Mohammad Rasoulof, which provides a critical look at patriarchy. For years, Rasoulof has been under scrutiny from the Iranian government who view his work as propaganda against their system. Following a recent eight-year prison sentence, he has left the country. His latest secretly filmed production, set for release on Nov 27 by Neon, follows Imam (Misagh Zare), a determined investigator, who subjects his wife Najmeh (Soheila Golestani) and their two teenage daughters, Rezvan (Mahsa Rostami) and Sana (Setareh Maleki), to a distressing interrogation when his police-issued weapon goes missing.
While Imam searches his apartment for his gun, his daughters watch disagreement on their phones, sparking their resolve to challenge their father’s disrespectful actions. Their motivation stems from observing the students protesting the tragic death of Mahsa Amini, a 22-year-old Iranian woman who died after being arrested for not wearing a hijab. Throughout Rasoulof’s gripping film, there are real-life scenes of these brave demonstrations in Tehran, captured on documentary footage.
Tim Mielant’s novel “Small Things Like These” subtly portrays the powerful impact of individual defiance. The character, Bill Furlong, played by Cillian Murphy, is a compassionate and diligent man who becomes troubled upon uncovering one of Ireland’s infamous Magdalene Laundries within his community. Despite opposition from those around him, including his wife Eileen (Eileen Walsh), who urges him to focus on his own family, Bill decides not to be a bystander in the face of the church’s abusive practices. This decision serves as an inspiring call-to-action for us all, encouraging us to act where and when we can to make a difference.
Beyond the usual blockbuster movies, there’s an abundance of films fitting for this moment that I came across. One I found comfort in was Payal Kapadia’s All We Imagine as Light, now showing in select theaters. This is a moving drama about three women who forge a bond despite their isolation in Mumbai. The politics of the story are subtly woven, but it handles them with commendable purpose: A narrative thread exploring the relationship between a Hindu and Muslim character stands out as especially bold, given that India’s current administration, led by Narendra Modi, has been making headlines for its anti-Muslim discrimination. Through All We Imagine, Kapadia underscores the importance of seeking community as the only remedy against the rampant individualism we see during tumultuous periods.
Nanfu Wang’s film “Night Is Not Eternal,” airing on HBO on Nov 19, presents a wider perspective on the importance of community. This documentary explores the intricate bond between Wang and Rosa María Payá, a Cuban activist advocating for democracy, and weaves it into a broader discussion about resisting authoritarian rule in both China and Cuba. Additionally, it delves into the question of why individuals escaping harsh regimes might subsequently support figures like Trump. This theme becomes more relevant as we try to interpret recent polls, which suggest growing backing for the incoming president.
When uncertain, looking to the past can provide the most enlightening guidance. History may not exactly replay itself, but it often resonates. Not long ago, David Rooney, THR’s chief film critic, curated a list of Hollywood’s top political films. As for me, I’ve recently been drawn to Agnes Varda’s 1968 documentary, “Black Panthers.” This piece focuses on the protests by the political organization following the arrest of their co-founder Huey P. Newton. The film’s themes, notably police violence, remain distressingly pertinent today.
Yet the film is ultimately a hopeful one. It’s heartening to hear how Party members created social programs for their community, offered accessible political education — easy to read pamphlets with pictures; a focus on conversation — and committed themselves to helping people redirect their rage at institutions instead of individual citizens.
By conversing with individuals from the Black Panther Party, protesters, and even curious onlookers, the documentary vividly showcases the capacity of the people to join forces in pursuit of genuine transformation. As one member put it, “It’s not until people become aware of the structures oppressing them that they can strive for change themselves.
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2024-11-15 21:25