Plot Summary for
Born in Flames (1983)
Set ten years after the most peaceful revolution in United States history, a revolution in which a socialist government gains power, this films presents a dystopia in which the issues of many progressive groups – minorities, liberals, gay rights organizations, feminists – are ostensibly dealt with by the government, and yet there are still problems with jobs, with gender issues, with governmental preference and violence. In New York City, in this future time, a group of women decide to organize and mobilize, to take the revolution farther than any man – and many women – ever imagined in their lifetimes. Continue reading
In 1929, four years before making this film, Vsevolod Pudovkin and Sergei Eisenstein had collaborated on a Sound Manifesto that called for a radical use of asynchronous sound effects, which would be used in counterpoint to the screen image, rather than supporting it, as is normally the case. In DESERTER, Pudovkin put this theory into practice.
Starring Boris Livanov as German dockworker Karl Renn, the film focuses upon a politically unconscious figure who learns the error of his ways. Renn becomes involved in picketing and demonstrating on the dock but walks out on his comrades one day, doubtful about the value of this kind of political activity. Continue reading
A detective (inspector Rogas) is assigned to investigate the mysterious murders of some Supreme Court judges. During the investigation he discovers a complot that involves the Italian Communist Party Continue reading
Jean-Luc Godard address two cinematographic letters to young Israeli soldiers who were convicted after refusing to intervene in the occupied territories
Refusal to serve in the IDF is a social phenomenon in Israel in which citizens refuse to serve in the Israel Defense Forces or disobey orders on the grounds of pacifism, antimilitarism, religious philosophy or political disagreement with Israeli policy such as the occupation of the Palestinian territories.
Conscientious objectors in Israel are known as sarvanim which is sometimes translated as “refuseniks”, or mishtamtim (evaders, dodgers) – wikipedia Continue reading
A new feature documentary by Göran Hugo Olsson
Concerning Violence is a bold and fresh visual narrative from Africa based on archive material from Swedish documentaries 1966-1987 covering the most daring moments in the struggle for liberation from colonial rule. This powerful footage is combined with text from Frantz Fanon’s landmark book The Wretched of the Earth – written in 1960 and still a major tool for understanding and illuminating the neocolonialism happening today, as well as the unrest and the reactions against it.
“Colonialism is not a thinking machine, nor a body endowed with reasoning faculties. It is violence in its natural state, and it will only yield when confronted with greater violence.” Continue reading
On the movie :
Numéro Deux, by Jean-Luc Godard and Anne-Marie Miéville, is a 1975 experimental film about a young family in a social housing complex in France. The film’s distinct style involves presenting two images on screen simultaneously, leading to multiple interpretations of the story and to comments on the film-making and editing process.
The film is divided into two parts. For the first third of the movie, Godard discusses what it takes to make a film (money) and describes how he got the money. In the second part, the remaining two thirds, each character in the story discusses their quotidian experiences through dialogue which is primarily poetic, and secondarily political. Continue reading
A paranoid police procedural, a perverse parable about the corrupting elements of power, and a candidate for the greatest predated Patriot Act movie ever, Elio Petri’s stunning thriller makes no attempt to hide the culprit behind the film’s grisly murder: It wants you to know that Gian Maria Volonté’s dapper killer is responsible for the beautiful corpse splayed out on those black silk bedsheets. The shocks here are (a) that the spaghetti-Western stalwart isn’t wearing a cowboy hat for once, and (b) that Volonté is not just the criminal, he’s also the homicide detective heading up the investigation. Deliberately hiding some clues while planting others in plain sight—bloody footprints, a strand of his tie purposefully inserted under her fingernails—the rising-up-the-precinct-ladder cop plays a game of cat-versus-other-dumber-cats, all while ordering copious wiretaps and amassing blackmail fodder against radical agitators. Is he toying with his fellow officers to demonstrate his sociopathic superiority? Or is he trying to take down a rotten system from the inside, debunking the notion that any citizen is above suspicion? Continue reading