Film

THE STORY ITSELF IS WELL KNOWN: Originally trained as a physician, Ernesto “Che” Guevara was an Argentine revolutionary who played a significant part in the Cuban Revolution. Later, Che tried to help incite revolution in the modern day Democratic Republic of the Congo and in Bolivia, where he was eventually killed in 1967. In the more than four decades since his death, Che has been transformed from one among many icons of the revolutionary 1960s into the most recognizable political icon of the period. [Read More]

PERSEPOLIS IS A FILM that does not take itself seriously enough. This is not a comment on the unadorned animation style. Nor am I referring to the narrative of the protagonist: a story of a girl raised in a left-wing milieu that succeeds in arousing quite a bit of empathy in the audience. It is the film’s treatment of depoliticization as a fait accompli and its persistent retreat to the safety of the personal that make it a fascinating symptom of politics today. [Read More]

I’M NOT THERE is the most recent effort by American director Todd Haynes, who in his relatively short career has progressed from his notorious early effort, Superstar, through a celebrated period as an icon of the New Queer Cinema, and onto mainstream Hollywood success with the Oscar-nominated Far From Heaven and now I’m Not There. Having previously tackled David Bowie in Velvet Goldmine, with I’m Not There Haynes turns his lens on one of the most iconic American musicians of the 20th century, Bob Dylan. [Read More]

IN 1871 THE PARIS COMMUNE, a revolutionary body formed during the deep unrest following France’s defeat in the Franco-Prussian war, rose against the post-war provisional government of Adolphe Thiers and briefly held power in France. Two months after it took power, the Commune was brutally suppressed by the French army. In his film “La Commune,” released in 2002, director Peter Watkins orchestrated and documented a theatrical re-enactment of the Commune. At nearly six hours, the film explores the events of the Commune as well as its relevance for the present, and in so doing it is compelled to negotiate the myriad ways in which history bears on the present. [Read More]