Film

The Brink

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The Brink follows far-right icon Steve Bannon and chronicles his activities for over a year. The film aims to see past the idea that Bannon is a complete mastermind, and it does this well, as it shows how the far-right movement has many flaws. Moreover, it also shows the many contradictions within the far-right.

Gwen

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Set amid the slate-filled landscape of mid-19th century Snowdonia, this gothic tale of black-hearted capitalism features powerful performances from Eleanor Worthington-Cox and Maxine Peake.

It is a powerful story of grief, adolescence, suspicion and superstition that builds an atmosphere of intense dread, broken only by the realisation that the truth of industrialisation is more brutal than anything young Gwen (Worthington-Cox) can conjure in her imagination.

The Flood

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The Flood opens with these words: “Currently some 70 million individuals have been forcibly displaced by persecution, conflict, and violence around the world… Over 18,000 have died while trying to reach Europe in the last five years alone.”

Based on interviews with migrants and ex-Home Office officials, this dignified and dramatic film describes the horrors and risks endured by people seeking refuge in Europe, and the chilling, politicised calculations of the UK border agency.

Booksmart

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Molly and Amy are best friends who have spent their high school careers focusing on getting the best possible grades so they can get into the best possible colleges and kickstart their bright futures.

The day before graduation Molly is in a toilet cubicle and overhears some students joking about her nerdy status. She challenges them, boasting that she will be heading off to Yale while they will probably end up in crappy jobs because they’ve spent their time partying.

Avengers: Endgame

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2019 marks the year of Avengers: Endgame the final instalment in Phase 3 of the Marvel Cinematic Universe (MCU). After the previous film Avengers: Infinity War audiences were left with the losses of many characters and the uncertainty of what was to come.

Endgame is a three-hour epic that pulls audiences through every emotion there is, from sadness and grief to exhilaration and triumph.

Love Sonia

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Love Sonia comes at a time when a 200 million-strong strike was held in India and 5 million women formed a wall of protest. The correlation between films about resistance and women’s rights in India and the explosive movements on the streets that the country has seen is not necessarily direct. But it is no surprise that the struggles that occur in the real world force the film industry to adapt to reflect and embolden the mood for change.

Monsters and Men

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American cinema’s appetite for themes of race and class shows no sign of abating. This latest contribution from debut writer and director Reinaldo Marcus Green comes in a series of increasingly class-conscious movies.

Monsters and Men’s raw aesthetic and unapologetically direct style, stripped of the self-conscious pretensions of some of its predecessors, reinvents social realism for 2019. It makes for a gripping 90 minutes that propels us into the Brooklyn enclave of Bed-Stuy and its inhabitants’ problems, joys and struggles.

Green Book

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“Driving while black” is no 21st century curse. Since the earliest days of the motor car black American drivers have faced oppression. At petrol stations, restaurants, resorts and motels white supremacy has reigned.

Thus Harlem postal worker Victor Hugo Green compiled a guidebook in 1936 so that “the negro motorist” could “vacation without aggravation”. It was unknown beyond black families and ceased publication in 1966.

Monsters and Men

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Monsters and Men

American cinema’s appetite for themes of race and class shows no sign of abating. This latest contribution from debut writer and director Reinaldo Marcus Green comes in a series of increasingly class-conscious movies.

Monsters and Men’s raw aesthetic and unapologetically direct style, stripped of the self-conscious pretensions of some of its predecessors, reinvents social realism for 2019 and makes for a gripping 90 minutes that propels us into the Brooklyn enclave of Bed-Stuy and its inhabitants’ problems, joys and struggles.

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