Fire at Sea is a powerful and moving documentary about refugees on the Italian Mediterranean island of Lampedusa. So far 400,000 migrants have landed on the island and 15,000 have died making the dangerous journey by sea. The film depicts migrants in dinghies at the mercy of border patrols who exercise complete callous authority over the refugees.
Michael Moore’s new film is not, as the title implies, a film about overwhelming US military might and another ill-conceived imperialist war. Instead the more bizarre premise involves Moore “invading” various countries himself to take the best from their societies and return to an America he characterises as dysfunctional.
The films of writer/director Alan Clarke are some of the most forceful, passionate and challenging in the history of British cinema and television.
Most of his acclaimed work has been unavailable to the public ever since his untimely death in 1990. Thankfully, the British Film Institute has released a definitive reissue of 23 BBC television dramas spanning Clarke’s remarkable 30-year career.
The secret world of tax evasion and dirty financial dealing revealed by the Panama papers is the setting for this adaptation of John Le Carre’s 2010 novel.
Specifically, Our Kind of Traitor delves into the realm of Russian mafia and oligarchs and their connections to British financial institutions — and politicians.
This is an important documentary on the inspirational life of the Marxist revolutionary, CLR James, structured around his books and illuminating some of his more overlooked work. The film is narrated through interview material with different writers and people who knew James, providing a detailed account of his intellectual contribution.
Love and Friendship is based on an unfinished novella by Jane Austen. Called Lady Susan, it is written as a series of letters and is thought to be one of her earlier works, although only posthumously published.
The film, adapted by Whit Stillman (Metropolitan, The Last Days of Disco), is a beautifully shot period piece that you wish was longer than its 90-some minutes.
Lady Susan, played by Kate Beckinsale, is recently widowed, short on funds and increasingly frowned upon for her affair with a married man.
It is a truism for revolutionaries that people make their own history but not in circumstances of their own choosing. But what of the men, women and children who have history thrust upon them, with cataclysmic consequences for their own personal circumstances?
Son of Saul tells the story of a man’s struggle to hold on to family and personal relationships and obligations in the hideous organised chaos of the Nazi gas chambers.
You’ll have heard the facts. The UK’s 1,000 richest individuals own more than the poorest 40 percent. In the US 0.1 percent own as much as the bottom 90 percent. This film, a documentary inspired by the 2009 book The Spirit Level, puts flesh on the bones of the data.
The book’s authors argued that what determines the health of any society is less the overall wealth than how the wealth is distributed. The more inequality, the sicker the society. The Divide introduces us to seven US and UK people living in societies with massive gaps between rich and poor.
In December 1930 the great Soviet film-maker, Sergei Eistenstein, arrived in Mexico.
He had already made three extraordinary films, Strike (1924), Battleship Potemkin (1925) and October (1927). All three were revolutionary in terms of subject matter — the masses in collective struggle. They were also revolutionary in form. With his experimental use of editing (montage), Eisenstein built on and radically transformed the way in which film worked.
Sherpa is the fascinating story of an inspiring labour dispute, set against the breathtaking scenery of the world’s highest mountain.
Film-maker Jennifer Peedom and her team were on Everest in 2014 to document the climbing season from the point of view of the Sherpas — a term used interchangeably for a Nepalese ethnic group and for all those employed to assist Western climbers.
