This is a great film for socialists with an interest in art. Written, produced, directed and narrated by Margy Kinmonth, the film focuses on the artistic avant-garde that flourished in advance of and following the 1917 Russian Revolution.
It moves on to discuss the changes in art subsequent to Stalin’s consolidation of power. The film gives a basic political history of the 1917 Revolution and the events that followed.
The world of 1970s porn is the subject for David Simon’s new HBO series, The Deuce, which premiered on 26 September. Co-written with George Pelecanos, who also worked with Simon on The Wire, this semi-fictional dramatisation looks at the legalisation and rise of the porn industry in New York.
While the first season promises to look at themes such as the drug epidemic, associated violence and its impact on various communities, the pilot episode establishes the conditions of prostitution, women’s oppression and mob rule out of which the porn industry emerged.
As part of the BBC’s Black and British season, running throughout November, historian David Olusoga presents this four-part documentary on the black presence in Britain.
The programme opens with repeated images of the quintessentially green and pleasant British landscape. Olusoga’s aim is to project black presence not onto but into this scene. In a sweep from Roman Britain to the present, he describes how black and British history are intertwined.
Masaki Kobayashi’s epic trilogy, made between 1959 and 1961, is one of the greatest cinematic achievements of all-time, but it has been rarely screened in the UK. This dual disc box set release by Arrow Films enables Western viewers an opportunity to measure the film — all nine hours of it — against its legendary status.
For any politically engaged viewer, the fierce social criticism at the core of the television series Cleverman will be immediately apparent. The series pulls no punches in its attack on the Australian government’s racist policies towards Indigenous people and asylum seekers, while commenting on very real debates among these communities and their allies over how best to resist them.
This remarkable film, set in Amazonian Colombia in the early 20th century, achieves what so many fail to — it transports you not only to another time and place, but to a different mind-set and approach to storytelling.
It is at once dreamlike as the shaman Karamakate leads his western travellers down the river in search of a hallucinogenic plant, but also political and angry in its depiction of colonialism and the social and environmental destruction it brings.
This month sees the re-release of three movies by Paolo and Vittorio Taviani. As ever this dual format box set is grotesquely overpriced (the same films are available in the US at less than half what Arrow Films are charging). Nonetheless these are three superb movies from two of the heavy-hitters of Italian left wing cinema.
Legal dramas are invariably bedevilled by overacting and wild scenarios which bear little comparison with what really goes on in the criminal justice system. These misgivings aside, I was attracted by the presence of two talented black actors, Sophie Okonedo and Adrian Lester in the lead roles as Maya and Nick.
Episode 1 begins with a flourish. A juggernaut bears down on Maya’s car as she struggles to answer a crucial phone call. She is racing to Louisiana where her client Rudy Jones is waiting to be executed.
At a time when historical programming consists almost entirely of royalist sycophancy and “celebrities” ambling around ruins, it is instructive to recall the early works of radical film-maker Peter Watkins. Both Culloden (1964) and The War Game (1965) were commissioned by the BBC under the aegis of Huw Wheldon, then head of the BBC’s Documentary Film Department when BBC 2 was still in its infancy.
This eight-part spy thriller is said to be auguring a golden age for German TV — and it’s been a long time coming.
The series will air on Channel 4 and is the first show to launch its video-on-demand service for “quality foreign television”, Walter Presents, a strand of the online platform All4.
In recent years the British audience for “Scandi noir” has expanded to welcome French and Italian thrillers, but there’s been nothing from Europe’s economic powerhouse.
