After spending a number of episodes in the past, today we're jumping to the 2010's. We're looking at two documentaries from Joshua Oppenheimer; The Act of Killing (2012) and The Look of Silence (2014). These docs reveal two different aspects of the chilling aftermath of Indonesia's 1965-66 anticommunist massacres, one looking at the perpetrators and one looking at the legacy of the victims.

We also draw on Vincent Bevins' book The Jakarta Method: Washington's Anticommunist Crusade and the Mass Murder Program that Shaped Our World for our discussion on how the Washington-backed violence helped install a regime where the perpetrators not only won but shaped the official history ever since. Through state-sponsored propaganda, like Treachery of G30S/PKI (1984), and the active erasure of victims' stories from cultural memory, the truth went largely unaddressed within broader Indonesian society for decades.

What makes these films deeply unsettling isn't just the brutality (although that is unsettling), but also the lessons they carry for the present. The rhetoric of the need to annihilate political opposition, once used to justify state terror in Indonesia, echoes in today's right-wing American discourse, where the constant invocation of civil war and the erasure of history are frighteningly familiar.

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After examining Robert Kramer's Ice (1970) fictionalize America in our last episode, we shift to West Germany to explore another cinematic portrayal of resistance to fascism in Rainer Werner Fassbinder's The Third Generation (1979). Set against West Germany's postwar society, Fassbinder sharply exposes how insincere revolutionary acts can become hollow gestures, exploited to justify expanded state control and surveillance.

Though rooted in 1979, the film eerily anticipates our contemporary world: a society numbed by constant surveillance, manipulated by capitalist tech moguls profiting from manufactured crises, and how citizens are caught in a struggle against the technocratic elites. Additionally, Fassbinder's overwhelming audio landscape mimics the relentless noise of the modern internet, capturing the exhaustion and confusion of today's digital age.

Drawing connections to our episodes that covered Uptight (1968), Children of Men (2006), and How to Blow Up a Pipeline (2022), we ask: what does resistance look like when liberal democracy itself seems to pave the road to authoritarianism? Fassbinder's vision resonates with our current dark historical moment, where our capacity to imagine alternatives is shrinking, and the internet serves as both a battlefield and a drain on the soul. 

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It's our 100th episode and to celebrate we're doing something a little different. This is a syncable commentary of one of the films that inspired this podcast - Boots Riley's Sorry to Bother You (2018). 

Sync up this episode with the film to watch along and hang out with us while we geek out over this brilliant directorial debut and biting social satire. 

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American cinema of the 1970's is generally known as the golden age of the paranoid thirller. Specifically, the paranoid political thriller. The genearl idealism of the 1960's was met with increasing cynicism by the 1970's, but do these films actually go for the politics of the era or are they just dealing with vibes? 

In this episode, we focus on two films of the era; The Parallax View (1974) and Good Guys Wear Black (1978). Is it possible that an early Chuck Norris film has more to say about American politics than a Warren Beatty film that was made during the Watergate hearings? 

We also briefly discuss a number of other films from the era, just to see if they're providing vibes or real content. Films discussed include; The Day of the Jackel (1973), The Spook Who Sat By The Door (1973) [see our previous episode], Marathon Man (1976), All the President's Men (1976), Three Days of the Condor (1975), The Domino Principle (1977), The China Syndrome (1979), and Cutters Way (1981).

This era also saw a proliferation of Biker films after the box office success of Easy Rider (1969). Two that we discuss because of their Vietnam War connection are The Losers (1970) and Brotherhood of Death (1976).

We also discuss two European examples just to see how the comparison works; Revolver (1973) and The Assassination (1972).

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When it comes to great political films, subtlety is vastly overrated. Why not go all in and express a point of view? Or better yet, throw in a bunch of competing viewpoints and see how they bounce off each other. Sounds like the recipe for conflict, insight, drama, action-packed set pieces, and maybe a few killer needle drops. 

Alex Garland's Civil War (2024) teeters on the edge of greatness, and it's maddening becasue it's so close. On this episode, we argue that this films was just one screenplay draft away from delivering full-on, grimy, 1970s exploitation gold. If only the writers of How to Blow Up a Pipeline (2022) could have done a polish - or even better, let them direct.

But don't get us wrong, we both enjoyed Civil War. The mere fact that it even nods to an American left (albeit off-screen) is telling; it shows that leftist ideas are creeping back into the cultural consciousness. It's just a bummer that the Portland Maoists and the New People's Army weren't part of the narrative.

Other recommended viewing: Sleeping Dogs (1977) and War Photographer (2001)

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On this episode, we take a look at Park Chan-wook's breakthrough film Joint Security Area (2000). Upon release, this film was the highest grossing film at the South Korean box office. Now, in 2024, it ranks at number 65. This really illustrates just how popular cinema is in South Korea. 

Along with this film, we discus the rise of South Korean cinema around the world since 2000. From Oldboy to The Handmaiden to The Wailing to I Saw the Devil to Squid Game to Parasite...there's no shortage of dynamite cinema being exported out to the world. Not to mention the global dominance of K-POP.

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On this episode we dive into one of Isaac's favorite films of the 2020's, Michael Sarnoski's Pig (2021). Sure, on the surface it's a simple story of a man who just wants his beloved pig back. But, as Robin and Amir journey through the Portland culinary scene to find said pig, the film explores what it means to live a life true to oneself, the importance of rejecting marketplace expectations, and finding authentic human connections.

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As we celebrate 3 years of the show, we decided to take a look at one of our favorite eras of American film - the 1970's. We're specifically looking at the Vietnam Anti-War Movement as captured by a fictional film and a documentary; Milestones (1975) and F.T.A. (1972).

On this episode we discuss Francine Parker's documenatry, F.T.A. (1972). Once again, we're also joined by special guest Jim Miller. As we celebrate Parker's film as well as Jane Fonda's career, Jim helps us to tie together alot of threads:

• IPC Production Comany - from F.T.A. (1972) to Coming Home (1978) to 9 to 5 (1980)
• The Spitting Image: Myth, Memory and the Legacy of Vietnam by Jerry Lembcke
• The propaganda of the POW/MIA flag
• Jane Fonda's Workout Videos
• The Rambo film franchise

In F.T.A., Parker's camera follows the 1971 anti-war, vaudville-style show as the performers entertain over 64,000 troops stationed in Okinawa, Japan, the Philippines, and Hawaii.

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As we celebrate 3 years of the show, we decided to take a look at one of our favorite eras of American film - the 1970's. We're specifically looking at the Vietnam Anti-War Movement as captured by a fictional film and a documentary; Milestones (1975) and F.T.A. (1972). 

On this episode we discuss Robert Kramer's experimental opus, Milestones, and are joined by special guest Jim Miller. Jim was an organizer during this period and provides key insights into just what was going on in that space at the same time Milestones is being made. Spoiler - the film is pretty accurate.

Robert Kramer has said that his films would one day add up to a whole. That all his films portray a "consciousness moving through time and place, trying to survive, trying to understand. The continuous process of becoming". 

In Milestones we travel around American with 6 storylines and over 50 characters to survey the landscape of post-Vietnam anti-war activists. 

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Luis Buñuel was a master at creating lasting images that stay in the viewers brain long after the film is over. He had a career that spanned multiple decades and working in multiple countries, yet he consistantly took aim at political and social elites. 

In his 1962 masterpiece, The Exterminating Angel, the acclaimed filmmaker crafts an allegorical comedy that confronts the socio-political realities of Franco's Spain. Infused with a surrealistic touch and a substantial dose of satire, the film allows for a multi-layered interpretation.

Plus, it's just plain funny to watch the rich fall apart and destroy themselves. 

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On this episode, we're looking at two cinematic exampoles of the Palestinian expereince. One documentary and one fictionalized portrayal.

The documentary, Gaza Ghetto: Portrait of a Palestinian Family (1985), captures exactly what the title implies. We get the lived experiences from grandmother down to grandchildren as they recount their experiences ranging from the 1948 exile to the 1967 war to the 1971 "pacification campaign". 

The fiction film is the very poorly titled, The Dupes (1973). It's an adaptation of Ghassan Kanafani's acclaimed book, Men in the Sun (1963). In this portrayal, three Palestinian men of different generations and and backgounds employ a fourth man to drive them past Iraqi checkpoints in hopes of getting to Kuwait and (hopefully) jobs. It's a fantastic example of realist cinema from Tawfiq Saleh, one of Egypts best filmmakers.

Links to things mentioned on the show:

The Accented Cinema book that Aaron discussed.

Solidarity Cinema

Palestine Film Institute.

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The fallout 2008 financial crisis has been portrayed on film in a number of ways; from documentary's like Iniside Job (2010) and Capitalism: A Love Story (2009) to ficiton films "inspired" by the events like The Big Short (2015) and Margin Call (2011). 

Andrew Dominik's Killing Them Softly (2012) takes a different approach. It starts with George V. Higgins' 1974 crime novel, itself the third in a series, that centers on a lower level crime syndicate in Boston. Then Dominik places that story in a 2008 New Orleans during the final weeks of the Obama/McCain presidential election. 

We get into the obvious metaphors that occur when organized crime is compared to financial institutions. But, we also end up discussing the various ways that Nationalism can manifest itself in America; from George W. Bush, to Obama, to Trump and Biden. 

We'll be dipping our toes back into this Systemic Risk topic, the intersection of the 2008 crisis and it's portrayal on film. So if you have any particularly intereseting examples to suggest (documentary or fiction), send them to politicsofcinema@gmail.com

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On this episode we wanted to see a depiciton of people resisting fascim, so we're looking at an Robert Kramer's Ice (1970). It's our first American film in this series and the resistance we're seeing comes from a cell of New York Urban guerillas. They are fighting a dystopian version of the Nixon administration and its illegal war of imperialism in Mexico.

Kramer's film is less a straightforward dystopia thriller than a raw document of the fractured leftist movements trying to organize within the belly of U.S. empire in the late 1960's. Kramer's handheld, on-location shooting style and use of non-actors offers a time capsule not just of American radicalism in 1970, but of filmmaking that rejects Hollywood polish for a Cassavetes style immediacy.

Ice is uniquely embedded in the struggles it portrays; Kramer and his peers were activists themselves, not just chroniclers. The result is a film that forgoes easy allegory or procedural clarity and instead immerses viewers in the skepticism, paranoia, and possibility of revolutionary change at a time when history felt radically contingent.

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This Halloween season we take a look at a recent film we hope gets to cult status soon, Green Room (2015). Anton Yelchin and his bandmates are forced to battle against Patrick Stewart and his group of Neo-Nazis. 

We get into the pros and cons of non-political punk bands, why the Pacific Northwest is such a haven for white ethnonationalists and when it's okay to swap out character arcs for a pure survival narrative. 

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One of the topics that first inspired us to start this podcast, Resource Frontiers. Back in 2016, when Hell or High Water was released, Isaac and I were still working at our beloved art house theatre and our discussion of the film kept coming back to its multi-layered resource frontier setting. Settler colonial zones and the effects on indigenous populations were regular topics of conversations and, of course, Wages of Fear (1953) kept coming up too.

Since it took us so long to finally cover this topic, we have a newer film in the mix. Neptune Frost (2021) rounds out our coverage on this episode. Between these three films we've got a stone cold French classic, a neo-western heist film and a sci-fi Afrofuturism visual feast...in other words, an Isaac triple feature special. 

Here is the paper by Jason W. Moore that Isaac referenced.

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On this Double Feature episode, we take a look at films about strikes. As the WGA and SAG continue to strike, we thought it would be a good time to examine how Hollywood has protrayed strikes throughout the years.

We discuss; Norma Rae (1979), The Pajama Game (1957), Sorry to Bother You (2018), Harlan County, USA (1976), The Organizer (1963) and Chi-Raq (2015) and then put together a double feature (actually two) recommendation. 

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While Isaac is immersed in his Arabic language summer camp, we're rebraodcasting our very first episode. 

In 2027, after 18 years of global human infertility and depression, the world is on the brink of collapse and humanity faces extinction. The United Kingdom, one of the few nations with a functioning government (Stiff upper lip chap!), is deluged by asylum seekers fleeing radiation and plague. In response, the UK has become a police state as the British Army rounds up and executes immigrants.

In 2006, Alfonso Cuarón gave the world the film Children of Men.  A brilliant adaptation of P.D. James less than brilliant novel of the same name.  

In this episode we get into the psychology of the long take, Maoist Urban Guerrillas, Nationalism, Xenophobia, graffiti as political world building, the role of children in society, power dynamics within activist organizations and Neoliberal verses Fascist governments.  Children of Men has it all!

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This July 4th, celebrate with a true Leftist film that will have you on the edge of you seat with suspense, a pulsing score and politics that will have you debating the need for a diversity of tactics when fighitng the evils of capitalism. We're discussing the film Daniel Goldhaber's How to Blow Up a Pipeline (2022).

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This year we celebrated May Day (a little late) by watching a Latvian worker-revenge-horror-film. Aik Karapetian's The Man in the Orage Jacket (2014).

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Isaac finally make Aaron sit down and enjoy some DTV action, focusing on the John Hyams' last two entries in the Universal Soldier franchise. Regeneration (2010) and Day of Reckoning (2012).

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On this Double Feature episode, we take a look at two of the greats from the best era for cinematic action - 1980's Hong Kong. On this episode we discuss the art of action and (oftentimes) convoluted politics of In the Line of Duty 4 (1989) & Righting Wrongs (1986). 

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We conclude our 2023 series on independent African American auteurs that made landmark films with Claudine (1974). 

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Sources:

White Balance: How Hollywood Shaped Colorblind Ideology and Undermined Civil Rights by Justin Gomer

Daniel Amir Jackson article on Claudine

We continue our 2023 series on independent African American auteurs that made landmark films with Jamaa Fanaka's Welcome Home Brother Charles (1975). 

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On this episode, we're leaving the 1960's behind and jumping to South Korea in 1980. In Jang Hoon's A Taxi Driver (2017) we get a wild sampling of genres in a remarkably well balanced film. It's an action film. A single father supporting his daughter story. It's dramatic and also quite goofy. It's based on a actual events, but it's also highly fictionalized. It documents political history while being oddly apolitical at times. And it's a journalism film too. 

International treasure Song Kang-ho stars as a Seoul cabbie who's transporting a German journalist to cover what is rumored to be a student protest. They both become unlikely witnesses and participants in the 1980 Gwangju Uprising and the massacre at the hands of governemnt forces. 

If you're up for a marathon of South Korean films, here is the five film lineup Aaron mentions that covers the politics and events from 1979-1981:

• The Man Standing Next (2020)
• The President's Last Bang (2005)
• 12.12: The Day (2023)
• A Taxi Driver (2017)
• The Attorney (2013)

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We kick off our 2023 series on independent African American auteurs that made landmark films with podcast favorite Ivan Dixon's The Spook Who Sat by the Door (1973). 

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With the voluntary passing of Jean-Luc Godard in 2022, we decided that it's long overdue to take a look at one of his classics. Alphaville (1965) is a dystopian science-fiction film shot in black & white on the streets of Paris and is infused with Godard's politics of the moment. But, can Aaron convince Isaac that he actually liked this one? 

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It's masterpiece time here at Politics of Cinema. We're finally discussing Masaki Kobayashi's Harakiri (1962).

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Noirvember concludes with one more Yakuza Noir film from Japan. On this episode we're dicussing Takashi Nomura's A Colt is My Passport (1967).

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This Noirvember, we are taking a look at some Yakuza Noir films from Japan. On this episode we're gushing over Seijun Suzuki's Tokyo Drifter (1966).

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On this Double Feature episode, we highlight some of the horror films we've been watching this Halloween season as well as our planned double (maybe triple) features for Halloween night.

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The idea of Humans Hunting Humans has been a story told through film since The Most Dangerous Game back in 1932. There is something about this kind of story that lends itself to a variety of social and political metaphors. 

Here we take a look at two films from two countries that have virtaually the same plot synopsis, but couldn't be farther apart in execution and their politics. Punishment Park (1971) from the United States and Turkey Shoot (1982) from Australia. 

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LSD has been portayed on film in a number of different ways. From the trippy visuals and gonzo narration in Fear and Loathing in Las Vegas (1998) to the "how-to trip" guidance of The Trip (1967) to the POV death trip of Enter the Void (2009).

Here we take a look at how two LSD fueled horror films explore the cultural detritus of the 1960's ripples all the way to Ronald Reagan's America in the early 1980's. It ain't pretty, but it makes for some wild films.

Here's a link to the Lockheed Martin: LSD Case Study video that Aaron mentions.

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On this episode, we wrap up our summer series looking at American Urban Landscapes on film with a Double Feature episode.  We each bring a few titles that exemplify this theme and then put together a Double Feature (or two...or three) for the listeners.  

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On this episode, we continue our summer series taking a look at American Urban Landscapes on film. For this episode we watch Summertime (2020). 

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On this episode, we're staying in the late sixties for one more film as we watch Jean-Pierre Melville's Army of Shadows (1969). A haunting portrayal of the French Resistance during the early days of World War II that serves as an existential reflection on what it really takes to fight an occupying force.

Melville's muted color palette and precise framing underscore the suffocating atmosphere of occupied France, while also highlighting the moral complexity faced by those fighting fascism. The film presents a sobering look at the personal costs of opposing tyranny and forces the viewer to confront the often futile nature of resistance in the face of overwhelming oppression. 

The film was dismissed as Gaullist propaganda (which is fair) when it was first released in 1969, but received a much warmer welcome when it was restored and rereleased in 2006. It hits even harder in 2025 America.

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On this episode, we continue our summer series taking a look at American Urban Landscapes on film. For this episode we watch The Plot Against Harry (1971). 

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On this episode, we continue our summer series taking a look at American Urban Landscapes on film. We take a look at John Sayles' City of Hope (1991). 

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On this episode, we kick off our summer series taking a look at American Urban Landscapes on film. We're starting off with Falling Down (1993).  It's a mess, but it's an interesting mess.

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On this episode, we each bring a few titles that exemplify Communism on Film and then put together a Double Feature for the listeners.  

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This year we celebrated May Day by finally watching Warren Beatty's passion project, Reds (1981).

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We wrap up our series on independent African American auteurs that made landmark films with Bill Gunn's Ganja & Hess (1973).

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Over the next few episodes, we're taking a look at some independent African American auteurs that made landmark films.  On this episode, Cheryl Dunye's The Watermelon Woman (1996).

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Over the next few episodes, we're taking a look at some independent African American auteurs that made landmark films.  On this episode, Kathleen Collins' Losing Ground (1982).

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Over the next few episodes, we're taking a look at some independent African American auteurs that made landmark films.  First up is Charles Burnet's Killer of Sheep (1978).

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On this episode, we take a look at the hilarious and politically timely film Plan B (2021) from director Natalie Morales.

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On this episode, we're staying in the late sixties as we watch Luchino Visconti's The Damned (1969). Following our exploration rising authoritarianism in Costa-Gavras' Z (1969) and reactionary Brazilian politics in Glauber Rocha's Entranced Earth (1967), we're heading right into the Nazi den that is the von Essenbeck family in late 1930's Germany.

A scathing critique of the German industrial elite's seduction by (and complicity in) the rise of Nazism, Visconti shows how a wealthy family's greed and moral corruption lead them to embrace fascism in order to maintain their social and economic status. 

Watching the family's willful, strategic cruelty, we see how the wealthy can easily transition from aristocratic privilege to supporting authoritarian rule. It's quite an illustration of how capitalism and fascism intertwine. If it's been a while since you've seen it, The Damned will resonate deeply with a revisit.  

On a lighter note, by watching some Visconti, Aaron finally understands how Isaac feels about Godard.

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On this episode, we take a look at one of the most watched Netflix films of all time (according to Netflix), Adam McKay's Don't Look Up (2021).

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On this episode, we take a look at one of two Ridley Scott films to be released in 2021 - The Last Duel.  It's feminism and feudalism  in this #MeToo era film that is filtered through a 14th century France lens.  

We also mention a few holiday films that we watch this season.

Here is the Slate article Isaac mentions. 

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We're back in the waters of contemporary cinema for this episode. Dear Comrades! was Russia's official submission to the Academy Awards for 2020 and the most recent film of Andrei Konchalovsky's erratic and storied career.  

From collaborating with Tarkovsky to directing a Kurosawa script to working with Stallone to Bryan Adams cameos to documentaries and tv work...still going strong at 84 years of age. 

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On this episode we chat about a few films that exemplify the theme of Film Noir and Capitalism.  Underworld USA (1961), Never Let Go (1960), Mildred Pierce (1945), New World (2013) and Pickup on South Street (1953) are highlighted.

Then we dive into Jules Dassin's noir masterpiece, Night and the City (1950).

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