fascism
Guillermo del Toro’s Pinocchio is amongst his finer recent films as a well as being one of the more standout adaptations of the classic fairy tale.
While not without its controversy, Pier Paolo Pasolini’s Salo, or the 120 Days of Sodom remains a ferocious work of art.
In our latest Page to Screen, Josh Sorensen examines the film adaptation of Jojo Rabbit and how it fails to adapt anti-Fascism.
These dystopian films not only provide us with an entertainment aspect, but with cautionary tales of the potential dangers of our futures.
After all the attention and commitment to the story, Waiting for the Barbarians leaves viewers without a solid and satisfying payoff.
We take a look at John Brahms’ 1940s trilogy of psychological noir and how they help can help us predict and understand fascist ideology and the alt-right.
The Oscar-nominated Never Look Away shows signs of promise, but is let down by an epic scale that is never justified. Alistair Ryder reviews.
In his final installment examining Edgar Wright’s “Cornetto” Trilogy, Faisal al-Jadir looks back at the the trilogy’s return to anarchy with The World’s End.
In his second installment examining Edgar Wright’s “Cornetto” Trilogy, Faisal looks back at the two faces of fascism within Hot Fuzz.
In the age of toxic masculinity at its most unbearably malignant, Fight Club is still an effective parody of the spread of hate between generations.
Guillermo del Toro is best known for his fantastical monsters – but his most striking creations are his horrible human antagonists.
The Captain is the kind of project that suffers from an identity crisis, never deciding what it wants to say or how seriously it should take itself.
While over looked and low-browed by critics when first released, Sean Fallon takes a look at why Starship Troopers is a trenchant, satirical commentary on fascism, the military-industrial complex, and our love of violence, masquerading as a dumb actioner.
We explore how Guillermo del Toro’s Oscar nominated period piece The Shape of Water accurately reflects the prejudices still held in contemporary American society.
Riefenstahl’s portrayal of the 1934 Nazi Party Congress in Nuremberg, Triumph of the Will exemplifies propaganda filmmaking. It is vital to watch Leni Riefenstahl’s work for the Nazis to be reminded of the power of filmmakers, especially in these uncertain days.
