Martin Pieter Zandvliet’s multiple award-winning 2016 film Land of Mine is harrowing viewing. But it is not to be missed by anyone interested in issues of war and peace — or in fine films.
The 2017 Sydney Film Festival, which ran from June 7-18, featured a range of progressive-themed films. Below is a look at five by Green Left Weekly’s Zebedee Parkes.
This is a genuinely interesting dramatic film, with an epic narrative and visual style.
Chauka, Please Tell Us the Time
Written & directed by Arash Kamali Sarvestani & Behrouz Boochani
Chauka, Please Tell Us the Time is a ground-breaking film that gives audiences a new window to look into Manus Island detention centre.
In its decade-long run, Tel Aviv’s LGBT Film Festival (TLVFest) has never before been hit with such pressure from the boycott, divestment and sanctions (BDS) campaign targetting Israel in support of Palestine. Now, nearly half of its international guests have pulled out from taking part.
It is rare to see such a powerful film as Brendan Shoebridge’s The Bentley Effect, which focuses on the successful struggle by Northern Rivers communities to save their land and water from the coal seam gas juggernaut at Bentley, near Lismore, in New South Wales.
The power of community is often talked about, but this film shows how it actually happened, in a powerful tale of political awakening among several generations.
Directed by Mick Jackson
Starring Rachel Weisz, Tom Wilkinson & Timothy Spall
In Cinemas now
In 1996 the vile “historian” David Irving sued US historian Deborah Lipstadt for libel. She had labelled Irving anti-Semitic because of his persistent claims that the Nazi Holocaust had not occurred.
Irving sued Lipstadt in London because under Britain’s libel laws, the burden of proof would be on her. In other words, Lipstadt would have to prove the Holocaust actually did occur.
Written & directed by Jordan Peele
Starring Daniel Kaluuya, Allison Williams & Lil Rel Howery
In cinemas now
Why don’t more horror movies deal with racism?
Race, of course, always lurks underneath the surface, especially from a white protagonist’s perspective. In many horror films, the monster is some unconscious manifestation of racial anxiety or white guilt, like the prosperous, Reagan-voting family in 1982’s Poltergeist, haunted by the vengeful spirits of Native victims of genocide.
Directed by Jeff Nichols
Starring Joel Edgerton & Ruth Negga
Loving is based on the true story of Richard and Muriel Loving, a white man and Black woman who married in 1958. Living in segregated, Jim Crow-era Virginia they were arrested and convicted of miscegenation — the crime of Black people and white people marrying or having sex.
As a result, for 25 years they were judicially exiled from the state. Years of court battles culminated in a unanimous 1967 Supreme Court decision in their favour.
Silence is a film of ideas, examining the meaning of mercy and compassion, and the personal cost of betrayal. It is also visually stunning. The cinematography has been nominated for an Academy Award and rightfully so.
It poses fascinating theological questions, their historical bases and the comparison between their Christian and Buddhist understandings. With so much going for it, why does Silence fail?
“The United States has almost 1000 military bases around the world, covering every continent, every ocean,” filmmaker John Pilger says. “China has one!”
He points out: “The US Pacific Command in Hawaii claims responsibility for 52% of the Earth’s surface.”