Film

In the film Dark Waters, released in the UK on 28 February, Robert Bilottt (played by Mark Ruffalo) is a lawyer who takes us through an exposé of chemical giant Dupont’s cover up of its toxic product PFOA.

The film shows us the obstacles thrown up by the legal system and US government agencies to redress for residents of West Virginia who had been exposed to dangerous levels of PFOA. It has parallels with other heroic corporate whistle-blower movies from the USA, such as The Informant (2009) and The Insider (2009).

It’s an excellent exposé, explaining enough of the science and the victims’

A new film, Push, documents the work of a UN Special Rapporteur as she travels the globe to understand the housing crisis.

On the face of it, it could be an inspiring call to arms. Unfortunately, it provides few solutions beyond governments working together to tackle global finance.

The film title is a nod to the process of gentrification, whereby residents are “pushed” out of their homes to make way for typically more expensive developments. Housing has become a financial asset to be traded at the whims of private equity firms. Meanwhile tenants face ever increasing rents and stagnating wages

Agnieska Holland’s Mr. Jones is a film with a clear political message: the crimes of Stalinism must not be neglected and forgotten.

It’s based on a real story. Welsh journalist Gareth Jones travels to the Soviet Union in the early 1930s to investigate the success of Stalin’s five-year plan. Instead, he uncovers a mass operation of fake news generated by journalists and finds his way to Ukraine, to be witness to the man-made famine of Holodomor, which killed millions.

The film is heavy on contrasts between prosperity and hellish destitution. Upon his arrival in Moscow, Jones meets Pulitzer

The South Korean film Parasite, a satire of social and economic inequality, has made quite an impression on two major institutions of world cinema.

At the Cannes film festival it won the Palme d’Or, and then it won Best Film at the Oscars.

It is not difficult to satirise such things, especially when there is an appetite for such in the institutions and audiences of the bourgeoisie. These are feel-good films because they help maintain the myth that world cinema is in fine aesthetic and moral health.

In his previous works (The Host, Mother, Snowpiercer, and Okja) director Bong Joan-ho follows

I’m struck by how many (left-wing, engaged) people I know haven’t heard of 19th century slave turned anti-slavery activist Harriet Tubman. Hopefully Harriet, the new film about a crucial decade of Tubman’s life, will help right that. She was one of the most remarkable of many remarkable figures in a world-altering social and political upheaval, the civil war and revolution that destroyed slavery in the US. Though not a socialist, she is firmly in our broad tradition.

Despite the dark subject matter of slavery, the makers have told Tubman’s story as a pretty easy to watch action-adventure film.

Kantemir Balagov’s film 'Beanpole' follows two female ex-Red Army soldiers working in a hospital in Leningrad after the siege, painting a striking and intimate picture of the febrile lives of Russians after World War Two.

The film’s titular character is Iya, nicknamed “Beanpole” for her long and lanky build. She is awkward and quiet and periodically suffers from fits of catatonic shock. Early in the film, her friend Masha returns from the front to join her working in the hospital.

In the beginning, there are flickers of happiness for the two women, until a horrific incident pushes them to

Quentin Tarantino’s latest film, Once Upon a Time in Hollywood, is his first one not distributed by Harvey Weinstein.

It is a semi-fictionalisation of events around Charles Manson’s Family’s murder of Sharon Tate and her associates in 1969.

The film is well worth seeing and seems to capture the feel of late 60s Los Angeles very well. But it is hard not to consider the film in the light of the numerous allegations of sexual assault and rape made against Weinstein and Tarantino’s failure to act on reports, both from his then partner and from actors in his films, about Weinstein’s behaviour

Petra Costa was a child when Workers’ Party (PT) leader Lula da Silva became President of Brazil in 2003. Her parents had been detained and worked underground for the PT and the overthrow of the military dictatorship of 1965-1985. This documentary is a personal quest to make sense of her deep disappointment at the overthrow of the PT government of 2003-2018 by supporters of that military dictatorship.

She has assembled footage of her family, of protests, of interviews with PT supporters, with the two PT Presidents Lula da Silva and Dilma Rousseff, and, of parliamentary proceedings. Opponents

Shown as part of the “Women Organise!” film season in Manchester, The Nightcleaners is a documentary about the struggle to organise women office cleaners in 1970-72. The film has many resonances today when organising cleaners and other low-paid, insecure workers is again a central task for the unions.

The filmmakers of the Berwick Street Film Collective (one of whom, Humphrey Trevelyan, was at the Manchester showing) were not traditional documentary makers, but saw themselves both as part of the women’s fight and as creatively producing a piece of cinema. The result is a film that is a

Jill Mountford reviews The Good Soldier Schwejk (and His Fortunes in the World War) - written by Jaroslav Hasek, published 1923, adapted and directed by Christine Edzard, Sands Films, 2017. Currently being shown in Rotherhithe, London, and soon to be released on DVD.

Christine Edzard has made it her mission to revive interest in what was possibly the first satirical comedy about the absurdity of war. She adapted The Good Soldier Schwejk (sometimes spelt Svejk, pronounced Shvake) to mark the centenary of World War I.

It is about a naive and foolish patriot, unquestioningly loyal to the Austro