Yintah film review

From BC Counter Info

Original title: "Yintah film review: Anarchists in the blind spot, or the necessity to write our own histories"

Yintah is the latest installment of a long tradition of indigenous documentaries speaking truth to power against colonial violence in so-called Canada. The story told is of an anti-pipeline struggle to protect the richness of life that the Wedzin kwa river offers, a decade long fight that involved not only the Wet’suwet’en peoples of northern British-Columbia, but also hundreds of dedicated non-indigenous comrades who fought valiantly alongside them. Except the film chose to cast them aside.​​​​​​​

Anarchism and Film: New Perspectives

From Anarchist Developments in Cultural Studies (ADCS)

Vol. 2024 No. 1 (2024): Anarchism and Film: New Perspectives

This special edition of Anarchist Developments in Cultural Studies takes on an ambitious endeavour: to showcase new contributions to the field of Film Studies. Until recently there has been a dearth of anarchist scholarship concerned with cinema, a situation attributable, in part, to anarchism’s historic marginalization in academia, but the situation is rapidly changing, thanks to the scholarship of Richard Porton, Susan White, and Nathan Jun, to name a few. Thus, as anarchist scholarship makes an impact, it seemed timely to assemble a special issue focussing on film...

Call for the 1st International Anarchist Film Festival & Fair – January 2023

Dear kompitas, we have the tremendous pleasure of telling you that we are working to carry out the “1st INTERNATIONAL FILM FESTIVAL AND ANARCHIST FAIR” in $antiago, $hileno territory. Together with several accomplices compañerxs from different territories.

Raise the call to all those who carry out audiovisual work with social, libertarian content, whether with documentaries, short films, films, videos, etc. To which nxs send their material and can participate in the festival.

“I’m Not A Marxist, I’m An Anarchist”

from Deadline by Anthony D'Alessandro

The movie, which Östlund bills as his “end of Western Civilazation,” follows a fashion model and her model casting agent partner, played by Charlbi Dean and Harris Dickinson, who wind up on luxury yacht, the poorest of those setting sail, and are ultimately stranded on a deserted island. Woody Harrelson plays a Marxist captain who gets drunk with a Russian oligarch, reads from the Communist manifesto and sends his yacht into rough waters until the passengers crap and vomit. Talking about how he feels about the character, Harrelson quipped “the character is Marxist. I’m not a Marxist, I’m an anarchist so in that sense we differ.” Then getting serious, “I’m guy who just thinks its abominable when a super power with all this military might with no provocation attacks, unprovoked, a country that is Ukraine,” said the Cheers alum and 3x Oscar nominee about Russia’s war.

Coming Up: Anti-Nazi Gaming League with St. Andrewism

from Center for a Stateless Society

Join us this Friday for the second Anti-Nazi Gaming League stream with special guest Saint Andrewism (Andrew Sage). Andrew is an Afro-Trinidadian solarpunk anarchist and YouTuber, and we’re excited to have him on the stream to chat about anarchism, Mardi Gras, Carnival, and more. In particular, we’ll take a look at the recent Batman movie The Batman and discuss anarchist perspectives on the franchise, along with boycotts in gaming, new releases, and other news.

The Dark Century of Elsa Morante and Elena Ferrante

From The Transmetropolitian Review

This is an in-depth essay about the works of Elsa Morante and Elena Ferrante, specifically La Storia and The Neapolitan Quartet. Between these five novels, the entire twentieth century is stripped bare, revealing a horrible darkness we are still barely emerging from. While reading any further might lead to some spoilers, these books are too rich to taint with my basic overview, which will dwell on the anarchism, history, celebrity, and anonymity of these Italian authors, one who is far better known than the other. Just like Elsa Morante, I write these words for those who can’t read, the illiterate.

Viva l’anarchia: Lina Wertmüller (1928-2021)

from Autonomies

If we may venture a claim about a central idea in the films Lina Wertmüller, it is that they express the impossibility of politics without love – such a politics would be reduced to the management of life and the extraction its energy –, and of love without politics – love is shaped and winnowed through the many layers of relations of power that mark everyday life. It is through this lens that Wertmüller reads political ideologies and human behaviour and agency, a lens that can only reveal and revel in tensions, incoherencies and contradictions. If her films defy ideological purity, to the dismay of her critics, she turns the accusation back on them – for those who are willing to see –, unmasking the demands for “purity” as the greatest form of violence, because it can tolerate no disorder, no wild life, no anarchy.

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