Leonard Quart is Professor Emeritus of Cinema — CUNY and COSI; Contributing Editor, Cineaste; Columnist for Berkshire Eagle; and co-author of American Film and Society Since 1945 —4th Edition (Praeger).
Loach has always believed (too sanguinely) in the power of the working class, but his recent work has been much less optimistic about the workers capacity to transform a recalcitrant social and politi
Neither the past nor present is treated with great psychological or political complexity in the film. The performances are uniformly first rate, but they demand little nuance.
There are times I get the chance to observe neighborhoods outside the blocks I inhabit and walk about daily. On these walks and rides, I look for signs that the city is recovering.
The film centers on Adam (Andrew Scott), a gay, depressed screenwriter who revisits his childhood and his relationship with his parents, who died 30 years ago in an accident.
Cayayé’s film is based on the stage play by Jean-Philippe Daguerre and was performed in France, where it won a number of awards. It is essentially a character study—devoid of stylistic flourishes
The neighborhood lacks energy and drama on this silent day after Thanksgiving, and I quickly retreat to my computer and apartment. Somehow, however, I miss seeing and hearing an angry pro-Palestinian
The future only looks desolate, unless both sides of the struggle in the Middle East decide that survival of the region is more significant than body counts.