Hulu’s The Handmaid’s Tale (2017¬–) resonates strongly as an allegorical, science-fictional response to the Trump administration. The show refuses to accept the “new normal” as normal and acknowledges its audience’s simultaneous feelings of resistance and exhaustion. The program ultimately argues that, while hope alone is not enough to sustain anyone through the Trump years, it is the right place to start. Above all, the program points to the power of collective resistance. As Americans face down a fascist president, as they contend with babies torn from their mother’s bosoms at the border, as they confront a powerful resurgence in White Nationalist activism, the country has perhaps never felt more divided, or threatened. And yet the only way to defeat Trumpism is by standing together and collectively pushing back. The Handmaid’s Tale may not show viewers exactly how to do that, but it does show its audience exactly what it would feel like.
Critic Joan Dupont went in search of filmmaker Nelly Kaplan, whom she had met at an awards ceremony in Paris over a decade ago. She was famous for one film, La Fiancée du Pirate (A Very Curious Girl, 1969), which had taken France and the international world of women’s film festivals by storm. She had slipped out of sight; nobody seemed to know where she was or why. At the Cinémathèque Française, there was only a kind of embarrassment when her name was mentioned and no plan to show her films. This past year has seen a resurgence of interest in the work of Kaplan, and the restoration and rerelease of some of her work by Lobster Films. Dupont met with Kaplan at her Paris apartment to discuss past, present, and future.
One of the most significant aspects of the wave of protests and uprisings that began in Syria in 2011 was the use of the cell phone camera as a tool of documentation, political activism, and creative expression. With professional journalists and major news networks barred from entering the country, Syrian citizens took it upon themselves to record their own protests as well as the violent reactions they provoked from members and supporters of the Assad regime. In the first few months of protests (March–June 2011), these recordings were virtually the only images coming out of Syria. Gradually, however, exiled political activists smuggled cell phones, cameras, and laptops into Syria with the specific aim of documenting protests and violence.
By happy coincidence, Mexico in 2016 yielded two expert and moving documentaries on women, sex, and aging: María José Cuevas’s Bellas de noche (Beauties of the Night) and Maya Goded’s Plaza de la Soledad (Solitude Square). Both are first-time features by female directors. And both are attempts to reclaim previously neglected subjects: showgirls of the 1970s and sex workers in their seventies, respectively. Moreover, lengthy production processes in which the filmmakers cohabitated with their subjects have resulted in films that are clearly love letters to their protagonists.
Michael Boyce Gillespie interviews Barry Jenkins on his Oscar winning film Moonlight, the process of adapting Tarrell Alvin McCraney’s stage play to the screen, the filmmakers that Jenkins most admires, and what it means to be a black American filmmaker today.
Mark Fisher and Rob White debate Christopher Nolan’s The Dark Knight Rises: is it a radical or reactionary film?
Mark Fisher looks back at the time-traveling thriller Source Code and its nightmare vision of the present.
Mark Fisher looks back at the thought-provokingly ambivalent depiction of technology in the 2004 I, Robot
Mark Fisher reviews Lynne Ramsay’s film adaptation of Lionel Schriver’s novel about teenage murder, We Need to Talk About Kevin
Paul Julian Smith writes about the Guadalajara International Film Festival, discussing The Prize and Windows to the Sea