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I guess if you watch this post 2016... it is going to be very, very confusing. After all, this is a movie about protecting the working class, about saving factories, about the devastation that outsourcing does to communities... and, as of writing this in 2019, Moore is siding with the party that wants to outsource jobs, that refuses to protect labor, and that calls any protecting of domestic labor evil and nationalist. And all of this while Moore himself just called the working class dangerous and implied that they are all evil racists for not supporting the party that is currently against protecting labor. What the heck happened to Michael Moore? He kind of turned his back on the people that made him famous. Regardless, once upon a time, as far back as Roger & Me and as recently as Capitalism: A Love Story, Michael Moore supported the working class. He made documentaries about their plight. He championed them. This started it all. Before Michael Moore traded people for party he made movies like this that showed the devastation that NAFTA economic policies did to the rust belt. He was a friend of the people. Now he calls the Rust Belt "Trumpland" and the people he once championed "racists." But back in the day, he was able to make films like this that advocated for the people. He was able to make films like this that fought for the working class. Once upon a time, he was fighting for us, he was giving us hope. It's amazing how much one person can change. Now the message still resonates, it's still as true and honest as it was back in 89, but it stands for what happens when wealth and fame and partisan politics hit a formerly compassionate human being.
While on a business trip in Los Angeles, Edward Lewis, a millionaire entrepreneur who makes a living buying and breaking up companies, picks up a prostitute, Vivian, while asking for directions; after, Edward hires Vivian to stay with him for the weekend to accompany him to a few social events, and the two get closer only to discover there are significant hurdles to overcome as they try to bridge the gap between their very different worlds.
Concerning Violence is based on newly discovered, powerful archival material documenting the most daring moments in the struggle for liberation in the Third World, accompanied by classic text from The Wretched of the Earth by Frantz Fanon.
An comedy set in 1960s Helsinki. The story revolves around Elsa, a resolute hatmaker who is in complete control of her life. Besides running her shop, she sometimes doubles as a fortune teller. When Jan, a Czechoslovakian jazz musician and Elsa's old lover comes to town to perform at a "peace and friendship festival", her well-organised life is jolted out of balance.
A film essay investigating the question of what “the West” means beyond the cardinal direction: a model of society inscribed itself in the Federal Republic of Germany’s postwar history and architecture. The narrator shifts among reflections on modern architecture and property relations, detailed scenes from childhood, and a passed-down memory of a “hemmed-in West Germany,” recalling the years of her parents’ membership in a 1970s communist splinter group.
A stern Russian woman sent to Paris on official business finds herself attracted to a man who represents everything she is supposed to detest.
After standing in as best man for his longtime friend Carl Petersen, Randy Dupree loses his job, becomes a barfly and attaches himself to the newlywed couple almost permanently - as their houseguest. But the longer Dupree camps out on their couch, the closer he gets to Carl's bride, Molly, leaving the frustrated groom wondering when his pal will be moving out.
Is our food bought at the price of famine in the developing world? Is agribusiness more interested in producing profits than producing food? This PBS independent documentary investigates U.S. and European agribusiness in the Third World. Filmed on five continents, it takes a close look at agribusiness, which is turning the world's food supply into a global supermarket, buying food at the lowest prices-regardless of small farmers and local populations-and selling it at the highest price and the greatest profit whenever possible.
When you read the title ‘Summer on the Balcony’ you probably think it will be a light Berlin summer comedy but it’s not. This film is an intimate study of two women friends who come to each other because of troubles with everyday life and with men and thus try to enjoy a life based on their ideas.
In nineteenth-century Łódź, Poland, three friends want to make a lot of money by building and investing in a textile factory. An exceptional portrait of rapid industrial expansion is shown through the eyes of one Polish town.
Artists Nathalie Gabrielsson and Peter Sköld uncover a massive disinformation campaign against the Swedish welfare model that started in the 1970s. The campaign is unique in the world in its strategic structure and extensive scope. All the problems we see today with a growing distrust of the political and democratic system, and scientific facts, can therefore be seen as a predictable consequence of this campaign and paradigm shift. It also gives us an idea of the background to when politics began to become meaningless, and more about creating mock debates and rhetorical plays in the media where, for example, scientific facts are no longer an obvious starting point. The Swedish Troll Factory makes visible the strategies and power interests behind this unique disinformation campaign and how it manipulates the democratic system.
With the help of a talking freeway billboard, a "wacky weatherman" tries to win the heart of an English newspaper reporter, who is struggling to make sense of the strange world of early-90s Los Angeles.