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The Trial of the Chicago 7 has all the features of Hollywood’s grandstanding approach to dramatising history. It’s also really good at it. Writer-director Aaron Sorkin combines a typically razor-sharp script with whip smart cuts, interweaving the story of the 1968 events that led up to the eponymous trial with the 1969 trial. In doing so, Sorkin and his ensemble cast, including Eddie Redmayne, Mark Rylance, Sacha Baron Cohen, Yahya Abdul-Mateen II, Frank Langella and Joseph Gordon-Levitt, deliver an impassioned, sometimes grim but also witty drama that uses the courtroom as a battleground between social resistance and state oppression. Courtroom histrionics are used judiciously, while the links between potentially disparate social issues are highlighted in such a way as to demonstrate the need for resistance movements to work together. In doing so, The Trial of the Chicago 7 is not only a powerful drama, but also a deeply relevant tale of our times that, while sobering, also finds the space to be triumphant.
Da 5 Bloods is everything you would expect from a Spike Lee Joint. Smart, fast-talking characters; sudden eruptions of violence; a strong sense of political indignation; an eclectic visual style. At times, Lee’s tale of Vietnam veterans returning to the scene of their earlier combat feels overdone, but what Da 5 Bloods lacks in subtlety it makes up for in power. The theme of legacies runs throughout the film, including the racial history of African American soldiers, the colonial legacy of the Vietnam conflict, familial ties including bloodlines and military camaraderie, national and personal trauma, while finance and immigration make appearances as well. The heady mixture can be disparate and the film lacks the focused punch of Lee’s previous film, BlacKkKlansman, but Da 5 Bloods is still a stylish, timely and urgent drama.
In a world of fake news and government threatening the free press, comes a film about real news and government threatening the fake news. Thus, announces imaginary gravelly voiced trailer man, emerges The Post, Steven Spielberg’s urgent and gripping thriller about the challenges faced by the Washington Post in 1971 over the Pentagon Papers. This extraordinary collection of documents recounted decades of deceitful activity by the US government, and the film skilfully takes the viewer through the drama that ranges from the newsroom to the White House to the homes of Post editor Ben Bradlee (Tom Hanks) and owner Kay Graham (Meryl Streep). Spielberg opts for a mobile approach, long tracking shots mirroring the flow of news, especially through the office of the Post where typewriters clack, phones slam and noise never drops below that of a major hubbub. Within this, Bradlee is a constant source of bluster, Hanks delivering a barnstorming performance that would be intimidating and annoying were it not so heartfelt and passionate. Equally passionate but more reserved is Streep’s Graham, her calm contrasting brilliantly with Bradlee’s bombast. Graham’s is the arc of The Post, and the film smartly never overplays this feminist subtext. Minor characters often dismiss Graham because of her gender but rather than emphasising those attitudes, Spielberg concentrates on Graham, placing her narratively and visually at the centre of the drama. She often appears literally and figuratively surrounded by men, all trying to persuade her before she makes her own, carefully considered decision. In one moment after making such a decision, Graham walks through a crowd where women’s faces appear prominently, the film again expressing the significance of woman’s voice without labouring the point. The more malevolent voice of the state, here represented by Richard Nixon whose administration took the Post as well as the New York Times to court over the Pentagon Papers, appears in long shot and behind windows, the President isolated and barking orders even while alternative voices challenge him. This is a key message of The Post – all voices must be heard and neither the state nor powerful individuals can silence them. The contemporary relevance of The Post is obvious, but its strength as a piece of cinema means it is also likely to serve as a long-term reminder of the importance and power of the press.