“There is no end to the making of lists, but I’d be lying if I said that I didn’t enjoy reading them as much as I like making them,” tnyfrontrow writes. See his favorite of movies of 2022.
.” For current filmmakers, the turn to the past is no retreat from present-day conflicts but a crucial, targeted, and deep-rooted contention with them—a diagnosis and an intervention. Their films expose the foundation, the substructures, the underlying abuses and sedimented forms of power that are manifested in today’s politics.
Walter Benjamin, in his final completed work, “Theses on the Philosophy of History,” from 1940, written in France after Nazi Germany’s invasion of Poland, recognized the connection between history and political emergency. “To articulate the past historically does not mean to recognize it ‘the way it really was.’ . . . It means to seize hold of a memory as it flashes up at a moment of danger,” he wrote.
This year, Peele, in “Nope,” connected the history of movies to the perpetuations of grand-scale evils; James Gray, in “Armageddon Time,” intertwined a childhood story of white privilege with the arrogant rise of the Trump family; David O.
The turn to history also reflects the outrageousness of the time: the seemingly overwhelming challenge of capturing, in the present tense, the open rise of American fascism amid the aftershocks of thepandemic. In this moment, it’s worth consulting the movies of filmmakers working under censorious regimes, where pointing a camera in the street is a dangerous act of defiance, and also a maneuver in the culture war.
Such directors are keenly aware of the threat that their films may not be screened, or may become unavailable, and that movies from around the world are stringently blocked, too. In the U.S., the official censorship of films is rarely an issue; instead, the menace is one borne of commercial imperatives.
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