Category: Politics


Naomi Klein & Astra Taylor

In pre-internet days ‘The End Of The World Is Nigh’ was the warning slogan of religious nutcases on many city high streets.

I imagine nowadays there are plentiful versions of the same message to be found in social networks. For the most part these placard-carrying, rapture-dreaming, doom-mongers of the past were harmless enough and dismissed as objects of ridicule.

Given the state of the planet right now, maybe it’s time to wonder whether they were onto something after all.

The thrust of  ‘The Rise of End of Times Fascism’ by Naomi Klein and Astra Taylor certainly supports the view that the end of days are closer than ever.  These two women warriors’ have studied the rise of the far right in Trump’s America and come to the conclusion that “the most powerful people in the world are preparing for the end of the world.” 

Taylor is a new name to me but I hold Klein in such high esteem that I know she is not one to make such a dramatic claim without good reason. If anyone can be trusted to fact check it is her. Watch her eloquently  explain her treatise in measured tones in a short interview for Democracy Now to understand that she is not bent on scaremongering without just cause. The evidence she and Taylor put forward is both comprehensively damning and scary as shit.

Their thesis is as simple as it is chilling. The end times are a logical and pre-planned conclusion to the capitalist model which so brazenly divides the world into winners and losers.  The super wealthy have built their fortresses and bunkers knowing that catastrophes are the inevitable consequences of the policies Trump-Musk and their allies are pursuing so cynically. As Klein and Taylor write “The forces we are up against have made peace with mass death. They are treasonous to this world and its human and non-human inhabitants.” 

The scale of the task to turn this around is huge. I’m sure am not alone in constantly feeling that it is insurmountable.  But if there is a takeaway from Klein’s recent mind-expanding dialogue with ANOHNI, it is that we cannot let hope die without a fight. We cannot allow AI to replace human creativity, or stand by and accept that profits come before morality.  If we do either then the end truly is nigh.

Going into specifics about what action can and should be taken is not easy. Klein and Taylor don’t have all the answers but they are sure as hell posing the right questions. I am full of admiration for their courage in raising their heads above the parapet. Their rallying cry may be vague but it is an urgent one:  “we will need to build an unruly open-hearted movement of the Earth-loving faithful.”  

Sign me up.  

On February 13th, Tilda Swinton was awarded an Honorary Golden Bear for her lifetime achievement at the 75th Berlin International Film Festival.   Her brilliant Acceptance Speech should be watched repeatedly and shared widely.

The timeliness of her impassioned plea for humanity is evidenced by the fact it came the day before JD Vance’s tirade spreading hate and scapegoating immigrants  at the Munich Security Conference .  As Tilda said: “it has perhaps never been more pressing to consider to weigh with reverence and maturity what sovereignty means to humans.”

She cleverly avoided naming the latest mob of enemies to freedom and human rights. Any caring person should know who they are.  Her speech is also rooted in a firm belief that “Cinema can inspire a civilized world”.

There is always more than one side to a story. As Tilda points out, movies are great at showing this. She doesn’t give examples but  Akira Kurosawa’s  Rashômon (1950)  sets the benchmark here. It is also demonstrated in the more recent Japanese movie Monster (2023)  directed  by Hirokazu Koreeda where we see the same dramatic events from the perspective of worried mother, a teacher and a young boy.

Without patiently and compassionately considering all points of view there is a very real danger that the world’s agenda is set by blinkered extremists as if no other possibilities exist.   

To imagine no country and a brotherhood of man may be idealistic but  hope must lie in the dream that such a Lennon-esque  vision will endure long after “greed addicted governments”  and “planet wreckers” are confined to history. Tilda imagines “a borderless realm and with no policy of exclusion persecution or deportation” and why ever not?

Isn’t being human meant to help those in dire need rather than create more barriers to liberty?  

Nosferatu directed by Robert Eggers (USA, 2024)

‘Elevated horror’ is a term used to distinguish artier cinema from the cruder slash and gore brand of bloody horror mayhem. It’s a pompous label which suggests that an arthouse aesthetic raises films above the baser (and more mainstream) characteristics of the genre. This is akin to those snobbish readers who make a point of distinguishing between old school Sci-Fi novels and the weightier sounding ‘speculative fiction’.
Essentially, ‘elevated’ films are those that pay tribute to their sources but add a knowing modernist slant – The Bababook, Get Out and any recent folk horror would fit this bill. Robert Eggers’ homage to FW Murnau’s 1922 silent classic can confidently included in a list of ‘horror with something to say’ movies.
But what can be added that is truly fresh or original to a story that has been told so many times? Not much, seems to be the answer since although the bloodthirsty undead anti-hero goes by the title of Conte Orlok he is still Dracula by another name and the story faithfully follows the central plot of Bram Stoker’s classic Gothic novel published in 1897.

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One notable omission from almost all of ubiquitous ‘best films of the year’ lists is Steve McQueen’s Blitz. This film certainly has not generated the kind of the buzz one might have expected from such a high profile director dealing with such a timeless (at least to we Brits) subject matter.

When it comes to the cinematic treatment of race and identity in the UK, all paths sooner or later lead back to Empire. Although much is made of the cultural ‘revolution’ of Beatlemania and the sixties, the collective trauma of the second world war remains a watershed event for the nation’s self-image. There is an abiding myth that Britain alone defeated the Nazis; that the triumph over fascism came about because of the oratory of Winston Churchill and the songs of Vera Lynn. This is why, almost three quarters of a century after the end of empire, wartime events remain a potent reference point on the question what it means to be British

Despite this, McQueen’s tortuous Occupied City about the aftermath of wartime trauma in Amsterdam in the Netherlands gained more plaudits than the story of a bombed out London, England. Perhaps it was an the error for Blitz to go to streaming (on Apple TV) rather than trying to built momentum in cinemas. Is this the modern equivalent of straight to video releases? Ironically, McQueen was on record as aiming to reach as wide an audience as possible. For the moment at least he seems to have failed.

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THE SUBSTANCE directed by Coralie Fargeat ( USA, 2024)

I suppose the premise of this film is that women are pressurised into preserving a body shape and tone to the point that they are seen as worthless when deemed to be beyond their prime. Demi Moore is Elizabeth Sparkle, the presenter a morning TV exercise show – Pump It Up . A ruthless producer Harvey (Dennis Quaid) decides she is past it and is looking for someone younger.
Since all the male characters are either guileless nerds or manipulative lechers it begs the question as to why a woman as intelligent as Sparkle should feel pressurised into pleasing them.
After narrowly escaping serious injury in a car crash Sparkle is advised to take a supposedly miraculous product (‘Substance’) by a medic who looks so plastic that he hardly seems a good advertisement for this product. Without doing any further research she signs up for the treatment and is undeterred by having to collect the drugs in person from a shady back street address. Personally, I would at least have Googled it!
Ironically, Moore looks so well preserved and in such good shape that she seems to already have discovered her own personal wonder drug to stem the ravages of age. Nevertheless, she injects the liquid which results in a more youthful body double literally emerging from within.
The graphic birth scene is straight out of the Cronenberg playbook and the surreal atmosphere of the film owes a lot to David Lynch. However, French director Coralie Fargeat lacks the craft and vision of these mentors so the film merely descends into absurdist depths. The result is that any serious messages are lost. If there’s a feminist intent it drowns in a sea of blood and gore.
Out of Sparkle Margaret Qualley appears as Sue, a Barbie-like creation whose ‘perfect’ body compensates for her air-brain. For a film that assumes to criticise the patriarchal obsession with shape, tone and youthfulness, it crudely gratifies the male gaze by zooming in on her twerking ass in tight-fitting bikini. There’s a fine line between parodying body obsession and pandering to it which the film oversteps every time. Demi Moore’s committed performance is a small saving grace. A scene of her preparing to go out on a date and desperately applying make-up is brilliantly done. Her transformation from mature beauty into hideous hag is effectively rendered yet the story is ultimately a sensationalised parable with nothing substantial to say. With no moral code to steer it the director is reduced to a gross-out splatter-driven finale that emphasises its vacuous content.
Whatever happened to the idea of ageing gracefully?