To afford a home and start a family are basic human needs that have become daunting prospects in the age of inequality.
Japan
Taiwan
Hong Kong
Mexico
Korea
To afford a home and start a family are basic human needs that have become daunting prospects in the age of inequality.
Hong Kong
Japan
Taiwan
MANK disguises its political commentary on the present by packaging itself as a prestige biopic about the genesis of Citizen Kane, when in fact the film seeks to criticize the complicity of present-day liberal Hollywood in marginalizing progressive politicians like Bernie Sanders by focusing on the studios’ smear campaign utilizing “fake news” against Upton Sinclair in 1934’s California gubernatorial election. How the rich and the poor fared during the Depression also forms the film’s take on America today.
Despite the global dominance of Hollywood comic book movies offering escapist spectacle on a grand scale, an intimate form of documentary realism made a return to American cinema addressing the loss of homes and the elusiveness of family life in NOMADLAND and THE FLORIDA PROJECT, independent films that became crossover mainstream hits engaging with and questioning such enduring cultural myths as the American Dream or the frontier and the open road.
Despite the global dominance of Hollywood comic book movies offering escapist spectacle on a grand scale, an intimate form of documentary realism made a return to American cinema addressing the loss of homes and the elusiveness of family life in NOMADLAND and THE FLORIDA PROJECT, independent films that became crossover mainstream hits engaging with and questioning such enduring cultural myths as the American Dream or the frontier and the open road.
In Japan, the genre of the home drama or the family melodrama was a staple of classical studio filmmaking in its golden age during the 1950s when directors like Ozu and Naruse addressed the erosion of traditional family bonds in postwar society. In the age of inequality, Kore-eda has returned to the genre through films like SHOPLIFTERS to explore the contemporary meaning of home and family in a society marked by extreme social divisions and the difficulty of traversing such boundaries.
In Japan, the genre of the home drama or the family melodrama was a staple of classical studio filmmaking in its golden age during the 1950s when directors like Ozu and Naruse addressed the erosion of traditional family bonds in postwar society. In the age of inequality, Kore-eda has returned to the genre through films like SHOPLIFTERS to explore the contemporary meaning of home and family in a society marked by extreme social divisions and the difficulty of traversing such boundaries.
In Japan, the genre of the home drama or the family melodrama was a staple of classical studio filmmaking in its golden age during the 1950s when directors like Ozu and Naruse addressed the erosion of traditional family bonds in postwar society. In the age of inequality, Kore-eda has returned to the genre through films like SHOPLIFTERS to explore the contemporary meaning of home and family in a society marked by extreme social divisions and the difficulty of traversing such boundaries.
STRAY DOGS has its origins in New Taiwan Cinema of the ’80s and ’90s, when auteurs like Edward Yang and Hou Hsiao-hsien paved the way for Tsai in observing the changes to family and home life brought about by the modernization and economic development of East Asia, a period of rapid urban growth that contrasts with today’s economic uncertainties. Atomization of the grassroots nuclear family was Tsai’s preoccupation until homelessness and the plight of migrant workers became the concern of his recent work.
STRAY DOGS has its origins in New Taiwan Cinema of the ’80s and ’90s, when auteurs like Edward Yang and Hou Hsiao-hsien paved the way for Tsai in observing the changes to family and home life brought about by the modernization and economic development of East Asia, a period of rapid urban growth that contrasts with today’s economic uncertainties. Atomization of the grassroots nuclear family was Tsai’s preoccupation until homelessness and the plight of migrant workers became the concern of his recent work.
In gentrification horror films like DREAM HOME or COFFIN HOMES, Hong Kong’s notoriously unaffordable housing is treated with gallows humor, while the homeless is taken up as a subject in such social conscience realist dramas as DRIFTING. Family tensions lead to domestic violence and murder within the household in a host of local films prefigured by Ann Hui’s Tin Shui Wai diptych that alternates between seeing the underprivileged as helpless victims and rageful killers.
In gentrification horror films like DREAM HOME or COFFIN HOMES, Hong Kong’s notoriously unaffordable housing is treated with gallows humor, while the homeless is taken up as a subject in such social conscience realist dramas as DRIFTING. Family tensions lead to domestic violence and murder within the household in a host of local films prefigured by Ann Hui’s Tin Shui Wai diptych that alternates between seeing the underprivileged as helpless victims and rageful killers.
In gentrification horror films like DREAM HOME or COFFIN HOMES, Hong Kong’s notoriously unaffordable housing is treated with gallows humor, while the homeless is taken up as a subject in such social conscience realist dramas as DRIFTING. Family tensions lead to domestic violence and murder within the household in a host of local films prefigured by Ann Hui’s Tin Shui Wai diptych that alternates between seeing the underprivileged as helpless victims and rageful killers.
In gentrification horror films like DREAM HOME or COFFIN HOMES, Hong Kong’s notoriously unaffordable housing is treated with gallows humor, while the homeless is taken up as a subject in such social conscience realist dramas as DRIFTING. Family tensions lead to domestic violence and murder within the household in a host of local films prefigured by Ann Hui’s Tin Shui Wai diptych that alternates between seeing the underprivileged as helpless victims and rageful killers.
This duality characterizes the age of inequality’s most significant cinematic paradigms in representing home and family: ROMA and PARASITE, both dual narratives that juxtapose families rich and poor – masters and servants – within the spaces of the home, although one seeks resolution and closure to its contradictions through empathy and solidarity, while the other climaxes in a nightmarish catharsis of deadly violence all too characteristic of cinematic expressions and political upheavals of the past decade.
This duality characterizes the age of inequality’s most significant cinematic paradigms in representing home and family: ROMA and PARASITE, both dual narratives that juxtapose families rich and poor – masters and servants – within the spaces of the home, although one seeks resolution and closure to its contradictions through empathy and solidarity, while the other climaxes in a nightmarish catharsis of deadly violence all too characteristic of cinematic expressions and political upheavals of the past decade.
Despite the global dominance of Hollywood comic book movies offering escapist spectacle on a grand scale, an intimate form of documentary realism made a return to American cinema addressing the loss of homes and the elusiveness of family life in NOMADLAND and THE FLORIDA PROJECT, independent films that became crossover mainstream hits engaging with and questioning such enduring cultural myths as the American Dream or the frontier and the open road.
Despite the global dominance of Hollywood comic book movies offering escapist spectacle on a grand scale, an intimate form of documentary realism made a return to American cinema addressing the loss of homes and the elusiveness of family life in NOMADLAND and THE FLORIDA PROJECT, independent films that became crossover mainstream hits engaging with and questioning such enduring cultural myths as the American Dream or the frontier and the open road.
This duality characterizes the age of inequality’s most significant cinematic paradigms in representing home and family: ROMA and PARASITE, both dual narratives that juxtapose families rich and poor – masters and servants – within the spaces of the home, although one seeks resolution and closure to its contradictions through empathy and solidarity, while the other climaxes in a nightmarish catharsis of deadly violence all too characteristic of cinematic expressions and political upheavals of the past decade.
This duality characterizes the age of inequality’s most significant cinematic paradigms in representing home and family: ROMA and PARASITE, both dual narratives that juxtapose families rich and poor – masters and servants – within the spaces of the home, although one seeks resolution and closure to its contradictions through empathy and solidarity, while the other climaxes in a nightmarish catharsis of deadly violence all too characteristic of cinematic expressions and political upheavals of the past decade.
