blindpig
07-24-2015, 10:17 AM
The 10 Best Movies Influenced by Marxist Philosophy
22 JULY 2015 FEATURES, FILM LISTS BY LUCA BADALONI
marxist films
http://www.tasteofcinema.com/wp-content/uploads/2015/07/marxist-films.jpg
Karl Marx was one of the most influential philosopher of all time and consequently his work has influenced a lot of films. The spectator faces Marxist problems such as: proletariat conditions, bourgeoisie dominance, the evolving technology and its connection to society, and revolution. Every problem is only a signal of the advent of the communist era, which consists of final justice on earth. This is the core of an entire movement which deeply influenced the world.
Obviously there were other philosophers, many influenced by Marx, who expanded those core elements in many other directions, some of them contemporaneous to him including Engels, Kautsky, Bernstein and others after his death (Rosa Luxemburg, Gyorgy Lukacs, Antonio Gramsci, Ernst Bloch).
Every one of them shared a faith in proletariat justice, where object and subject finally identify each other. Lower industrial classes are the “soil” for the revolution and will bring true values for all humanity but doing this demands the fall of the dominant industrialized class: the bourgeoisie. Fraternity is the key word to the basis of a community, and Communism is the ultimate community where humanity frees itself from physical and mental slavery.
Marx has never described a “communist” society but he gave some advice in his Critique of the Gotha Program. He said that capitalism is the world where slave-masses serve the few dehumanized bourgeoisies. Once this is known it’s easy to understand that for a film to be Marxist it should reflect reality as closely as possible. It should reflect the horribleness of bourgeois society and the honorable values brought about by the proletarian class.
That is a simplified point of view in respect to the Marxist way to see arts (in particular in respect to Lukacs’s literary theories), but it shows the core of this concept. In fact, during the Soviet era, the most common type of film coming from “red” countries,was the documentary. What ‘s better than reality itself to show how society and socialism work?
Exemplary examples are the “Kino-pravda” works created by Dziga Vertov. The main ideas expressed Marx evolved through time and in particular during the 67-68’ period which brought a sort of renaissance and reconsideration of the core Marxist ideas, which ends in a post-structuralist philosophical movement. In this final development of “revolutionary” ideas, Marx was an influence along with others, so it can be said that in cinema’s post-68’ period is not a continuation of the Russian montage school.
Considering the history of socialism and the history of cinema, there is a wide range of achievement among the movies influenced by Marx and these show many different aspects of Marx ideas, demonstrating the multifaceted dimensions of this movement. On the other hand it is possible to show what Marxism has meant to humanity through the eyes of a number of directors.
10. Novecento (Bernardo Bertolucci, 1976)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Novecento-1976.jpg
Novecento 1976
This film demonstrates what a useful concept communism was in fighting fascism in Italian society during World War II. Novecento is the story of two men, born in the same day in the same village. One is the son of a country worker (Gerard Depardieu) and the other one is the son of the landholder (Robert DeNiro). They have different social backgrounds but grow together in friendship.
This movie is 5 hour long and considers other problems related to everyday life, love, and relationships, but the political aspect remains an undercurrent which keeps the film going. Poor people are too weak and ignorant to potently fight the rising fascist power and only when war comes to Italy they can start to form partisan rebel armies.
Marxism is the secret root that “feeds” the struggles of this movie, because everything is, at bottom, moved by social injustice. At the end the populist elements rising against the landowner resolves all the problems but only momentarily.
9. Modern Times (Charlie Chaplin, 1936)
Modern Times
http://www.tasteofcinema.com/wp-content/uploads/2014/04/Modern-Times.jpg
A classic movie by Charlie Chaplin is a Marxist film? Chaplin was always sensitive to social problems. England has always been the land of socialist battles. Highgate cemetery is a sufficient proof of how deeply related England is to Marx’s life.
This film could be seen as a social accusation toward industrialization . If one wants to better understand what proletariat alienation is, this is the film to see. This movie is based on a simple concept which it explains well through stereotypical and ironic characters.
A society that works in a crazy context cannot be fit for man, who continuously searches to be free. If it is only a critical film more than constructive one, it reflects a particular aspect of industrial proletariat problems, a very old problem that is a socialist vindication but at the same time, is the basis of Marx’s philosophy.
8. Porcile (Pier Paolo Pasolini, 1969)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Porcile-1969.jpg
Porcile 1969
Pasolini was one of the novelists who deeply embraced the Marxist philosophy. This film also reflects the hypercritical attitude in Pasolini’s cinema towards the bourgeoisies.
Porcile is split into two sections: one is a story about a rich family heir who is about to marry but also loves animals more than humans. The second part revolves around a cannibal looking for victims. The first part represents the moral alienation of an upper class man who cannot feel love anymore while his father thinks only about money. The second is a symbolic translation of a self-eating mankind, which cannot resist destroying a part of itself in favor of another part.
Marx comes through as a philosopher who shows moral degradation in spite of a final idea of perfection. Man can reach that plateau but doesn’t want to.
7. Earth (Alexander Dovzhenko, 1930)
http://www.tasteofcinema.com/wp-content/uploads/2014/04/Earth.jpg
Earth
Dovzhenko is one of the great names of the Russian montage school, which includes other directors such as Eisensten, Vertov, Pudovkin and Kuleshov. This film is a representation of the technological change brought by revolution.
This film posits other ideas but shows that Marxism could be seen as a prime mover. After the New Economic Policy ended in 1929, Russian organization of rural activities changed forever in 1930. Kolchoz arrival signed a point break in communist society.
Earth is the perfect example of the meaning of the changes in order to better understand the consequences of some decisions. Obviously Dovzhenko’s purpose was not to focus only on Russian reforms but to go further into the epic changes. He defined his cinema as a cine-poem. The spectator will notice the end of Kulaks, the forced collectivization of lands, the end of Ukrainian independence from Stalin’s decisions and the end of the New Economic Policy.
6. Three Songs about Lenin (Dziga Vertov, 1934)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/3-Songs-about-Lenin.jpg
3 Songs about Lenin
This is not a fictional film but a documentary and represents the influence of Lenin in Russian culture and history. At the same time the spectator may notice the deep political exaltation of the dictatorship figure. This is the passionate homage of a director to a “people’s hero”.
If someone looks at this documentary without any political bias, one could understand the political situation in 1934 Russia. The sense of exaggeration is always present, but facing this means facing what was to be a Russian under Stalinism. That means Lenin must be seen as savior with no discussion allowed.
5. Film Socialisme (Jean-Luc Godard, 2010)
http://www.tasteofcinema.com/wp-content/uploads/2014/10/Film-Socialisme-2010.jpg
Film Socialisme (2010)
This is not the only socialist film created by the famous French director, and probably is not his best when compared to “Week End” or “La Chinoise”. This film perfectly represents the style and the politics of Jean-Luc Godard in its complexity. Its director was heavily influenced by Marxist ideas and this is a sort of summation.
The film is subdivided into three movements: “Such things”, “Our Europe” and “Our Humanity”. Every chapter represents the deep connection between humans outside of ideological differences or political faiths. The film represents the trial of a new Europe, a crossway of languages and cultures, where society simply overwhelms economics.
Godard is one of the most complicated of directors and his language is very difficult for a spectator who has never seen his films. Derrida and Badiou are the main influences here but Marx could be seen as an “undercurrent” which moves every single idea inside the images.
4. October (Sergei Eisenstein, 1928)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/October.jpg
October
Anyone interested in the way Lenin was able to take control of the Russian political situation during the fateful month of October 1917, should see this film. Sergei Eisenstein, the chief proponent of the Russian montage school creates one of his best works in collaboration with Grigori Aleksandrov.
Spanning from April 1917 when the provisional government took power and Lenin has returned from exile, there’s no clear protagonist in this film since the masses are the true protagonist. Lenin is the only leader who can lead the troubled nation. Kornilov was the general who tried to maintain political calm, but the drastic situation of the proletariat was too bad and revolution was close at hand. The complexity represented by this movie is based on Marxists conceptions.
One of the best scenes renders the representation of religion as “all the same thing” equalizing Christianity, Hinduism, and other ancient faiths. The perspicacious observer will notice the absence of other important personages of the Russian revolution such as Trotsky and Zinoviev. They were cut out of the film.
Lenin is portrayed as the people’s hero and the masses exalt him as the antidote for the bourgeois provisional government. This is a perfect example in understanding the cultural perception of revolution during Stalin era.
3. Man With a Movie Camera (Dziga Vertov, 1929)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Man-With-a-Movie-Camera.jpg
Man With a Movie Camera
Man with a Movie Camera is one of the most famous works of the Russian montage school and is one of its most experimental movies. It demonstrates a lot of different techniques regarding the positioning of the movie camera apart the obvious montage. With this movie Vertov tried to explain his concept of kinoglaz (movie-eye) through a series of everyday situations.
For the Marxist ideas of film, a director cannot use fictional situations to symbolize reality. The filmmaker has to use images from the real world. Vertov’s purpose was to show the beauty of the industrialized society using only scenes from the society itself. In this movie there are no actors, scenarios, or title cards and the main “protagonist” is the director himself, or better, his movie camera.
The aim is to achieve the perfect overlapping of eye and camera which is reminiscent of the final identification of object and subject in Marxist-Hegelian dialectics. The spectator is faced with a society that is experiencing its continuous evolution thankful to the revolution, socially and technologically speaking.
Communist society is shown at its best while the spectator is compelled to think in a sort of meta-cinema way. Marxists ideas are present here in their purest form. The revolution brought about by the Soviet citizens to their society permits the advent of real technology. Vertov here connects Marxism with the film’s techniques and philosophy.
2. Teorema (Pier Paolo Pasolini, 1968)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Teorema.jpg
Teorema
This film came out during the “hot” year, when students all over Europe were protesting against the institutions. Pasolini depicts a typical Italian bourgeoisie family reacting towards an unknown man.
This film wants to show the reverse alienation of the dominant class, but focuses also on its incapacity towards other humans. When the family meets a mysterious man they are enthralled by his presence. All the true sentiments come from the family only after the man leaves. These range from the religious faith, to love, art and finally the “political” redemption of the father.
Pasolini want to show how the reality of human relationships could be lost if the focus is only on self and superficial and commoditized things. This film is contemporary because humans continue to live in this same situation and refuse to keep open minds as to what truly matters. Marxism in this film reaches its critical point concerning the dominant class existing at a metaphysical level.
1. Battleship Potemkin (Sergei Eisenstein, 1925)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Battleship-Potemkin.jpg
Battleship Potemkin
This may be the most famous “Red propaganda” movie of all and there’s a reason for this. It is the story of a mutiny in one of the battleships of the Tsarist Russian naval force. It took place in the Black Sea during the 1905 revolutionary movement. The sailors of the Potemkin rebelled due to lack edible food and seemed destined to be executed for insubordination until one of them, Vakulinchuk, starts a mutiny. The force of the sailors overwhelms officers, doctor and a priest.
The Potemkin arrives in Odessa and the Tsarist troops decide to defeat the rebels. Doing that requires to pass onto civilians. One of the most famous scenes of the history of cinema displays the machine-like advance of the army while women, babies and other people are brutally killed. Battleship Potemkin’s destiny is already ordained but the ship will fall with honor with the red flag of rebellion in the air while the sailors refuse to combat their Tsarist comrades.
It is not an exaggeration to say that this film changed the entire perspective of the word “film” in the cinematic history. Apart the exceptional montage work there’s a clear reference to all the revolutionary movements against the oppression led by bourgeoisie power. The mutiny is towards religion, officers and false beliefs and is the only option possible for the oppressed.
To fall for fighting against oppressors maintains honor and only heroes will be remembered for doing so. In this particular case it would be useful to take a look to the heroic rebels of the 1905 revolution who have risen through time, such as Kalyayev, who became the protagonist of Albert Camus’s play The Just Assassins, or Boris Savinkov.
This film will not explain the Marxist conception of economy but it can explain what could cause a revolution for a social cause. Apart the political beliefs, this film represent an encouragement to fight injustice in any form. In its simplicity it can represents a chant for all the believers in the revolution.
Author Bio: Luca Badaloni is studying his master’s degree in Philosophy. He believes that cinema is a perfect instrument for philosophical ideas and actually society needs critical thinking in several ways. He loves to write script, direct short movies but mostly, he loves reading.
http://www.tasteofcinema.com/2015/the-10-best-movies-influenced-by-marxist-philosophy/#ixzz3goDp68K6
22 JULY 2015 FEATURES, FILM LISTS BY LUCA BADALONI
marxist films
http://www.tasteofcinema.com/wp-content/uploads/2015/07/marxist-films.jpg
Karl Marx was one of the most influential philosopher of all time and consequently his work has influenced a lot of films. The spectator faces Marxist problems such as: proletariat conditions, bourgeoisie dominance, the evolving technology and its connection to society, and revolution. Every problem is only a signal of the advent of the communist era, which consists of final justice on earth. This is the core of an entire movement which deeply influenced the world.
Obviously there were other philosophers, many influenced by Marx, who expanded those core elements in many other directions, some of them contemporaneous to him including Engels, Kautsky, Bernstein and others after his death (Rosa Luxemburg, Gyorgy Lukacs, Antonio Gramsci, Ernst Bloch).
Every one of them shared a faith in proletariat justice, where object and subject finally identify each other. Lower industrial classes are the “soil” for the revolution and will bring true values for all humanity but doing this demands the fall of the dominant industrialized class: the bourgeoisie. Fraternity is the key word to the basis of a community, and Communism is the ultimate community where humanity frees itself from physical and mental slavery.
Marx has never described a “communist” society but he gave some advice in his Critique of the Gotha Program. He said that capitalism is the world where slave-masses serve the few dehumanized bourgeoisies. Once this is known it’s easy to understand that for a film to be Marxist it should reflect reality as closely as possible. It should reflect the horribleness of bourgeois society and the honorable values brought about by the proletarian class.
That is a simplified point of view in respect to the Marxist way to see arts (in particular in respect to Lukacs’s literary theories), but it shows the core of this concept. In fact, during the Soviet era, the most common type of film coming from “red” countries,was the documentary. What ‘s better than reality itself to show how society and socialism work?
Exemplary examples are the “Kino-pravda” works created by Dziga Vertov. The main ideas expressed Marx evolved through time and in particular during the 67-68’ period which brought a sort of renaissance and reconsideration of the core Marxist ideas, which ends in a post-structuralist philosophical movement. In this final development of “revolutionary” ideas, Marx was an influence along with others, so it can be said that in cinema’s post-68’ period is not a continuation of the Russian montage school.
Considering the history of socialism and the history of cinema, there is a wide range of achievement among the movies influenced by Marx and these show many different aspects of Marx ideas, demonstrating the multifaceted dimensions of this movement. On the other hand it is possible to show what Marxism has meant to humanity through the eyes of a number of directors.
10. Novecento (Bernardo Bertolucci, 1976)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Novecento-1976.jpg
Novecento 1976
This film demonstrates what a useful concept communism was in fighting fascism in Italian society during World War II. Novecento is the story of two men, born in the same day in the same village. One is the son of a country worker (Gerard Depardieu) and the other one is the son of the landholder (Robert DeNiro). They have different social backgrounds but grow together in friendship.
This movie is 5 hour long and considers other problems related to everyday life, love, and relationships, but the political aspect remains an undercurrent which keeps the film going. Poor people are too weak and ignorant to potently fight the rising fascist power and only when war comes to Italy they can start to form partisan rebel armies.
Marxism is the secret root that “feeds” the struggles of this movie, because everything is, at bottom, moved by social injustice. At the end the populist elements rising against the landowner resolves all the problems but only momentarily.
9. Modern Times (Charlie Chaplin, 1936)
Modern Times
http://www.tasteofcinema.com/wp-content/uploads/2014/04/Modern-Times.jpg
A classic movie by Charlie Chaplin is a Marxist film? Chaplin was always sensitive to social problems. England has always been the land of socialist battles. Highgate cemetery is a sufficient proof of how deeply related England is to Marx’s life.
This film could be seen as a social accusation toward industrialization . If one wants to better understand what proletariat alienation is, this is the film to see. This movie is based on a simple concept which it explains well through stereotypical and ironic characters.
A society that works in a crazy context cannot be fit for man, who continuously searches to be free. If it is only a critical film more than constructive one, it reflects a particular aspect of industrial proletariat problems, a very old problem that is a socialist vindication but at the same time, is the basis of Marx’s philosophy.
8. Porcile (Pier Paolo Pasolini, 1969)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Porcile-1969.jpg
Porcile 1969
Pasolini was one of the novelists who deeply embraced the Marxist philosophy. This film also reflects the hypercritical attitude in Pasolini’s cinema towards the bourgeoisies.
Porcile is split into two sections: one is a story about a rich family heir who is about to marry but also loves animals more than humans. The second part revolves around a cannibal looking for victims. The first part represents the moral alienation of an upper class man who cannot feel love anymore while his father thinks only about money. The second is a symbolic translation of a self-eating mankind, which cannot resist destroying a part of itself in favor of another part.
Marx comes through as a philosopher who shows moral degradation in spite of a final idea of perfection. Man can reach that plateau but doesn’t want to.
7. Earth (Alexander Dovzhenko, 1930)
http://www.tasteofcinema.com/wp-content/uploads/2014/04/Earth.jpg
Earth
Dovzhenko is one of the great names of the Russian montage school, which includes other directors such as Eisensten, Vertov, Pudovkin and Kuleshov. This film is a representation of the technological change brought by revolution.
This film posits other ideas but shows that Marxism could be seen as a prime mover. After the New Economic Policy ended in 1929, Russian organization of rural activities changed forever in 1930. Kolchoz arrival signed a point break in communist society.
Earth is the perfect example of the meaning of the changes in order to better understand the consequences of some decisions. Obviously Dovzhenko’s purpose was not to focus only on Russian reforms but to go further into the epic changes. He defined his cinema as a cine-poem. The spectator will notice the end of Kulaks, the forced collectivization of lands, the end of Ukrainian independence from Stalin’s decisions and the end of the New Economic Policy.
6. Three Songs about Lenin (Dziga Vertov, 1934)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/3-Songs-about-Lenin.jpg
3 Songs about Lenin
This is not a fictional film but a documentary and represents the influence of Lenin in Russian culture and history. At the same time the spectator may notice the deep political exaltation of the dictatorship figure. This is the passionate homage of a director to a “people’s hero”.
If someone looks at this documentary without any political bias, one could understand the political situation in 1934 Russia. The sense of exaggeration is always present, but facing this means facing what was to be a Russian under Stalinism. That means Lenin must be seen as savior with no discussion allowed.
5. Film Socialisme (Jean-Luc Godard, 2010)
http://www.tasteofcinema.com/wp-content/uploads/2014/10/Film-Socialisme-2010.jpg
Film Socialisme (2010)
This is not the only socialist film created by the famous French director, and probably is not his best when compared to “Week End” or “La Chinoise”. This film perfectly represents the style and the politics of Jean-Luc Godard in its complexity. Its director was heavily influenced by Marxist ideas and this is a sort of summation.
The film is subdivided into three movements: “Such things”, “Our Europe” and “Our Humanity”. Every chapter represents the deep connection between humans outside of ideological differences or political faiths. The film represents the trial of a new Europe, a crossway of languages and cultures, where society simply overwhelms economics.
Godard is one of the most complicated of directors and his language is very difficult for a spectator who has never seen his films. Derrida and Badiou are the main influences here but Marx could be seen as an “undercurrent” which moves every single idea inside the images.
4. October (Sergei Eisenstein, 1928)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/October.jpg
October
Anyone interested in the way Lenin was able to take control of the Russian political situation during the fateful month of October 1917, should see this film. Sergei Eisenstein, the chief proponent of the Russian montage school creates one of his best works in collaboration with Grigori Aleksandrov.
Spanning from April 1917 when the provisional government took power and Lenin has returned from exile, there’s no clear protagonist in this film since the masses are the true protagonist. Lenin is the only leader who can lead the troubled nation. Kornilov was the general who tried to maintain political calm, but the drastic situation of the proletariat was too bad and revolution was close at hand. The complexity represented by this movie is based on Marxists conceptions.
One of the best scenes renders the representation of religion as “all the same thing” equalizing Christianity, Hinduism, and other ancient faiths. The perspicacious observer will notice the absence of other important personages of the Russian revolution such as Trotsky and Zinoviev. They were cut out of the film.
Lenin is portrayed as the people’s hero and the masses exalt him as the antidote for the bourgeois provisional government. This is a perfect example in understanding the cultural perception of revolution during Stalin era.
3. Man With a Movie Camera (Dziga Vertov, 1929)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Man-With-a-Movie-Camera.jpg
Man With a Movie Camera
Man with a Movie Camera is one of the most famous works of the Russian montage school and is one of its most experimental movies. It demonstrates a lot of different techniques regarding the positioning of the movie camera apart the obvious montage. With this movie Vertov tried to explain his concept of kinoglaz (movie-eye) through a series of everyday situations.
For the Marxist ideas of film, a director cannot use fictional situations to symbolize reality. The filmmaker has to use images from the real world. Vertov’s purpose was to show the beauty of the industrialized society using only scenes from the society itself. In this movie there are no actors, scenarios, or title cards and the main “protagonist” is the director himself, or better, his movie camera.
The aim is to achieve the perfect overlapping of eye and camera which is reminiscent of the final identification of object and subject in Marxist-Hegelian dialectics. The spectator is faced with a society that is experiencing its continuous evolution thankful to the revolution, socially and technologically speaking.
Communist society is shown at its best while the spectator is compelled to think in a sort of meta-cinema way. Marxists ideas are present here in their purest form. The revolution brought about by the Soviet citizens to their society permits the advent of real technology. Vertov here connects Marxism with the film’s techniques and philosophy.
2. Teorema (Pier Paolo Pasolini, 1968)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Teorema.jpg
Teorema
This film came out during the “hot” year, when students all over Europe were protesting against the institutions. Pasolini depicts a typical Italian bourgeoisie family reacting towards an unknown man.
This film wants to show the reverse alienation of the dominant class, but focuses also on its incapacity towards other humans. When the family meets a mysterious man they are enthralled by his presence. All the true sentiments come from the family only after the man leaves. These range from the religious faith, to love, art and finally the “political” redemption of the father.
Pasolini want to show how the reality of human relationships could be lost if the focus is only on self and superficial and commoditized things. This film is contemporary because humans continue to live in this same situation and refuse to keep open minds as to what truly matters. Marxism in this film reaches its critical point concerning the dominant class existing at a metaphysical level.
1. Battleship Potemkin (Sergei Eisenstein, 1925)
http://www.tasteofcinema.com/wp-content/uploads/2015/07/Battleship-Potemkin.jpg
Battleship Potemkin
This may be the most famous “Red propaganda” movie of all and there’s a reason for this. It is the story of a mutiny in one of the battleships of the Tsarist Russian naval force. It took place in the Black Sea during the 1905 revolutionary movement. The sailors of the Potemkin rebelled due to lack edible food and seemed destined to be executed for insubordination until one of them, Vakulinchuk, starts a mutiny. The force of the sailors overwhelms officers, doctor and a priest.
The Potemkin arrives in Odessa and the Tsarist troops decide to defeat the rebels. Doing that requires to pass onto civilians. One of the most famous scenes of the history of cinema displays the machine-like advance of the army while women, babies and other people are brutally killed. Battleship Potemkin’s destiny is already ordained but the ship will fall with honor with the red flag of rebellion in the air while the sailors refuse to combat their Tsarist comrades.
It is not an exaggeration to say that this film changed the entire perspective of the word “film” in the cinematic history. Apart the exceptional montage work there’s a clear reference to all the revolutionary movements against the oppression led by bourgeoisie power. The mutiny is towards religion, officers and false beliefs and is the only option possible for the oppressed.
To fall for fighting against oppressors maintains honor and only heroes will be remembered for doing so. In this particular case it would be useful to take a look to the heroic rebels of the 1905 revolution who have risen through time, such as Kalyayev, who became the protagonist of Albert Camus’s play The Just Assassins, or Boris Savinkov.
This film will not explain the Marxist conception of economy but it can explain what could cause a revolution for a social cause. Apart the political beliefs, this film represent an encouragement to fight injustice in any form. In its simplicity it can represents a chant for all the believers in the revolution.
Author Bio: Luca Badaloni is studying his master’s degree in Philosophy. He believes that cinema is a perfect instrument for philosophical ideas and actually society needs critical thinking in several ways. He loves to write script, direct short movies but mostly, he loves reading.
http://www.tasteofcinema.com/2015/the-10-best-movies-influenced-by-marxist-philosophy/#ixzz3goDp68K6