PAUL DONOVAN is chilled by the contemporary resonance of Harper Lee’s coming of age tale amidst racism and white supremacy in this excellent production
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We need the method of revolutionary cinema
PABLO NAVARRETE recalls the achievements of Third Cinema in Argentina and Cuba for the sake of socialist film-makers today
A still from The Hour of the Furnaces (La Hora de los Hornos) 1968
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GEOFF BOTTOMS recommends the unashamedly light-hearted escapism on offer in this stage version of the 1963 film
Full of mysterious religious references and radical sound design, the Scottish duo’s new offering is candidate for album of the year, suggests SIMON DUFF
MARY CONWAY revels in a powerful reminder that human lives are not defined by physical perfection
PAUL DONOVAN recommends the fine performances in this account of the pre-war meeting between the US president and the British king
TECLYN AROD relishes an intimate celebration of jazz improvisation that mixes local and national musicians
IN their 1969 manifesto, Towards a Third Cinema, Argentinian film-makers Fernando Solanas and Octavio Getino defined Third Cinema as “a cinema of liberation” that stood in opposition to the values of the first and second cinemas.
They described first cinema as “the dominant commercial cinema,” in the service of US capitalism and imperialism; second cinema was “the avant-garde and experimental cinema which has been born as an alternative to the dominant one.”
Instead, Third Cinema film-makers sought to create a cinema that was rooted in local cultures and traditions, and that reflected the realities of life for ordinary people.
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