I’m often cagey about taking stock of accomplishments—mostly because mine are, shall we say, modest in scope—but this has been a rough year for a lot of people and it’s important to recognize good stuff when it happens. In this case, I want to share a few cinematic gems that my employer, Films for the Humanities & Sciences, began distributing in 2010. I should say that these are my personal favorites, rather than official selections made by the company, and they’ve stayed with me for a wide range of reasons, not because of any strict criteria. I must also applaud the efforts of our Acquisitions department, which excels at tracking down and signing up material of the highest quality.
The Last Truck documents the final months of a GM plant in Moraine, Ohio, and features several workers who vividly describe the fear and turmoil they’re experiencing. Readers might consider the following comparison a stretch, but the film reminded me of Stanley Kramer’s On the Beach—a story of looming finality and the smaller human narratives taking place within it. Since I’m working on that topic elsewhere (and because our entertainment landscape is currently subjected to a glut of post-apocalyptic tales) I won’t push the association here, but I suggest thinking twice before writing it off.
On the other hand, The Sugar Babies should put things in perspective for any American overly worried about socioeconomic collapse. It’s the story of Haitian children struggling to survive in the cane fields of the Dominican Republic, and I’m not sure what it will do first—piss you off or break your heart. For these kids, the apocalypse has already happened, and I mean that seriously. Conditions may have improved (that is, what amounts to slavery may have been mitigated) since the film was produced, but one is nevertheless reminded that the most vulnerable among us have a right, yes, a right, to protection.
But I will try to lighten up. Literally. Liquid Stone follows efforts to complete Barcelona’s spectacular cathedral, La Sagrada Familia, according to the intentions of its designer, Antonio Gaudi. Gaudi was known as “God’s architect” and anyone who watches the film will understand why. In fact, the church was recently consecrated by the Pope—way to go, Pope!—but it is also worth invoking Gaudi’s statement that the structure “is made by the people and is mirrored in them. It is a work that is in the hands of God and the will of the people.” So, with all due respect to the Pope, let’s hear it for the people!
A few others… Voices in Black and White, a three-part series, was filmed a few years ago but contains so many great interviews with Southern writers, from Alice Walker to Walker Percy, that it deserves infinite life. Radio Revolution deftly examines the impact of RFE broadcasts on Nicolae Ceausescu’s regime and the lengths to which his cronies went to suppress U.S.-backed radio in Romania. Last but certainly not least, there’s a BBC production of Hamlet that I particularly admire—for its edgy performances, its innovative textual rearrangements, and its visual commentary on the perils of a surveillance state.
Thanks for reading. May your 2011 be filled with more nourishment for the heart and mind.