In 1960, Reverend James Lawson helped to launch the Nashville sit-in campaign which successfully desegregated the Woolworth’s lunch counter, and inspired a new generation of student civil rights activities throughout the South. After Nashville he pastored the largest African American Methodist Church in Memphis and continued to work closely with Martin Luther King, Jr. in Birmingham and on other civil rights campaigns, teaching workshops in nonviolence. At each stage of his life, Lawson has supported campaigns for labor rights as a dimension of human rights.
Next to King himself, Reverend Lawson remains one of the most important social justice leaders of our time. This project set out to examine the legacy of Reverend Lawson, particularly his nonviolent approach to labor and civil rights, and to help share his story. The Love & Solidarity project did just that when it premiered a film by the same name that chronicles Lawson’s life and work as a force for positive change. In addition the Love & Solidarity project, led by Dr. Michael Honey, has launched the Love & Solidarity website to help share this story of how ordinary people can use nonviolence to make a more peaceful and just world.
PG-13 | 106 min | Drama, History | 12 October 2015 (UK)
The foot soldiers of the early feminist movement, women who were forced underground to pursue a dangerous game of cat and mouse with an increasingly brutal State.
Director: Sarah Gavron
Writer: Abi Morgan
Stars: Carey Mulligan, Anne-Marie Duff, Helena Bonham Carter | See full cast and crew »
NYT review: Movies about the injustices of the past — and about the struggles to overcome them — are frequently prisoners of their own good intentions. Too often, attempts to illuminate the dark parts of history cast a complacent, flattering light on the present and turn history into a morality play or a horror show. The audience is invited to look back at how terrible things used to be and reflect on how much better they are now. The note of hard-won triumph that comes in the final scenes has the effect of tying up loose ends and suppressing uncomfortable continuities.
The film pointedly tells an unfinished story, one that ends on a bittersweet, equivocal note. It takes place in 1912, at an important moment in the British suffragist movement and very much in the middle of the long journey toward equality. Agitation for the vote had been going on for decades, and the franchise would not be extended fully to women until 1928. In “Suffragette,” demonstrators fill the streets of London and militants carry out acts of vandalism, smashing windows and blowing up mailboxes. The chancellor of the Exchequer, David Lloyd George, holds hearings on a parliamentary amendment. The cause of voting rights is embodied by Emmeline Pankhurst, who is seen in newspaper photographs and briefly seen in the person of Meryl Streep.
Ms. Streep is on hand more to supply a benediction than to play a fully dramatic role. One of the ways “Suffragette” escapes the traps of its genre is to focus not on the leadership but on the rank and file, on an ordinary woman whose life is changed by political engagement. Her name is Maud Watts, and she’s played by Carey Mulligan with somber determination and inspiring pluck. Maud works in an industrial laundry, alongside her husband, Sonny (Ben Whishaw), and scores of women for whom dangerous labor, low pay and sexual harassment are matters of daily routine. Maud accepts her lot, finding happiness with Sonny and their young son, George. She is caught up in suffragist activities almost by accident, out of curiosity and loyalty to a co-worker (Anne-Marie Duff). Before long she is attending clandestine meetings in the back room of a pharmacy run by Edith Ellyn (Helena Bonham Carter).
“Suffragette” unfolds partly as an Edwardian thriller, with a Special Branch detective (Brendan Gleeson) chasing after the militants as they plot their actions. It also has a strain of melodrama, as Maud is forced to make terrible sacrifices for the cause. What joins these narrative strands is the feminist insight that the subjugation of women extends from the highest reaches of government through the workplace and into the domestic sphere. They have no voice in Parliament, on the factory floor or at home, and while nobody — least of all Maud — supposes that the vote will solve everything, it will at least be a start.
This does not mean that the film depicts all men as monsters, though Maud’s supervisor (Geoff Bell) is a fine portrait of male depravity. But “Suffragette” also avoids the all-too-common tactics of placing a sympathetic member of the oppressor class at the center of the drama or making it all about the awakening of a man’s conscience. Instead, it shows the limits of solidarity even when the sympathetic ties of family or class are involved. It also underlines the viciousness with which power reacts when it is challenged.
“Suffragette” is an admirably modest movie. It does not quite have the grandeur and force of “Selma,” and the script has a few too many glowingly emotive speeches. The final turns of the tale are suspenseful, but also a bit frantic. But it is also stirring and cleareyed — the best kind of history lesson.
– New York Times
An investigation into the position of working women in the 1840s, the effects of protectionist ‘philanthropy’ and the resistance to it. Explores the plight of a group of women working in the new ‘sweated’ clothes trade in London.
Originally intended as a history of the welfare state, as well as a contribution to debates on feminist history, issues of free trade against philanthropy and capitalist expansion against protectionism, The Song of the Shirt became a subject of debate in itself, not least thanks to its four-year gestation.Many different groups, including Women’s Aid and the Feminist History Project, were involved during this long production period, and as a result the final film had a broader agenda (and therefore audience) than was originally planned. While it still addresses ideas of feminist history and Marxist theory, it can also be read as a rather more ambitious project that fuses the history of fashion, literacy and sexuality.
It is constructed as a documentary, although the use of multiple-screen effects, monitors displaying text and projected backdrops constantly disrupts the flow of information. Few dates are revealed in the film, forcing us to address the arguments rather than the chronology. It moves back and forth between locations and eras, juxtaposed in such a way as to highlight the contradictions in the labour market. Close-ups of women and characters in the dramatised scenes are avoided, and in the tribunal sequence the figure-of-eight camera movements suggest aimlessness.
The women’s readings, both singly and in groups, are based on a story that appeared in the magazine Notes to the People. ‘A Page for the Ladies’ argues that all classes of women are oppressed. Women of different classes read the text in different ways, with other voices of workers and political writers given equal footing with the text.
The Song of the Shirt‘s combination of relentless political content and a dislocated and disruptive presentation makes it stand out from its contemporaries in its ambition to present a genuinely feminist independent film. Co-director Sue Clayton, a graduate of the Royal College of Art, has continued to explore these themes through her work with the Independent Filmmakers’ Association and Screen magazine.
The families of those immigrated for various reasons live in the four edge districts of Ankara which are located in the boundaries of Çankaya. The families who have lived for years in this region are exposed to an enforced immigration for urban transformation. The movie expresses the urban transformation and immigration subjects through the viewpoint of the children of those families.
Nermina Lukac’s electrifying performance as Raša is the heart of director Gabriela Pichler’s feature debut. A Montenegrin-born young woman living in rural Sweden, Raša is laid off from her job at a food-packing plant. Her ensuing job search pulls us through the maze of limited prospects and frustrating bureaucracy facing the country’s working immigrant population. Affable, resilient, street smart and soft-hearted, Raša’s natural magnetism draws us in completely. We feel every ounce of her disappointment, fear and elation as she soldiers on, looking for work. An Audience Award winner at the Venice Film Festival, EAT SLEEP DIE’s assured naturalism and political conviction single out Pichler as a bold, exciting new cinematic voice. Her film is a positive rallying cry for low-wage workers who dream of a life that won’t merely add up to the three verbs that form the film’s title.
– Mike Dougherty, American Film Institute
Director – Anand Patwardhan (180 min) 2012
The recent election in India of a rightwing reactionary government and the collapse of the Congress Party again exposes the basic contradictions within India. The lowest caste, the Dalit or “untouchables,” for thousands of years, was denied education and treated as bonded labour. By 1923 Bhimrao Ambedkar broke the taboo, won doctorates abroad and fought for the emancipation of his people. He helped draft India’s Constitution and led his followers to discard Hinduism for Buddhism. His legend still spreads through poetry and song.
In 1997, a Dalit protest erupted in a Mumbai slum after a statue of B.R. Ambedkar was desecrated. Ambedkar (1891-1956) was a reformist who agitated to end the caste system, helped Gandhi write the Indian constitution and amassed a large following among the Dalit. At the protest, 10 unarmed people were killed when police opened fire. Singer, poet and activist Vilas Ghogre later committed suicide to protest the killings.
Shot over 14 years, this three hour film is jam-packed with information. The film covers the biographies of both Ghogre and Ambedkar as well as Indian politics and the day-to-day lives of the Dalit who are still struggling for freedom and justice in India.
Documentary (Athens/ London 2013, 25 minutes)
Producer: BlueArts Film, Mizgin Müjde Arslan, Dir: Therese Koppe
Original Language: French, with English subtitles. Facebook page
“It certainly will be a different Europe, not like here in Greece”, states Laurent in an assuring voice. The dream of heading North is the driving motivation for Laurent and Ibrahim, two young men leaving their country of Senegal in search of a better life.As undocumented migrants, they find themselves trapped in Greece, bound to the Greek borders by the lack of immigration papers. Before leaving their homeland their impressions of Europe were very different from the harsh realities they faced once arriving. For migrants such as Laurent and Ibrahim, there is no stability in a better, safer land; their journeys to find such are continually ongoing.
In August 2012, mineworkers in one of South Africa’s biggest platinum mines began a wildcat strike for better wages. Six days later the police used live ammunition to brutally suppress the strike, killing 34 and injuring many more. Using the point of view of the Marikana miners, Miners Shot Down follows the strike from day one, showing the courageous but isolated fight waged by a group of low-paid workers against the combined forces of the mining company Lonmin, the ANC government and their allies in the National Union of Mineworkers. What emerges is collusion at the top, spiraling violence and the country’s first post-apartheid massacre. South Africa will never be the same again. Film Website
Grace is about the daily obstacles and dangers of living in America as an undocumented worker. Grace is a woman, a mother and an immigrant with everything to lose except her faith in someone from her past. She gives a face to the faceless, those who work tirelessly behind the scenes of our families and our nation.
Directed by: Alrick Brown, from a story by Julian Pimiento
The seventh and final installment in the PBS Great Depression series, this film links the onset of World War II and the role of the United States as the primary producer of war materiel with the lingering struggles of the Great Depression. Blending oral history with photos from Dorothea Lange and others, archival films, and audio clips, “Arsenal of Democracy” details the persistent plight of the poor throughout the 1930s, especially for migrant workers, farmers, and the homeless who, despite the historical attention they received, often remained outside the public and political scope at that time. It also explores the social, cultural, and economic changes that the transition from peace to war wrought, such as the racism and discrimination that African Americans and Asians experienced during the 1930s and in hiring and job opportunities; the internment of Japanese Americans after Japan bombed Pearl Harbor on December 7, 1941; the use of racist imagery in wartime propaganda; greater employment opportunities for women and African Americans in wartime production; California’s incredible growth due to massive outlays of federal spending; and the end of the Great Depression.
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