Since Hilary Clinton’s loss to Donald Trump in the 2016 US Presidential Election, the distinction between left and right politics and the reporting of each have become increasingly inflammatory and divisive. The Democratic Party have encountered harsh criticism for their inability to play dirty, to not compromise. But what would it look like for the left to try something new? Perhaps something extreme?
George Orwell’s dystopian political satire has had a resurgence of popularity since the 2016 US Presidential Election, the revelation of Facebook’s interest in spreading misinformation, and the generalised fascist-y turn global politics has taken recently. This new adaptation looks specifically to the funny side of surveillance and turns the 1949 novel into a comedy and a musical.
The attitude of splitting people into winners and losers is a distinctly American phenomena that inspired Michael Arndt’s screenplay about the Hoover family, a band of misfits fighting against the belief that they are exemplary losers. Adapted into a musical by James Lapine and William Finn, Little Miss Sunshine follows this bland family in their bright yellow VW van from New Mexico to California for the competition of their lives.
In the late 60s and early 70s, stirred by the political unrest abroad, a group of young anarchists began a bombing campaign in Britain and became the country’s first terrorist organisation. James Graham’s script is a political history of both sides: the specialist investigative team established to find the Angry Brigade and the group of anarchists themselves.
Lotte thinks she deserves a holiday and some loving at the same time but she couldn’t have known her singles tour of Troy would drag her through history into the ancient falling city. Mixing history, mythology, and the modern day, Trojan Barbie is a confronting exploration of the trauma of war through the female victims.
Inspired by the surrealism of Franz Kafka’s Metamorphosis, Katie Pollock reimagines the well-known novella through young Greta’s eyes as her brother takes a sudden ugly turn towards extremism. In The Becoming, dangerous ideology and its sibling, dangerous indifference, means nobody gets out alive.
In a true blue story of hardship, Australian egg farmers are facing bleak times with the invention of man-made egg replacements. A charity concert fundraiser seems like the best solution until it sparks an uncontrollable urge to give, which threatens conceptions of good and fairness. Taking it back to Hume, We Are the (End of the) World takes on charitable giving as a measure of altruism motivated by self-importance and a twisted promotion of individual sacrifice.