Valkyrie

Claus von Stauffenberg was a Nazi army officer who attempted unsuccessfully to assassinate Hitler at the Wolf’s Lair on July 20, 1944. Stauffenberg was shot the next day as a result. The Nazis did not surrender until May 7, 1945, a few months shy of a year later, so Stauffenberg’s intent to end the war would have made a substantial difference in terms of the number of dead and wounded from World War II in Europe. The 2008 film, Valkyrie, chronicles the story in the genre of historical fiction, even though Tom Cruise, Bill Nighy, Kenneth Branagh, and Tom Wilkinson play Nazi figures (without even German accents), although Tom Hollander does play a suspicious Nazi quite convincingly. Viewers could still be excused for approaching the film as a “Wagner meets Shakespeare in the Park” production. The film gets its title from the Valkyrie in Wagner’s opus: handmaidens of the gods. The sparce religious nomenclature in a few scenes of the film is easy to miss, and, I submit, the interlarding of religion is ill-suited to the political drama.

The full essay is at "Valkyrie."

Ben-Hur

By 2026, the world hardly needed any convincing regarding the strident zeal for endless vengeance in the Middle East, given the genocide still occurring in Gaza against the Palestinian people. In 1945, the world had needed no convincing on just how severe, and at what tremendous scale, state-sponsored (and engineered) hatred against a people deemed “subhuman” could be. The 1959 film-version of Ben-Hur is saturated with the desire for vengeance, with the antipodal motive of forgiveness only being shown as  a more powerful, and thus stronger, phenomenon at the end of the film when Judah Ben-Hur’s mother and sister are spontaneously cured of leprosy at the very moment in which Jesus dies on the Cross. Only in aiding Jesus with water on his arduous way to the Cross does the Jewish man, Judah, realize the value of the suffering man’s righteous, unmerited suffering, especially relative to the value of even satisfied vengeance. At the moment of his death, Jesus, freed of a mortal body, cures the two women as a result of Judah’s change of heart. The message is that forgiveness wins over resentment and vengeance from a spiritual standpoint.

The full essay is at "Ben-Hur."

Civil War

In the film, Civil War (2024), Texas and California have “tecaexited” the U.S., to use the European recondite ideological parlance for secession that began with “Brexit” in order to evade “seceding from the Union.” The U.S. president in the film repeatedly lies to the public that the secessionists are on the run; in actuality, as the film progresses, the three journalists, Lee, Joel, and Sammy, along with their young protégé, Jessie, eventually witness up-close the rebel military conquering the White House in order to shoot the president in the Oval Office. The film provides only scant clues as to the reason for the secession; the rebel who shots Tony, a friend of the three journalists, obviously detests foreigners and delights in “real Americans,” such as are from Colorado and Missouri. This could be a reference to Trump’s “MAGA” movement, so the film is possibly playing out Trump’s followers revolting; historically, on January 6, 2021, some of them rioted, though admittedly did not as a revolt so to topple the U.S. Government, but rather to make a statement by temporarily stopping Congress from counting the States’ respective electoral ballots for president. Even so, it is too great an inferential leap to conclude that the two States seeking to exit the U.S. in the film are MAGA, even though MAGA ideology and the “woke” ideology clashed in early (and mid) 2020s when the film was being put together. Rather than being about contending, violently clashing ideologies, the film is about how violent our species is when not suppressed by an overarching police presence that can act as a deterrent.

The full essay is at "Civil War." 

From Ground Zero: Stories from Gaza

Twenty-two real-life stories fraught with suffering and a pervading sense of utter hopelessness: The film, From Ground Zero: Stories from Gaza (2024), is a documentary in want of a solution that did not come not only in 2024, but also in 2025. That Rashid Masharawi, the film’s director, survived even the release of the film is remarkable. Israel clearly did not want true stories from Gaza reaching the rest of the world even though it was not as if the rest of us could miss the photos of the mass devastation throughout Gaza and the resulting tent camps in 2025. It precisely because societal-level figures, such as 65,000 or 75,000 civilians murdered and over a million left starving and homeless, can be easily separated from the plights of individuals and families on the ground that Masharawi’s film is so valuable. Juxtaposed with the Gaza-wide statistics befitting the genocide and perhaps holocaust, the 22 stories in the film give the world a sense of what experiencing a holocaustic genocide is really like.

The full essay is at "From Ground Zero."

The Reader

The film, The Reader (2008), captures a frame of mind that may be so frequently overlooked when it is observed because it is so bizarre in its impact on reasoning that it difficult to explain, let alone grasp for what it is. The phenomenon is not of artifice; rather, it is a natural vulnerability of the human mind, or brain, due to its susceptibility to ideology that is highly unethical in its content, including a circumscribed and even warped mental framework and very unethical prescriptions for conduct. The ideology at issue in the film is that of the Nazi Party in Germany from 1933 to 1945.  The truism that absolute power corrupts absolutely does not fully account for the cognitive warping that is evinced by Hanna Schmidt during her trial in the film.

The full essay is at "The Reader."

Nationalism at Eurovision: A Lack of Vision

The inherent retentiveness of conservatism benefits a society because it need not “reinvent the wheel” in “starting from scratch,” as resort can be made to customs that have been efficacious. Unfortunately, conservatism can easily be in denial as to the need for adaptation to changes whether in geopolitical institutions or in culture. The advent of the European Union as a federal system of dual-sovereignty has been easy fodder for conservatism’s proclivity of denial with regard to very new things. Eurovision, too, was an invention beyond even the European Union, and thus also of the post-World-War-II history of integration meant in part as a check on the full-blown nationalism that had twice decimated Europe in the twentieth century. So it is problematic that the EBU, the organization behind the Eurovision Song Contest, has made so many category mistakes involving Europe in favor of nationalism.

The full essay is at "Nationalism at Eurovision."

Mickey 17

Ethical, theological, and political issues are salient in the film, Mickey 17 (2025), which is about Mickey Barnes, a character who is repeatedly cloned on a space-ship and on a distant planet. The one-way trip alone takes over four years, during which time Mickey is tasked with dangerous tasks because when he dies, another clone is simply made. A mistake is made when the 18^th clone of Mickey is made even though the 17^th is still alive; they are “multiples,” which is a crime for a theological reason. I contend that reason is erroneous, as is the political, ethical, and theological regime that undergirds clones being expendable. 

The full essay is at "Mickey 17". 

Return to Haifa

Return to Haifa (1982) is a film in which the political element of international relations is translated into personal terms on the levels of family and individual people. The establishment of Israel by the UN is depicted in the film as being accomplished not only incompetently, but in negligence of likely human suffering. In fact, the suffering of the indigenous population may have been intended, given the operative attitude towards those people as animals. That the human being can be so dehumanizing in action as well as belief ultimately makes victims of all of us, even across artificial divides. This is precisely what the film depicts, with the victims being the active characters while the real culprits remain for the most part off-camera. The viewer is left with a sense of futility that can be undone by widening one’s view to include the antagonists, who are not passive. It is not as if fate inexorably brought about the Nakba (or even the scale of the atrocities in Gaza in the next century, which, as the film was made in 1982, cannot be said to be anticipated by the filmmaker—though perhaps it could have been).

The full essay is at "Return to Haifa."

Farha

The establishment of the state of Israel in 1948, being in the wake of the Nazi atrocities, was arguably viewed generally then as something that the world owed to the Jewish people. Perhaps for this reason, the UN did not take adequate measures on the ground to safeguard the Palestinian residents. In retrospect, the possibility, even likelihood, that people who group-identify with (or even as) victims consciously decide to become victimizers should have been better considered. The film, Farha, made in 2021, illustrates the sheer indeterminacy, and thus arbitrariness, of human volition when it issues orders to the body to be violent against other rational beings. Channeling Kant, it can be argued that the decision to shoot a family that poses absolutely no threat impurely out of hatred based on group-identity fails even to treat other rational beings as means—to say nothing of as ends in themselves. The deplorability in being unwilling even to use another person as a means to some selfish goal, preferring instead to kill rather than respect the otherness of the other, grounds the verdict on the culprit as a being that is less than nothing. In another film, The Brutalist (2024), Laszio, the Jewish protagonist, erroneously concludes that Jews must surely be less than nothing, given how they were treated in Nazi Germany, but also how he and other Jews are regarded in Pennsylvania, especially considering that news of the Holocaust has reached America. Whether raw brutality or silent, passive-aggressive prejudice is suffered, turning one’s own victimhood, or, even worse, that of one's abstract group, into victimizing is ethically wrong. Such lashing out in retribution, or, even worse, in disproportionate vengeance, fails to treat other rational beings as ends in themselves, and even as means for one's own future use. Such cycles have a beginning, one of which  Farha captures very well at an interpersonal level. At that level, group-identity seems especially artificial, even as it explains the visible hatred to casual observers such as film-viewers.

The full essay is at "Farha." 

The Lion in the Desert

In 1929, after nearly 20 years of facing resistance in Libya, Benito Mussolini, the Fascist ruler of Italy, appointed General Graziani as colonial governor to put down the military resistance of Libyan nationalists led by Omar Mukhtar. Graziani was ruthless, and fortunately he was arrested when Mussolini was toppled. His foremost atrocity was putting over a million Libyan civilians in a camp in a desert, with the intent to starve them in retaliation for the guerilla fighters objecting to the Italian occupation. The film, The Lion of the Desert (1980), faithfully depicts the historical events that took place in Libya from 1920 to 1931. The sheer arbitrariness other than from brute force in the occupation and the impotence of the League of Nations are salient themes in the film.

The full essay is at "The Lion in the Desert."

Medium Cool

In Medium Cool (1969), John Cassellis, a cameraman, maintains a medium-cool level of emotion even in the midst of the socio-political turmoil in Chicago during 1968 until he learns that his station manager had been allowing the FBI access to the news footage. The film can be interpreted as providing a justification for his lack of trust in American law enforcement even as the need for law and order is made clear from the ubiquity of the human instinctual urge of aggression. For the film shows not only the extent of violence, but also its engrained nature in our species. By implication, the viewer is left to conclude that that law enforcement is necessary in a civilized society.  Yet this can only be a necessary evil, for the last few scenes of the film show just how likely discretion is to be abused. The atrocious and one-sided police violence during the peaceful protests outside of the Democratic National Convention make it clear that if given the legal authority to use weapons, human beings may abuse such discretion if too weak to restrain their own personal passions and, albeit less common, even their psychological pathologies.

The full essay is at "Medium Cool."

Public Access to the Public Domain Increasingly Privatized for Profit

To Aaron Swartz, the subject of the documentary, The Internet’s Own Boy (2014), the major concern in his day regarding the internet was not the ability of a person to create a blog or use social media; rather, the problem was in the trend of the power of the gate-keepers, who tell you were on the internet you want to go, concentrating. In other words, the issue concerned what commands our attention. More specifically, who gets access to the ways people find things on the internet. “Now everyone has a license to speak; it’s a question of who gets heard,” he said.  Although he was a computer wiz, he also had political aspirations; both of which were on display as he lobbied against the Stop Online Piracy Act (SOPA), which was introduced in Congress in October of 2011. Unfortunately, the combination of his computer and political skills got the attention of the FBI, which engaged in a relentless pursuit of him until, under the pressure, he committed suicide at the age of 26. His short life was one of idealism that should not have been squashed by an unstoppable criminal-justice system, especially when influenced by political pressure from corporations and politicians. Lest the overzealousness of law enforcement obscure a vision of Aaron’s idealism, it can be viewed as public access being restored to the public domain in terms of the internet.

The full essay is at "The Internet's Own Boy."

The Post

In Spielberg’s The Post (2017), the fateful decision to publish portions of the Pentagon Papers centers on Katharine Graham’s being willing to rebuff her newspaper’s lawyers, who represent the company’s financial interests, in favor of Ben Bradlee’s argument that free speech of the press as a check on government in a viable democracy—the company’s mission—is of overriding importance. As important as this critical decision was historically, I submit that the film allots too much attention to the decision and even the relationship between Graham and Bradlee at the expense of other deserving matters.

The full essay is at "The Post."

The Boys from Brazil

Josef Mengele, an SS physician infamous for his inhumane medical experimentation on prisoners at Auschwitz, is in this film a character intent on furnishing the 95 Hitlers he has cloned with Hitler’s own background. Crucially, Hitler’s father died at 65. So too, Mengele, reasons, must the adoptive fathers of the boy Hitlers. Otherwise, they might not turn out like Hitler. The ethics of Mengele’s task—killing 95 innocent 65 year-olds—is clear. When Ezra Lieberman stops Mengele in his tracks, the question turns to the ethics of killing the 95 boys so none of them will grow up to be another Hitler. This is a much more interesting ethical question, and the narrative—and film as a medium, moreover—would be fuller had the script been deepened to make the question, and thus the ethical and ontological dimensions, transparent for the viewers.

The full essay is at "The Boys from Brazil."

Advise and Consent: Does Politics Have a Limit?

A film that centers on the U.S. Senate’s role in confirming executive nominations made by the president, Advise and Consent (1962) is arguably about whether moral limits pertain to power.  Put another way, should we expect no-hold barred efforts to manipulate others in the political arena? Personal lives and personal pasts being fair game?  Moreover, is the aim power for its own sake, or the manipulation of others for the sake of a public policy and ultimately the good of the country?

The full essay is at “Advise and Consent” 

Gandhi's Philosophy of Nonviolent Defiance: A Way to Freedom

Film is indeed an art form, but the medium can also function as a teacher in how it conveys values and wisdom. Both of these features of film are salient in Gandhi (1982), whose director, Richard Attenborough, says in his audio commentary that the film has done much keep Gandhi’s philosophy alive in the world. In using the film’s star protagonist to explain what is behind his approach, viewers become, in effect, students. The strength of film here lies in its use of both audio and visual means to engrave the lessons in memories. In Gandhi, the main concept to be explained and illustrated is nonviolent active non-cooperation or defiance of unjust laws or regimes.

The full essay is at “Gandhi”

The Emperor: Above the Clouds of Petty Protocol

In complex social arrangements, such as exist in governments, business firms, and religious organizations, a person must climb through many levels before reaching persons of sufficient height and occupational breadth that what had been said to be binding requirements suddenly become as though unfettered butterflies. Astoundingly, the mid-level subordinates may even object as the rules are relegated back to their true status as guidelines. Beyond the element of greater authority, a greater perspective in terms of what truly matters is profoundly important in this regard. Having many decades of lived experience, plus a certain maturity in place of pettiness, is also in the mix. A Pope of the Roman Catholic Church, for example, may be more likely to pick up on a sincere heart of the sort Jesus would praise than run through a laundry list of doctrinal requirements.

In the film Emperor (2012), religion and government are intertwined in the Japanese emperor, who was until shortly after World War II also officially a living god. Although his aides attempt to put General MacArthur into a straightjacket of protocol for the meeting with the emperor at the end of the film, both the general and the emperor are off sufficient maturity and perspective to disabuse themselves of the protocols and focus on the truly important stuff. To discern the petty from the profoundly important is a key feature of upper-echelon leadership.

The entire essay is at “The Emperor”

The Iron Lady

Sometimes a film is worth seeing just to watch an excellent actor capture an interesting character. This applies to Meryl Streep playing Julia Child in Julie and Julia and Margaret Thatcher in The Iron Lady. I am writing on the The Iron Lady a day after seeing it and watching Streep accept a Golden Globe for her role in the film. Prior to seeing the film, I had heard critics say that the film itself pales in comparison with Streep’s performance. I concur, though whereas the critics complain of the extent of disjunction between Thatcher as the prime minister and Thatcher as an old woman in dementia, I want to point to the sheer extent of “back and forth” between the two. Typically, there would be a snippet of Thatcher as prime minister, than back to the old woman in the dark, then back again to the past. A viewer could get whiplash. I would have preferred to begin at the beginning—with Thatcher’s start in politics—and work up to the dementia (giving the old Thatcher much, much less air time). Perhaps the “linear chronological” approach was presumed too straight-forward, or boring, by the screenwriter or director. However, any story naturally has a beginning, middle and an end, and too much jumping around can eclipse the natural progression.

The full essay is at "The Iron Lady."