“The conception I had from the beginning was of a film rep­resenting a society, a group. I wanted to depict a class.”

Falardeau rails against the “profiteers who pass themselves off as philanthropists,” the “groveling journalists dressed up as servile editorialists,” the “senile senators” and other specimens of rapacious capitalists, “in New York, Paris, Mexico City.”

Bad Bunny has accompanied a whole generation from their parties to their protests, without compromising his artistic vision.

Rare—if not non-existent—are works that narrate so closely the unfolding of a coup and, above all, its defeat at the hands of the masses.

The novel’s unique value lies in the fact that it offers something other than political slogans or demands.

Not only is October a masterful depiction of the revolution, but it exemplifies the incredible innovation of early Soviet cinema.

This is not just poetry — it is the reality of millions under capitalism: men and women who produce the wealth of society, but whose lives are treated as disposable.

In the fight against the oppressive World Government of One Piece, fans of the story see a reflection of their own fight. But possibly even more important than the plot, is the spirit that One Piece embodies.

The media has been dominated by massive corporations who only want to give us more of what has turned a profit in the past, locking these art forms into a state of stagnation and repetitiveness.

This new documentary revisits an essential episode in Quebec’s class struggle: the occupation of the city of Sept-Îles by militant workers in 1972