Dr. Willemien Sanders is a regular critic at Modern Times Review.

Articles:

Turning national sentiments into business

The landmark of the WWI battle of Gallipoli in Turkey and the idolising of individual heroism has become the backbone for nationalist and populist sentiments – and for business.

No winners, no losers

While US Democrats, Republicans and the President bicker over a border wall, Chèche Lavi shows what whimsical policy measures mean to real people.

The female Kurdish fighters

Film director Alba Sotorra spends five months at the Kurdish frontline in Syria following the life and struggle of the female Kurdish fighters belonging to the Women’s Protection Units (YPJ).

Animal justice meets human justice

Two of the films presented at this year’s Belgian DocVille Documentary Film Festival, remind us about the continuing violation of justice – may it be animal or human injustice.

The cultural revolution revisited

Tensions rise and tears are shed while we follow young Chinese actors trained as Mao Zedong’s Red Guards reliving the Chinese Cultural Revolution.

From the old to the new economic world order

By portraying two entirely different Finish family enterprises, Entrepreneur gives an insight into new ways of doing business – with and without meat.

Three stories on war

Three films draw a line between war and a parallel world, not of peace, but of a kind of limbo upon which war encroaches or that exists alongside the fighting.

The collateral damage of violence

The shadow of violence can stretch long and wide and these two films illustrate the indirect damage that continues long after direct violence has ceased.

Re-humanizing refugees

With a calm and unobtrusive approach, filmmaker and anthropologist Laurent Van Lancker lets inhabitants of the now demolished Calais camp describe their separate society on their own terms.

Men made Machines

Machines depicts the inner world of a textile factory in Gujarat, India. Men work among gigantic machinery to produce brightly coloured fabrics. The film strongly echoes the work of late Austrian director Michael Glawogger.
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