Film Series
BAM and Triple Canopy: On Resentment
Resentment defines politics today. We’ve received innumerable lessons in the sense of dispossession that characterizes the fabled white working class, courtesy of liberal and right-wing media alike. But can resentment be reclaimed? Who else has a right to be resentful? Can—and must—resentment be useful? This expansive program, a collaboration between BAM and Triple Canopy magazine, engages these questions by looking at how resentment has been expressed in the medium of film, and features formally daring, thematically ambitious works that wrestle with identity and representation, violence and ownership, revolutions and dead ends.
Who has the right to be resentful? How is resentment stoked, mobilized, policed, and to what ends? Triple Canopy senior editor Emily Wang and series programmer Ashley Clark discuss the series.
An explosive, freshly relevant portrait of simmering unrest on the margins of Paris.
An unsettling mirror reflection of our societal fault lines.
A groundbreaking portrait of 1968 America imploding on itself.
Michelangelo Antonioni’s radically anti-capitalist vision of the American counterculture.
A wrenching investigation into the racist murder of a Chinese-American engineer.
This courageous act of cinematic activism exposes Chinese bureaucratic corruption.
Asghar Farhadi’s taut, Oscar-winning window into contemporary Iranian life.
Colonialism as cosmic absurdity in the new film from iconoclastic auteur Lucrecia Martel.
Lindsay Anderson’s incendiary, rated-X allegory of repression and revolution.
There’s no fighting in the War Room in Stanley Kubrick’s apocalyptic Cold War satire.
This masterpiece of Filipino cinema boils over with rage at societal injustice.
Discover how the federal prison system touches nearly every aspect of American life.
Self-sacrifice as resistance in the gut-punching debut feature from Steve McQueen.
A powerful look at the black British experience.
The Ho-Chunk artist presents his majestic interrogations of heritage and homeland.
A “new millennium minstrel show” becomes a runaway hit in Spike Lee's audacious satire.