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March 21

|Recurring Event (See all)
Every day until March 28, 2019
a wide-ranging series of daring works that explore cinema as a potent vehicle for expressing and exploring resentment. While recent discourse has frequently centered on feelings of marginalization among working class white men, On Resentment examines resentment as it intersects with issues of class, race, gender, sexuality, and land. A component of Triple Canopy’s current issue—which asks pressing questions about the role resentment plays in society and art, and who is afforded the right to resentment—the film series highlights the specific potency of cinema as a vehicle for oppressed voices to air grievances, bring attention to injustice, and effect change.

The series opens with La Haine (1995), Mathieu Kassovitz’s explosive, bravura portrait of young men on the margins—one black, one Jewish, one Arab—in the Parisian banlieues, in which rage at an act of police brutality threatens to erupt into violence. Artist and author Mariam Monalisa Gharavi, Triple Canopy senior editor Emily Wang, and series programmer Ashley Clark (BAM) will appear for a post-screening discussion.

While the films included span decades, a number of works spring from the revolutionary political cinema of the 1960s, such as Stanley Kubrick’s savage satire of Cold War  Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb (1964); Lindsay Anderson’s incendiary anti-authoritarian allegory If… (1968); legendary cinematographer Haskell Wexler’s debut feature, the groundbreaking narrative-cum-documentary of the 1968 Democratic National Convention Medium Cool (1969); and Michelangelo Antonioni’s sole American film, the radically anti-capitalist counterculture portrait Zabriskie Point (1970).

Many works examine the fraught relationship between marginalized communities and majority culture, including Who Killed Vincent Chin? (Choy and Tajima-Peña, 1987), an Academy Award-nominated documentary on the racist murder of a Chinese-American engineer;Handsworth Songs (Akomfrah, 1987), a freeform documentary produced and written by the trailblazing Black Audio Film Collective on the 1985 Handsworth riots that rocked Birmingham, introduced by series programmer Ashley Clark; and Bamboozled (2000), Spike Lee’s ferocious satire of minstrelsy and the media’s role in perpetuating African-American stereotypes.

March 20, 7:30 p.m.: Mathieu Kassovitz’s La Haine
March 21, 7 p.m.: Leigh Ledare’s The Task
March 22, 4:30 p.m. & 7 p.m.: Haskell Wexler’s Medium Cool
March 22, 9:15 p.m.: Michelangelo Antonioni’s Zabriskie Point
March 23, 2 p.m.: Liang Zhao’s Petition
March 23, 4:30 p.m.: Christine Choy and Renee Tajima-Peña’s Who Killed Vincent Chin?
March 23, 7 p.m.: Lucretia Martel’s Zama
March 23, 9:15 p.m.: Asghar Farhadi’s A Separation
March 24, 1:30 p.m.: Lino Brocka’s Manila in the Claws of Light
March 24, 4 p.m. & 9:30 p.m.: Stanley Kubrick’s Dr. Strangelove, or: How I Learned to Stop Worrying and Love the Bomb
March 24, 7 p.m.: Lindsay Anderson’s If…
March 25, 4 p.m. & 9:30 p.m.: Steve McQueen’s Hunger
March 25, 7 p.m.: Brett Story’s The Prison in Twelve Landscapes
March 26, 7 p.m.: Ngozi Onwurah’s Welcome II the Terrordome and Cecile Emeke’s an entirely sincere, comprehensive and essential step by step guide to creating a film: the black london edition


March 21
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BAM Rose Cinemas
30 Lafayette Avenue, Brooklyn, NY 11201 United States
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