The world has been out of order for several years. Does the cinema and movie industry have something to say about this, does it register the current social upheavals? Does drifters season 2 has an influence?
Drifters season 2: What is a political film?
Every film is political, somehow. It just depends on how you see it. A film is political because its creators pursue a political intention, analysis and criticism, for example, the intention to show what others are silent about. Or: A film is political because it takes sides, for example, that of the weak against the strong. Perhaps one could also say that every film that deals with the subject of power is political. The exercise, legitimation, the effect of power, but even more so the sensation, addressees and victims of power.
A film is political with a social consciousness in a very special sense only when it sees power from the side of the victims, and in an even more special sense when it asks about a change in the balance of power. For the moment you are happy about every film that tries to lie less about the circumstances in which you live than is required by the market, the funding bodies and the media.
Drifters season 2: Inside the force
The other side of political cinema is trying to describe the power that all of it creates. In particular, some films tried to portray the circumstances of the financial crisis in the centres of the numbers and algorithms that mean big money. It seems to be easier for television series to reveal the structures of power than for cinema.
Drifters season 2: The cinema and movies
The cinema had to become a chronicler of the new migrations, migration and flight. And in a certain way it itself started to move again. It was looking for new collaborations, perspectives, and narrative styles. And in the current situation, many of the protagonists in the film have received not only an ally but also some kind of memory.
It would also be a mistake to distinguish between a cinema of emotions and a political film. Power always reaches for feelings, and resistance begins by asking about them. The break is between a cinema that is aware of its responsibility and one that sells anti-politics. The misconception is that there is a world without politics somewhere.