Episode 906: The Fight / A Thousand Cuts

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Par Christopher Llewellyn Reed and Bart Weiss, découvert par Player FM et notre communauté - Le copyright est détenu par l'éditeur, non par Player F, et l'audio est diffusé directement depuis ses serveurs. Appuyiez sur le bouton S'Abonner pour suivre les mises à jour sur Player FM, ou collez l'URL du flux dans d'autre applications de podcasts.

In this final episode of our 9th season, film critic Hannah Buchdahl (of chickflix.net) joins us to review the upcoming documentary on the many battles fought on our behalf by the American Civil Liberties Union in the age of Donald Trump, The Fight. Then, Bart and Chris interview Ramona Diaz about her (also upcoming) A Thousand Cuts, which profiles the challenges faced by journalist Maria Ressa, CEO of the Philippine news site Rappler, under the rule of strongman Rodrigo Duterte. Both films premiered at Sundance 2020, have also just played at AFI DOCS, and together form a bracing call to action to resist authoritarianism at all costs. Care about your freedoms? Then care about these films.

We’ll be back in a month or so with the first of two bonus episodes to drop before the start of season 10. Until then, stay safe and healthy. Do not, however, stay out of trouble.

Group Review Documentary:

THE FIGHT (Eli B. Despres/Josh Kriegman/Elyse Steinberg, 2020)

Available in theaters (if possible) and on demand from Magnolia Pictures on July 31.

Film Featured in Interview Portion:

A THOUSAND CUTS (Ramona Diaz, 2020)

Acquired by Frontline (PBS) for a Summer 2020 theatrical release (if possible) and/or Fall 2020 broadcast.

Other Films/Series Mentioned:

Links to reviews by Christopher Llewellyn Reed:

Timestamps:

  • 00:42 – Intro
  • 04:53 – Group discussion of THE FIGHT
  • 21:54 – Bart and Chris interview director Ramona Diaz about A THOUSAND CUTS
  • ­­43:28 – Doc Talk

Website/Email:

www.fogoftruth.com

disinfo@fogoftruth.com

Credits:

Artwork by Hilary Campbell

Intro music by Jeremiah Moore

Transitional music by BELLS (thanks to Christopher Ernst)

Editing and shownotes by Christopher Llewellyn Reed

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