The Trump Executive Order on Border Security and Immigration Enforcement Improvements forgoes the essential human perspective, as seen in the Chantal Akerman film From the Other Side, set between Agua Prieta, Mexico and Douglas, Arizona.
The Executive Order on Protecting the Nation from Foreign Terrorist Entry into the United States reveals the ease with which the current administration targets the most vulnerable and misunderstood among us, the subject of the great Iranian documentary The House Is Black.
The current President, and former self-professed law-and-order candidate, seems to take his cues from the New York seventies vigilantism of Death Wish, as evidenced by his Executive Order on a Task Force on Crime Reduction and Public Safety.
The Executive Order that claims to Protect the Nation from Foreign Terrorist Entry into the United States inspires a writer to dig into his family’s Jewish American immigrant legacy.
The commonwealth of Virginia has been a site of American judicial progress as well as conservatism, as proven by the Executive Order Providing an Order of Succession Within the Department of Justice and Terrence Malick’s The New World.
The 1985 science-fiction dystopia by director Terry Gilliam presaged the Trump era as much as Orwell, as reflected in the nonsensical bureaucracy of the Presidential Executive Order Reducing Regulation and Controlling Regulatory Costs.
The implications of executive order Enhancing Security in the Interior of the United States recall the 1970 American independent film Ice, directed by Robert Kramer, dramatizing the resistance of a group of urban radicals in the face of an ascendant fascist government.
How do the circumstances surrounding the Executive Order Promoting Energy Independence and Economic Growth echo the events of Pasolini’s dangerous masterpiece?
Filmmaker Stephen Cone’s empathetic fable represents a quiet rejection of all that’s contained in the Muslim Ban, or, Protecting the Nation from Foreign Terrorist Entry into the United States.
The potential consequeces of Expediting Environmental Reviews and Approvals for High Priority Infrastructure Projects intersect with the creeping gentrification anxiety on display in It Follows.
Trump’s order Enhancing Public Safety in the Interior of the United States creates echoes of one of our nation’s darkest moments.
As film critics, we have been unclear what to do with our despondency, other than one clear thing: direct our outrage away from suffocating social media channels and toward writing, reasoning, wrestling with ideas, praising, hoping, questioning.