The chance to talk about a piece of Italian media that makes it onto the international stage, especially through a platform such as Netflix, is rare to come by; even rarer is for that media to be of any actual quality. It was with pleasure, then, that I sat down to watch Strappare Lungo i Bordi (Tear Along the Dotted Line), written and directed by Italian comics superstar Zerocalcare.
by Ananya Wilson-Bhattacharya
In the wake of the recent lockdown in Kashmir, the region long contested between India, Pakistan and its own people, in which communication has been drastically halted and public gatherings banned, Indian politics has found its way into international headlines. But the situation in Kashmir is just one aspect of a much broader, increasingly fascist regime run by a Hindu-supremacist, far-right government. Over the past five years under this regime, Muslims have been lynched by government-affiliated mobs for alleged beef consumption; persecution – and murder – of Dalits (members of the lowest castes) through similar means has soared; journalists have been assassinated for trying to tell the truth. This is why Deepa Mehta’s Netflix drama series Leila provides a timely and disturbing picture of a future India, situated only decades from now in 2047. Unlike many dystopian dramas, Leila is not set in a post-apocalyptic or reorganised world which encodes real socio-political dynamics within imaginary ones. Instead, it neatly locates contemporary Indian landmarks and structural oppressions within the complex fabric of a dystopian future state: Aryavarta, a set of strictly segregated communities governed by fully-fledged totalitarianism.
by Carmina Masoliver
CW: discussion of domestic violence
An eight episode series, Las Chicas del Cable (The Cable Girls) begins with a woman killing her friend’s husband – part self-defence, part accident – also shooting her friend. It’s a drama full of love stories, as well as crime and mystery, yet domestic violence is a major theme that runs through the series. Set in 1928 in Madrid, it shows the impossibility of leaving an abusive relationship in a patriarchal society, where even the law protects men who are abusers.Continue Reading
by Paige Selby-Green
It’s not just the Netflix account that has parental controls. Life itself comes riddled with rules about what’s appropriate for children. Considering how important childhood is to the person they will grow up to be, it’s understandable that we want to shield them from any negative influences. It’s unfortunate then that this well-meaning idea of childhood censorship also includes queerness as being among topics that are ‘too adult’ for children to know about. This censorship of queerness hurts more than it helps, leading to lots of confused teens and twenty-somethings who are still figuring out their identities thanks to childhoods where the only kind of relationships they were exposed to were heterosexual ones.
By Sam Naylor
The Christmas month has arrived. For some this realisation comes with a groan as materialism and capitalism grips the nation tightly, churning out ‘heartfelt’ Christmas adverts for supermarkets and the repetitive spew of songs from Christmas pasts. Though I am guilty of a deep-rooted love for the festive period, where family and friends merge in the winter landscape. December is also the month for many University students where deadlines loom overhead, either intensifying the stressed-out mentality or acting as a dampener to the winter wonderland. The juggling act to keep all the tasks moving smoothly begins to experience shakes and wobbles. Now I’m not saying that being a student in the UK is the hardest life (though the scraping of maintenance grants and proposed change to nursing and midwifery tuition payments will certainly make matters much worse), but it isn’t just Netflix and takeaways either.