𝙎𝙥𝙧𝙞𝙣𝙜 𝙤𝙣 𝙕𝙖𝙧𝙚𝙘𝙝𝙣𝙖𝙮𝙖 𝙎𝙩𝙧𝙚𝙚𝙩 (Marlen Khutsiev and Feliks Mironer, 1956), sweet but not saccharine, tackles conflict between the intellectual class and the working class. The movie convinces us of the value of each, and the compatibility of the two.
When survival depends on deception, the yearning to speak and hear the truth can become overwhelming. So says 𝘾𝙤𝙣𝙛𝙞𝙙𝙚𝙣𝙘𝙚 (István Szabó, 1980).
Admittedly, 𝙀𝙣𝙩𝙝𝙪𝙨𝙞𝙖𝙨𝙢 (1930) eventually devolves into cartoonish cheerleading for 5-year plans and collectivism, but at times it’s hard to keep from believing that Dziga Vertov was a madcap bohemian subversive.
I am indebted to 𝙏𝙝𝙚 𝙏𝙪𝙗𝙚 𝙬𝙞𝙩𝙝 𝙖 𝙃𝙖𝙩 (Radu Jude, 2006) because it has me thinking about 𝘽𝙞𝙘𝙮𝙘𝙡𝙚 𝙏𝙝𝙞𝙚𝙫𝙚𝙨 (Vittorio Da Sica, 1948). Let’s hear it for fathers, and, particularly, sons.
𝙀́𝙣𝙚𝙠 𝙖 𝙗𝙪́𝙯𝙖𝙢𝙚𝙯𝙤̋𝙠𝙧𝙤̋𝙡 - 𝙎𝙤𝙣𝙜 𝙤𝙛 𝙩𝙝𝙚 𝘾𝙤𝙧𝙣𝙛𝙞𝙚𝙡𝙙𝙨 (István Szöts, 1947) illustrates war’s propensity to amplify common foibles and missteps. It also proposes that, likely as not, a society doesn’t know who, why, or where its soldiers are fighting.
𝙀𝙖𝙧𝙩𝙝 (Aleksandr Dovzhenko, 1930) maintains that, through secularization and mechanization, an idyllic rural vision can be wrested from the rich and claimed by the lower middle class.
In 𝘼𝙩 𝙃𝙤𝙢𝙚 𝙬𝙞𝙩𝙝 𝘼𝙣𝙖𝙨𝙩𝙖𝙨𝙞𝙖 𝙇𝙖𝙥𝙨𝙪𝙞 𝙖𝙣𝙙 𝙈𝙖𝙧𝙠𝙠𝙪 𝙇𝙚𝙝𝙢𝙪𝙨𝙠𝙖𝙡𝙡𝙞𝙤 (goEast, 2025), the filmmakers revealingly discuss conveying a documentary subject’s thoughts and emotions through ambient sounds, and the importance of a male director’s sartorial choices.
𝙀𝙘𝙤𝙩𝙤𝙥𝙞𝙖 (Sándor Reisenbüchler, 1995) graphically derides the city and celebrates the sticks, thereby sabotaging its presumed progressive agenda. It inexplicably heaps equal opprobrium on cars and light rail, but is fulsome in its praise for haystacks.
I get it that 𝙋𝙖𝙧𝙖𝙙𝙞𝙨𝙚 (Alexander Abaturov, 2022) is a climate change warning, but the film’s unique value is as a chronicle of a remote community’s anxiety and touchy boredom as it monitors wind direction and waits for rain.
The quietly brilliant 𝙈𝙮 𝙏𝙝𝙤𝙪𝙜𝙝𝙩𝙨 𝘼𝙧𝙚 𝙎𝙞𝙡𝙚𝙣𝙩 (Antonio Lukich, 2019) cannily combines amusing, understated allegory with maternal affection.
𝙏𝙝𝙚 𝙎𝙩𝙪𝙙𝙚𝙣𝙩 (Kirill Serebrennikov, 2016) is a monumentally inspiring depiction of devotion to teaching amid a maelstrom of students, colleagues, parents, and administrators.
Hungary has chosen Europe.
Europe has always chosen Hungary.
A country reclaims its European path.
The Union grows stronger.
𝙎𝙚𝙫𝙚𝙣 𝙎𝙤𝙣𝙜𝙨 𝙛𝙧𝙤𝙢 𝙩𝙝𝙚 𝙏𝙪𝙣𝙙𝙧𝙖 (Anastasia Lapsui and Markku Lehmuskallio, 2000) plumbs the downsides of patriarchy, matriarchy, and bureaucratic autarchy.
In “The Blessings of Liberty” (𝙏𝙝𝙚 𝙁𝙪𝙜𝙞𝙩𝙞𝙫𝙚 S4E13, 1966), an unnaturalized immigrant fears America’s cops and courts might be as perilously unpredictable as those in Cold War Hungary. Kimble gamely, albeit improbably, counters his skepticism with platitudes about the presumption of innocence.
𝙍𝙤𝙤𝙢 𝙖𝙩 𝙩𝙝𝙚 𝙏𝙤𝙥 (Jack Clayton, 1958) bears a resemblance to the superb 𝘼 𝙋𝙡𝙖𝙘𝙚 𝙞𝙣 𝙩𝙝𝙚 𝙎𝙪𝙣 (George Stevens, 1951), but the protagonists in the former are vastly more sophisticated, complex, flawed, world-weary, and beat.
Bild Ist Donald Trump ein Sexmonster? Wahl 2016
Spiegel »Die Republikaner haben ein Naziproblem« US-Präsident Trump verwandelt Rassismus, Sexismus, Korruption und Demokratieverachtung in Tugenden, sagt der Journalist Tom Nichols. Die Republikaner hält er für politisch und moralisch ausgehöhlt. Ein Interview von Martin Pfaffenzeller 04.04.2026, 09.39 Uhr
New York Times: How Trump-Kennedy alliance is pushing thr boundaries of public health
New York Times: Legally creative, democratically dangerous: Trump's plan to twist the news Feb. 24, 2026
Untranslated headlines in German are much clearer than New York Times headlines in English
Steed here demonstrates a key attribute of an agent: a jaunty, rather admiring self-awareness, even in moments of solitude. “The Town of No Return” (𝙏𝙝𝙚 𝘼𝙫𝙚𝙣𝙜𝙚𝙧𝙨 S4E1, 1965)
In “No Help Wanted” (𝙏𝙝𝙚 𝙇𝙤𝙧𝙚𝙩𝙩𝙖 𝙔𝙤𝙪𝙣𝙜 𝙎𝙝𝙤𝙬 S2E10, 1954), Jock Mahoney (a.k.a. Yancy Derringer to the cognoscenti) and Ms. Young exemplify deliberately sociable individualism, imparting an unexpected warmth to settings Edward Hopper would have sought out, asking—nay, demanding —nothing in return.
I've repeatedly said that community is extremely important to me and this campaign.
That's why I'm proud that my campaign knocked on doors, and got petition signatures from, all 10 municipalities that make up this district.
I was the only Democratic candidate to achieve this.
“Laredo” (𝙏𝙖𝙡𝙚𝙨 𝙤𝙛 𝙒𝙚𝙡𝙡𝙨 𝙁𝙖𝙧𝙜𝙤 S2E16, 1957) limns a Texan gun cartel, run by “solid citizens,” funneling contraband arms to Mexico to the detriment of civil society. Chaos and the threat of martial law in Laredo are mentioned—perhaps a vague reference to the 1886 Election Riot and its aftermath.
Agent Eighty-six commendably exercises duty of care to a defector, a key concept in conscientious espionage, in “The Last One in Is a Rotten Spy” (𝙂𝙚𝙩 𝙎𝙢𝙖𝙧𝙩 S1E30, 1966). Meanwhile, Alice Ghostley, alternatingly imperious and amorous in lavish Slavic tones, steals the show.
“The Fire” (𝙏𝙝𝙚 𝘼𝙙𝙫𝙚𝙣𝙩𝙪𝙧𝙚𝙨 𝙤𝙛 𝙍𝙤𝙗𝙞𝙣 𝙃𝙤𝙤𝙙 S3E34, 1958) schools us in the military concepts of unintended consequences, collateral damage, and mutual threat, illustrating how they can concatenate to engender a truce. It also deals with the downside of pigheadedness in C2.
Prior appropriation leads in “The O’Hare Story” (𝙃𝙖𝙫𝙚 𝙂𝙪𝙣 - 𝙒𝙞𝙡𝙡 𝙏𝙧𝙖𝙫𝙚𝙡 S1E25, 1960). Its moral authority is undercut, however, by the egotistical duplicity of its champion. Paladin sides with the doctrine’s challenger, who, in addition to being more principled, shares his admiration for Hadrian.
Richard Deacon plays a computer-smitten widget magnate in “The Brain Center at Whipple’s” (𝙏𝙝𝙚 𝙏𝙬𝙞𝙡𝙞𝙜𝙝𝙩 𝙕𝙤𝙣𝙚 S5E33, 1964), slashing payrolls with a jaunty exuberance that seemed a morbid caricature in the mid sixties, but is boardroom de rigueur in the age of X, DOGE, and AI.
Trustworthiness, whether in terms of allegiance or competence, is often the pivotal issue in 𝙃𝙤𝙜𝙖𝙣’𝙨 𝙃𝙚𝙧𝙤𝙚𝙨. In “Hogan and the Lady Doctor” (S2E20, 1967) Ruta Lee was an inspired casting choice for a role coolly demonstrating both.
Mr. Peabody’s epiphany that the tattoos on his tug-of-war opponents suggested a certain vulnerability was insightful, but what we’ll remember about the “Henry the Eighth” episode of “Peabody’s Improbable History” (𝙍𝙤𝙘𝙠𝙮 & 𝘽𝙪𝙡𝙡𝙬𝙞𝙣𝙠𝙡𝙚 & 𝙁𝙧𝙞𝙚𝙣𝙙𝙨 S4E13, 1962) is that it was set in Hangnail-on-the-Pinky.
“Luck with Rainbows” (𝘾𝙤𝙢𝙗𝙖𝙩 S4E13, 1965) addresses moral injury in the context of military service. Lieutenant Hanley treats the disorder’s manifestation in a British major with a tough love approach that borders on mocking. The contrast in cultural sensibilities plays an interesting role.
Allen Baron, ‘Blast of Silence.’ (1961). Are noirs set in New York as dark and suspenseful as those set in L.A.? You can count on it. (Click link to read.) #filmnoir
lalifeanddeath.blogspot.com/2026/02/new-...