Peter Watkins’s acidic piss take on culture under corporate control is maybe more relevant than ever.
Romain Gavras’s apocalyptically brutal music video for M.I.A.’s “Born Free” has disturbed a lot of people.
The film is a commercially alienating satire of state, faith, and pop whose transgressions can be best understood in the context of its era.
Privilege had the jump on Easy Rider in telling a generation that they were going to blow it.
The film is as much about August Strindberg as it is about Peter Watkins and his philosophy in 1994.
This epic-length video essay is alternately a tedious school assignment and an eye-opener.
La Commune (Paris, 1871) is a disjointed, whirling dervish of utopian ideas and devil-may-care indulgence.
There’s little doubting that La Commune is a grand summation of Watkins’s sensibilities.
How do films dealing with the relevant socio-political issues of their time withstand the test of time?
By digging under the surface, Peter Watkins sees the lies perpetuated in history, and how they reveal the lies we face right now.
The War Game is an ideal starting point for those curious about Watkins’s cinema.
Like Punishment Park, the film is an uncompromised take on the front lines of a media war.
Peter Watkins was reacting against Vietnam, but his assessment can easily be translated into today’s hotbed political climate.
Peter Watkins’s Munch gives good face. New Yorker’s uncharacteristically fine video transfer will have you deigning to lick his lips for him.
Edvard Munch, in Peter Watkin’s subjective documentary setting, is one of the penultimate cultural crusaders.
Thankfully, New Yorker Video in conjunction with Project X Distribution has found a way to make this and other Watkins films available.
This is an extreme, incendiary allegory stirring up deeper truths.