they don’t wear black tie (1981) — dir. leon hirszman
set during the military dictatorship of the 1970s, film focuses on a working-class family in são paulo. it explores the conflict a between unionist father and his son, who refuses to join a strike for the sake of his wife.
pages from an elementary school textbook prepared for german children in the soviet union, 1937.
“lenin is dead.
but his work lives on.”
“stalin leads us on lenin’s path.
stalin is our leader.”
despite the monstrosities on earth, how sad it is to see months and years pass away in vain like this, when we could be experiencing such sweet moments. you see, (...) as baseness and repulsiveness surpass the day before, each day, my calmness and resilience only grow.
in the immediate following year, during the great strike of 1948, these very same workers wrote a brilliant chapter in the history of class struggle through their immense dedication.
may 1st, 1947, held profound significance for turkish and greek cypriot workers. as trade unions organized a joint demonstration for the first time, the company management retaliated by shutting down the facility for three days.
In the braindead debates about whether Cyprus is Greek or Turkish, a third position, one which has enjoyed mass support from the Cypriot masses, is often ignored. The position that Cyprus should be 1 unified socialist country in which Turkish and Greek workers live peacefully.
of course you understand that an educated man cannot live without you. but if this man has the tiniest hope of seeing you, then he is very very merry. i am happy to give you a ten times bigger toy, if only you would then smile.
mayakovsky, 19 january 1923
konstantin rudnitsky’s russian and soviet theatre examines the transformation of russian theatre from the 19th century through the aftermath of the revolution, highlighting its role in shaping the new person, constructing socialist culture, and fostering political consciousness.
acted by the indigenous quechua people themselves, the film created a massive impact. as a result of this public outcry, the US peace corps was expelled from bolivia. it remains one of those rare masterpieces in cinema history that directly shaped state politics.
blood of the condor (yawar mallku) | 1969
this masterpiece by jorge sanjinés from bolivian cinema focuses on the resistance of an indigenous community that discovers the US peace corps, who came to their village under the guise of “aid”, were secretly sterilizing local women.