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Teachers unions are painted as self-interested clubs whose safeguards for hard-working, quality teachers also extend to the lazy and incompetent, at students' expense.
New Queer Cinema is a genre marked by its robust portrayal of gay, lesbian, bisexual or transgender protagonists, usually as outsiders or renegades from conventional society. Alienation and otherness drive the characters into each other's orbits with the force of a familial bond.
Parents and teachers have absconded. A violent altercation is documented by students with camera phones. During a drug-and-booze-addled party, a girl is assulted and left for dead. A pricey education is no substitute for an ethical framework.
A hollow booming is the only result of the sickly goatherd's urgent knocking on the church door on the night before his death. The image makes a sad irony of the man's simple faith in the healing power of the ash he earlier swept off the church floor.
Becca is appalled by the insufficiency of religious platitudes. Howie's emotions are unbridled and barely tempered, emerging as a lunging stallion roar. Separated by the obelisk of grief for their dead son, they seek solace individually.
The Tsunami is recreated in spectacular fashion, but robbed of significance, except as a catalyst for one white-skinned European tourist, who survives despite the deaths of hundreds of thousands of brown-skinned Indonesian villagers. This is exploitative in the extreme.
A mess of maps and photos pinned to his wall reflects his obsession. A series of close calls and violent altercations reveal his rising desperation. His love of his family bolsters his conviction while allowing him to retain his humanity.
A lot of people say they committed Facebook suicide – deleting their profile – after seeing the new American documentary Catfish. 'Even I've scaled back,' says co-director Ariel Schulman. 'If a "virtual relationship" affects you emotionally, then it's not virtual at all.'
Although Mary is an infuriating ninny, we get to know her well enough to appreciate that gasping for breath beneath her wine-swilling garrulousness are deeply felt insecurities and a desperate desire to be loved.
The trial and execution of Soraya M are portrayed in agonising, visceral detail. The stoning of 'adulterous' women under the auspices of Shariah law is shown to be less about violence inherent to Islam than the egos of brutal and bullying men.
A ridiculously wealthy humanitarian, Bono is an object of scorn among grassroots human rights advocates. But a U2 show may be as close to church as a rock concert gets. Nowhere outside a church would you find so many voices declaring in unison: 'I believe in the kingdom come.'
This theatre of cruelty reflects the preoccupations of a protagonist unrestrained by physical revulsion, and evokes a nightmare world defined by sex and violence, where there is not much difference between the two.
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