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A widow (Meryl Streep) investigates an insurance fraud, chasing leads to a pair of Panama City law partners (Gary Oldman and Antonio Banderas) exploiting the world’s financial system. Steven Soderbergh directs.
Starring Tom Hanks and Meryl Streep as Ben Bradlee and Katharine Graham, this drama about the Washington Post is squarely aimed at our current moment. The movie, written by Liz Hannah and Josh Singer, sprouts from this rift between the true state of affairs and the alternative facts that are presented to the public. As is common knowledge, it was Ellsberg’s conscience about the rift that led him to steal—or, if you prefer, to liberate—a hulking stash of incriminating documents, which came to be called the Pentagon Papers.
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Occasionally entertainment and politics intersect. Sunday Meryl Streep tearfully addressed the stars assembled at the Golden Globes about her anxieties and distress at the advent of the Trump era in the United States. She made the powerful point, which is that no human experience is really foreign to us as human beings if only we can find the tools to understand it, emotionally and intellectually. And Trump does not.
The conversion-narrative approach that Suffragette is rooted in precludes a structure as savvy as what we saw in Ava DuVernay's exquisite Selma, a film of negotiation and confrontation — and one that presumed this was no viewer's first day in this world. Suffragette expends its energy selling us on what we already believe rather than examining the way these activists pressed the world into believing it
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