A living newspaper: Dudley Murphy’s 1939 adaptation of a WPA play is too utopian to be a blueprint for social change, but has demands that should be common sense by now
When will it end? On the strategies (and effectiveness) of the hard-knock stories in Nadine Labaki’s Capernaüm, Sergei Dvortsevoy’s Ayka, Matteo Garrone’s Dogman, and Vittorio De Sica’s Bicycle Thieves
