Even while politics and popular culture have never been more intertwined, Netflix’s current streaming collection includes several political documentaries, dramas, and satires, which is a testament to Hollywood’s long history of making political films. Netflix takes a look at political institutions outside of the daily news cycle, from Jon Stewart’s directorial debut to Ava DuVernay’s crucial look at American slavery and its legacy into the 21st century. The full list of Netflix’s 100 best movies can be found here, or check out the 10 best political Netflix movies below: :
10. Rosewater
The year 2014 In charge of filming: Jon Stewart In Rosewater, Jon Stewart’s first feature-length picture, it’s hardly a surprise that it’s a political thriller. When it comes to satire, The Daily Show’s host is an expert, employing sarcastic humor and insightful analysis to target the political, bureaucratic, and media establishments. Then They Came for Me: A Family’s Story of Love, Captivity, and Survival is based on Maziar Bahari’s best-selling memoir. The Tehran-born Bahari (played by Gael Garca Bernal) left his London home to interview Mir-Hossein Mousavi, the main challenger to incumbent Mahmoud Ahmadinejad, during Iran’s historic 2009 presidential elections. As soon as the polls closed and Ahmadinejad announced victory, the TV journalist took images of street riots and overall unrest, which he later sent to the BBC. The Revolutionary Guard arrested Bahari, a Canadian citizen, and accused him of espionage for the West since the tape depicted the Iranian government in a negative light. During the 118 days he was held, he was subjected to both physical and psychological torture, which was carried out by a man who Bahari referred to as “Rosewater” (played by Kim Bodnia). Stewart feels confident in the message he intends to convey to the public as a first-time filmmaker. That which goes unnoticed by most people is laid bare by him in meticulous detail. Rosewater, on the other hand, lacks the oomph of other socially conscious films due to his moderation. In the words of Christine N. Ziemba:
9. Ai Weiwei: Never Sorry
Alison Klayman is the director of this film. The 2012 calendar year. But how can it not be hagiographic? Alison Klayman has done a wonderful job with her sympathetic picture of the Chinese dissident artist Ai Weiwei. Regardless of where he came from, this man is a big artist. It’s impossible not to be fascinated by the artist’s courage and tenacity in publicly rejecting and mocking one of history’s most heinous regimes. Compared to them, he’s more intelligent, talented, and popular. Then again: They’ve got the firearms. There’s no greater compliment than the fact that the fight appears to be evenly balanced. In the words of Michael Dunaway:
8. Milk
The year 2008 has passed. Gus Van Sant is the director. Harvey Milk, the first openly hom*osexual politician elected to a public office in the state of California, was the subject of Gus Van Sant’s award-winning film, which won Sean Penn a Best Actor Oscar and Dustin Lance Black an Original Screenplay Academy Award. Penn, who was shot dead by fellow city supervisor Dan White in November 1978, is known for his intensity, but his portrayal of a public servant at a pivotal period in the civil rights movement—a decade after Stonewall and four decades before marriage equality—is unique. When it comes to Milk’s story, Penn’s portrayal depicts it as an all-encompassing midlife crisis that led to groundbreaking campaigns—and not only for LGBTQ rights. San Francisco’s counterculture, particularly the Castro District, is brought to life by Van Sant’s depiction of Milk’s fiery appeals for action. Penelope, despite her obvious sacrifice, does not shy away from confronting Milk about his faults, tantrums, and errors of judgment. Penelope If you’ve ever seen a career full of them, this is a stunning new twist. There is no denying that Milk’s ensemble cast is terrific; you can feel Josh Brolin’s repressed White erupting at the same time as Emile Hirsch, Diego Luna and James Franco provide emotional depth to Milk’s journey. Best biopic in recent memory, if not ever. the witty and witty
7. The Square
The year is 2013 Jehane Noujaim is the director. The Square examines the 2011 Egyptian revolution from the perspective of those who were on the frontlines from the very beginning, personalizing the dramatic changes while maintaining a sense of the larger stakes at play in the historic event. For the past two years, Jehane Noujaim, director of Control Room and co-director of Startup.com, has captured the emotional and practical difficulties that have made Egyptians’ journey to democracy so tough. Only a handful of intertitles inform the audience of the actual time period of events in The Square, which aims to create an urgent, immediate experience that conveys its story through the reactions of its protagonists. In the West, the images of Tahrir Square’s peaceful and joyful protests were welcomed as promising indicators of a new Middle East. Those ambitions aren’t shattered by The Square, but it shows that structural change isn’t always easy to achieve. As a result, you have a strong emotional connection to the characters in this film because of the difficulty of their journey. Tip of the cap to Tim Grierson
6. Carlos
A decade ago this year Even in its abbreviated version, Carlos is more than just an epic film—running for two and a half hours even in its shortened form—a it’s picture that evokes the feeling of a tumultuous planet. Despite his willingness to die for the cause, he gradually loses his idealism and becomes a pragmatist as a result of his wide-ranging international reach. A standout performance is Edgar Ramirez’s portrayal of the protagonist in the lead role, which shows both his charisma and passion, but also his vanity and self-deception. But Olivier Assayas makes Carlos sympathetic in spite of an overall critical perspective of the guy at its center and the work ends up as an intended tangle of paradoxes intriguing as any biopic put on film. Like the man at its center. —Sean Gandert
5. Bob Roberts
When did this take place? Tim Robbins is the director. Given Tim Robbins’s history of political activism, it was no surprise that his directorial debut had a political edge. The film is based on a short he did for Saturday Night Live in 1986 about a conservative politician and folk singer who cynically employs every dirty trick in Lee Atwater’s book to win a Senate race in Pennsylvania. Let this 1992 film illustrate to you that partisanship and dishonesty in the political media is not a fresh problem. In the words of Garret Martin:
4. Inside Job
A decade ago this year Charles Ferguson is the director of photography. Matt Damon is the narrator of this scathing investigation of the financial crisis of 2008. There is no denying that the “totally avoidable” economic disaster could have been avoided, but it’s unclear that we recognized the magnitude of what is essentially fraud and its reach back in time. Get a dose of reality in Charles Ferguson’s engrossing documentary. Oscar-winning film “The Bubble” chronicles how deregulation of credit and housing markets led to “The Great Recession,” which was followed by a series of bailouts and subsequent reforms. In the corollary timeline, everything makes sense and is mind-boggling. As a polemic, Ferguson’s tone is tinged with incredulity and sharp pacing. You’ll be enraged, but you’ll also be enthralled. the witty and witty
3. Patton
The 1970s Franklin J. Schaffner is the director. Franklin J. Schaffner’s colossal biographical ode to one of World War II’s most renowned and controversial military figures, Patton, doesn’t apologize for itself or for its subject’s actions and attitudes, much as Patton didn’t make a habit of apologizing for either unless directly ordered to do so by his superiors, as seen in the film. As Patton can be narrowly described as a “honor,” there may be no more fitting method to commemorate the man’s memory. George C. Scott’s authoritative and famous portrayal of Patton is allowed to speak for itself without fear of criticism or reprisal in the film, which doesn’t exactly flatter the general, but rather straddles the line between hero worship and sober representation. When you name a film after a character you’re making, you’re also making it about that character’s performance, and so it’s excellent that Scott was up to the task of reviving the late general in all his arrogant, aggressive, heartless, and startlingly vulnerable glory, which is what Patton is all about.. Let me be clear: Patton is a war movie, but it exploits the war movie template as an opportunity to examine its protagonist’s character. Almost 50 years later, the effects are still utterly unique in the genre. Andy Crump
2. In the Loop
It was the year 2009 that this occurred Armando Iannucci is the film’s director. In the Loop would be a lot more common if witty verbal humor were as easy to pull off as it is. Nonetheless, this one sticks out from the rest. In the decade’s most quotable film, by a long shot, you’re left with the lingering impression that you’ve seen not only a funny movie but also a wicked political satire of the highest order, the kind where the absurdity speaks for itself. This is the kind of film that makes you laugh, but it also makes you think about how ridiculous things are. Robert Davis —Robert Davis
1. 13th
The year is 2016 “Progress” is one of the most hazardous concepts of our time, and Ava DuVernay’s documentary challenges and even dismantles our common understanding of it. When it comes to measuring progress, how do we go about it? Those who use legislation that purport to protect American individuals and amendments, and even to maintain the Constitution, as a gauge of progress are enthralled by 13th. Our political structure, as well as certain sections within those amendments (such as the much-lauded 13th), are used to hide and reveal a startlingly important truth about the United States: The film’s participants and director Ava DuVernay claim that slavery was never abolished in the United States. It was simply changed, and it continues to be amended in 2016 as the criminal justice system continues to evolve. Despite the fact that it’s a bold and frightening assertion to make, DuVernay is able to connect directly to that history and those people who have defined “progress” for black Americans by employing a documentary rather than a narrative film. In this way, she connects the 13th Amendment to today’s America, which has the highest incarceration rate in the world.
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