How good is ‘Concerning Violence’? And what does ‘good’ even mean?

There has been considerable excitement about Olsson’s new film and why wouldn’t there be? It brings Frantz Fanon’s work to the big screen for big audiences with an unashamed yet nuanced polemical stance. So why are some, albeit few, calling it yet another example of solipsistic filmmaking by a European director?  Is it doing something new and how is it pulling it off?

We’ll be talking about this and the film more broadly at the MAC tomorrow night (with Robert Beckford, Dima Saber and Kehinde Andrews) but the discussion here is just starting….

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