Documentaries aside, few American filmmakers will attempt making any sort of overt political statement these days. If your money is coming from a streamer or a larger studio, forget it. Gone, long gone, are the days a Francis Ford Coppola or an Alan Pakula might venture to make a picture like The Conversation or All the President’s Men. Even Jonathan Demme’s remake of John Frankenheimer’s great 1962 political chiller The Manchurian Candidate is now 20 years old, though both films have turned out to more prescient than anyone would have believed two decades ago, or six—you could consider them quasi-documentaries. [time-brightcove not-tgx=”true”] Ali Abassi’s The Apprentice, which
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