Iñárritu’s VR experience Carne y Arena, Vizcarra’s documentary La Línea, and Rivera’s sci-fi film Sleep Dealer create unconventional imaginings of the Mexico-US border.
Overlooked at the 2022 Oscars, Kirk DeMicco’s animated comedy Vivo expresses the “Trump-era anxiety” and ambiguous loss surrounding transnational migration.
Resisting the temptation to critique the bourgeoise, Aga Woszczyńska’s’ Silent Land, screened at TIFF 2021, is shaped by Europe’s immigration crisis.
There’s an evolution in contemporary Asian American literature from the usual immigrant story to something more nuanced and varied, something that’s more reflective of the varieties of “Asian Americaness”.
Jonas Poher Rasmussen’s animated Flee fearlessly discusses the value of life, the arbitrary inhumanity of immigration law, and the resilience of family, borders, and identity.
Director Diane Paragas asks her audience to not bring their politics into her film, Yellow Rose, but to just let it be, as she hopes to show the heartbreak of broken families lost within the politicisation of immigration issues.
Can food alone undo centuries of anti-immigrant policies that are ingrained in the fabric of the American nation? Padma Lakshmi's Taste the Nation certainly tries.
Cookbooks are rarely read as political or even narrative texts. However, alongside the recipes and lists of ingredients is often rich information about the ideologies and social structures that the foods are consumed within.
Suketu Mehta offers a powerful, angry, and brilliant defense of immigrant rights in This Land Is Our Land: An Immigrant's Manifesto.
I've sworn, after learning about the latest kleptocrat billionaire to buy a club, or scrambling from the clash between hooligans and riot police, or hearing a homophobic chant rise up from the stands, I would give up on the game. Anyone with sense would.