Win, lose or draw, the frantic election cycle has already made one thing painfully clear: The movies will never catch up. They are too slow. A collaborative, deliberative medium like cinema can never keep pace with events—or more properly, with perceptions of and fascinations with seeming events—that change almost hourly.
In early March—was it just eight months ago?—I was wondering if Aaron Sorkin’s The Trial of the Chicago 7, a Paramount/Amblin film about a 1968 political showdown, might connect with a potential convention battle between Joe Biden and Bernie Sanders. Silly me. By July, theaters were closed by coronavirus and the picture had gone to Netflix. Sanders had backed off. Biden had a lock on the Democratic nomination, and the political conventions, having gone virtual, left little to disrupt. Or connect with. The Sorkin film, deep in the folds of a streaming service, was left...
In early March—was it just eight months ago?—I was wondering if Aaron Sorkin’s The Trial of the Chicago 7, a Paramount/Amblin film about a 1968 political showdown, might connect with a potential convention battle between Joe Biden and Bernie Sanders. Silly me. By July, theaters were closed by coronavirus and the picture had gone to Netflix. Sanders had backed off. Biden had a lock on the Democratic nomination, and the political conventions, having gone virtual, left little to disrupt. Or connect with. The Sorkin film, deep in the folds of a streaming service, was left...
- 11/2/2020
- by Michael Cieply
- Deadline Film + TV
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