Dir. Roberto Minervini 

1800 - 2000 Saturday 30th July 2016

If any filmmaker is going to need therapy sessions regarding his relationship with his contributors (see Malcolm Phillips’ group in our workshops) it’s likely to be Roberto Minervini.  The Other Side is one of the most extraordinary and disturbing films of the year, and the questions it raises are legion.  How did he get that? Should he have got it? Did I really want to see it? Was that observed or staged? Does a film maker have any duty of care to the unborn child of a crackhead stripper? But whatever the answer is to any of those questions, Minervini will take you somewhere you have almost certainly never been before. And then he’ll take you somewhere else.  After a long and often uncomfortably intimate portrait of a Louisiana drug dealing junkie and his family and social circle,  the film suddenly veers off into the woods with an army of semi automatic wielding survivalists, united in their conviction that the only thing that will save America is the assassination of “the nigger in the White House”.  Confusingly however, besides being deeply worrying about the violence lurking in America’s alienated white underclass, The Other Side has moments of great beauty and tenderness.