L’Argent (1983), the final film by Robert Bresson, explores the ways that money controls our lives. 

In L’établi, Robert Linhart recounts his experience as a worker on an assembly line in a large Citroën car factory in 1968-1969.

Art has accompanied us throughout the history of our species. While it has its own laws of development, the history of art also reflects the fundamental, revolutionary changes that have shaped human society.

McKay was a steadfast advocate for the American working class, confident in its capacity for change.

A recurring theme in the science fiction work of Isaac Asimov is the relationship between determinism and freedom. A question which is of particular interest to Marxists: can we really predict human history?

The Name of the Rose invites us to beware of those who reject reason and who seek to obscure reality with idealistic explanations.

Check out The Cassandra Cat if you want an original, artistic view of life under Stalinism, and how the revolution will sweep all bureaucrats aside.

The psychology of the petty bourgeoisie under fascism, its individualist mindset and narrowness of vision, finds powerful expression in Jonathan Glazer’s film The Zone of Interest.

No aspect of daily life is out of bounds for communists, including art and culture. But we don’t approach art as bourgeois critics do. Nor as Marxist school teachers, grading works of art according to how well they expound a revolutionary line. What’s really politically interesting about art is that successful works reflect something about the society they were created in. After all, to gain popularity art has to speak to the masses. 

Once again, it’s Valentine’s Day. For weeks, businesses have been adorned with flowers, hearts, and a thousand shades of pink. Yet, for many, this atmosphere doesn’t really reflect the actual feelings in the air. The overall mood isn’t love, but loneliness and isolation.