Marxists at the Movies
Marxists at the Movies
Podcast Description
Cinema and film reviews through a socialist/feminist/racial justice lens. Join in our discussion comrades!
Podcast Insights
Content Themes
The podcast covers a variety of themes, including Indigenous representation in cinema, systemic violence and its reflections in films like Menace II Society, feminist family dynamics as portrayed in Boys on the Side, and the critique of neoliberal narratives surrounding the AIDS crisis in Dallas Buyers Club. Each episode delves into the socio-political contexts surrounding these films, offering fresh interpretations and sparking conversation on significant social issues.

Marxists at the Movies is a radical film podcast from CineMarch Media 🎥🔨
Each week, we dissect one film through a communist lens—unpacking labor, class, queer subtext, and unintentional revolutionary messaging in mainstream cinema.
From camp classics to capitalist cautionary tales, we read between the reels to expose what the script doesn’t tell you 📽️🌹
New episodes drop every Wednesday.
Visit www.cinemarchmedia.com today for more information!!
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Marxists at the Movies
Superman II (1980): Kneel Before Reagan
The making of Superman II was almost as messy as a Kryptonian fistfight in downtown Metropolis. From Richard Donner’s abrupt firing to Richard Lester’s rewrites, the chaos behind the scenes reflected a bigger story: how America’s most iconic superhero became a vessel for conservative mythmaking in the Reagan years.
And now, with the recent death of Terence Stamp, this episode also serves as a tribute. His performance as General Zod is one of cinema’s most deliciously commanding villains — equal parts Shakespearean gravitas and pop-culture camp. With a single arched eyebrow and the immortal line “Kneel before Zod,” Stamp turned authoritarian menace into cultural legend.
Join Edward Michael Francis as we dig into Superman II not just as campy blockbuster, but as an ideological battleground. What does it mean when a hero kneels before authority instead of challenging it? And why does this matter to our cultural history today?
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