![]() ![]() ![]() “Posse” is centered on the lives of Black people-townspeople, cowboys, even sheriffs-in the nineteenth-century West. ![]() As in some of Resnais’s best films, Van Peebles-working in an altogether more populist and bustling manner-dramatizes memory as action, as a form of activism. For Van Peebles, the flash and the flair of “Posse,” along with its distinctive, flashback-centered form, serve a similar and mighty purpose: to get beyond movie myths and reveal the truth of the Wild West, and of American history over all, by way of those who remembered that history but were long ignored. Resnais, especially in his early films (such as “ Hiroshima Mon Amour” and “Muriel”), delivers sharp political reckonings-and the politics of memory itself-with a uniquely rarefied and formalist aestheticism. The coincidence of its arrival on Pluto TV, in August, with a Film Forum retrospective of films by the French director Alain Resnais is a useful reminder of what connects the art-house and Hollywood traditions. It’s one of the great modern Westerns, and it’s now streaming widely, including on Pluto TV and the Roku Channel. Whether in art-house films or in Hollywood spectacles, there’s no conflict between audacious style and confrontational politics, which converge to grand yet scathing effect in Mario Van Peebles’s “Posse,” from 1993. ![]()
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