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Thursday, Apr 18, 2019 5:50 PM
Dir. Alison Klayman | USA | 2019 | 91 min. | NR | DCP
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General Admission Adult - $10.50
General Admission Senior - $8.50
General Admission Student - $9.00
General Admission Military - $9.00
General Admission Child - $8.50
General Admission Group Sale - $9.50

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When Steve Bannon left his position as White House chief strategist less than a week after the Charlottesville "Unite the Right" rally in August 2017, he was already a notorious figure in Trump’s inner circle, known for bringing a far-right ideology into the highest echelons of American politics. Unconstrained by an official post, he became free to peddle influence as a perceived kingmaker, turning his controversial brand of nationalism into a global movement.

THE BRINK follows Bannon through the 2018 mid-term elections in the U.S., shedding light on his efforts to mobilize and unify far-right parties in order to win seats in the May 2019 European Parliamentary elections. To maintain his power and influence, the former Goldman Sachs banker and media investor reinvents himself—as he has many times before—this time as the self-appointed leader of a global populist movement. Keen manipulator of the press and gifted self-promoter, Bannon continues to draw headlines and protests wherever he goes, feeding the powerful myth on which his survival relies.

“THE BRINK shows how to make a Steve Bannon movie without giving him a platform...It follows him over a period of about 15 months, starting with his eventful departure from the White House in 2017 and ending with the U.S. midterms of 2018...Klayman, who was granted remarkable access to Bannon during this period, achieves something far more valuable and chilling: She shows us not so much what Bannon thinks as what Bannon does.” —Bilge Ebiri, Vulture

“...Klayman, the up-and-coming documentarian who has made superb films about Ai Weiwei (AI WEIWEI: NEVER SORRY) and psychopharmacological drugs (TAKE YOUR PILLS), doesn’t get sucked in by the Bannon ‘charm.’ She captures what a devious actor he is, and hangs around long enough to catch him in those rare moments when the mask comes off.” —Owen Gleiberman, Variety

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