1. Motivation and history of the movie
Marxist theorists, beginning with Marx himself, did much to illuminate how capitalism moves, to reveal its laws and demonstrate the necessity of its replacement by socialism, when it becomes a hindrance to historical progress. This criticism was always applied “from outside”, starting from the class position and perspective of the proletariat, the class destined to overthrow the capitalist system, and aimed at orienting the actions of that class towards the directions dictated by the broader social conflicts of each period. In his latest film, “Le Capital” (“Capital”), Costas Gavras –Karim Boukercha and Jean-Claude Grumberg also contributed to the screenplay– proceeds to give a catalytic criticism of capitalist globalization from within, a criticism which, though not focusing directly on the social and class struggles of our time, is still, in its way, highly penetrating and effective.
“From within” in no way implies that Gavras contents himself to show the decay and corruption of the world of capital, to write the record of its decline and to highlight its manifestations in the lives of its representatives. All these things certainly abound in his film. Yet had he limited himself to that, it could result to an improved version of soap operas like Dynasty, even making the representatives of capital likable within their degradation. The film is mostly an anatomy of capitalism’s general objective motion, taking an X-ray of the banking and finance system, whose impunity triggered and impels the current global economic crisis. But if Marx had presented the inexorable logic and inevitable results of this movement using the objective language of science, here its reality is refracted through the artistic prism in a realistic representation of the world of its actors, the leaders of modern capitalism.
Gavras is undoubtedly not only an extremely gifted, but, in the best sense of the word, a militant filmmaker whose entire work contributes positively to the understanding of the conflicts and meaning of our times. In “Le Capital” we can see though the climax of his creativity. Having started from uncovering authoritarianism, anti-democratic aberrations and conspiracies of the holders of power, the engagement of the state with para-state apparatuses, etc. in films like “Z” and “Missing”, he ends up here capturing and reconstructing the molecular processes of capitalism which inevitably generate these results. A look at the occasion and history of the film, as recounted recently by the director himself in an interview he gave to the Greek newspaper Vima, will better clarify his intentions and motives.