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The Cinema of Michael WinterbottomBorders, Intimacy, Terror$
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Bruce Bennett

Print publication date: 2013

Print ISBN-13: 9780231167376

Published to Columbia Scholarship Online: November 2015

DOI: 10.7312/columbia/9780231167376.001.0001

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(p.202) Conclusion
The Cinema of Michael Winterbottom

Bruce Bennett

Columbia University Press

This chapter concludes that Michael Winterbottom’s cinema constitutes a notable and important form of political cinema. Reading his films politically allows viewers to attend to the tensions, contradictions, and border-crossing strategies of these films in a way that does not close down or limit their significance and affective power by fixing them within the borders they resist. This cinema of borders is best exemplified by his 2011 film, Trishna, about the violent boundaries of social class, national borders, and the relationship between past and present. Viewed as a body of work-in-progress, Winterbottom’s films and television programmes comprise an extraordinarily rich, expanding, and ever-more complex account of the horrors, atrocities, pleasures, triumphs, banalities, solitariness and companionship, and confusion and misunderstandings that characterises life in this world.

Keywords:   Michael Winterbottom, political cinema, cinema of borders, Trishna

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