There have been no shortage of either documentaries or fiction films about the post-2007/8 economic recession and its effects over recent years, though The Divide isn’t specifically concerned with this so much as widening wealth inequality within society generally (which has, if anything, only been exacerbated by 2008 and its fallout). The director Katharine Round, basing the subject of her film around a non-fiction book called The Spirit Level, does use knowledgeable talking heads (including the source book’s authors) to get some context on the issues, but the primary focus is a number of case studies on either side of the Atlantic. Because these interviewees are well-chosen, the film is never boring. These people range from the poorest folks in both countries (most notably a KFC worker in the US South, an former-alcoholic rapper in a grim bit of Scotland, and a prisoner caught by the USA’s “three strikes” rule who is intelligent and reflective but has also been startlingly worn down by the system) to the embattled middle-classes ever striving upwards (there’s a NYC psychologist with a nice apartment in New Jersey, and a very articulate mother living rather against her better convictions in a gated community). Moreover, it has a striking visual style with clean careful framings of its shots, and this visual excellence sets it apart from many documentaries. This style may make it a little easier to listen to some powerful individual testimonies about the effects of endemic poverty and the dangers of being trapped into a cycle of payments and fines, but it doesn’t dilute the anger you are ultimately left with at the end, which very briefly — and not entirely convincingly — suggests action is still possible, and change can happen. One can only hope it is, given some of the lives seen here.
NEW RELEASE FILM REVIEW
Director Katharine Round (based on the book The Spirit Level: Why More Equal Societies Almost Always Do Better by Richard G. Wilkinson and Kate Pickett) | Cinematographer Woody James | Length 78 minutes || Seen at Picturehouse Central, London, Friday 29 April 2016