The Brink

It is an essential document of this moment in politics and history, based on the intimacy of remarkable access and edited with enormous skill.

Most woundingly, Klayman shows Bannon bested by journalists and bombing with audiences...

It's unsavoury viewing - flies on the wall are rarely attracted by the sweet smell of roses after all - but it's queasily fascinating nonetheless.

What emerges from Klayman's film is how very important Brexit Britain is as a self-vivisecting research animal in Bannon's experimental thinking.

Klayman is not sympathetic to Bannon. That is obvious. But by slavishly following him from one meeting to another she has not only made a fairly dull and repetitive film, but is also serving the ideological machine and feeding the beast.

It's not a film that's going to change minds, and it has been produced to be consumed by Bannon's enemies rather than his friends.

Alison Klayman’s The Brink is better than Morris’s film, which was actively dull on top of being misguided, but whether this second installment of Bannon portraiture should exist at all is a different question.

This is not an "easy" documentary to watch, but it is a fascinating reminder of what some influential forces want for the future of our country.

The film is a must see, and it cannot be taken lightly - especially in the wake of the recent racist killings in New Zealand.

The Brink. I loved Klayman's first feature, Ai Weiwei: Never Sorry, her bold, verité portrait of Chinese artist and dissident Ai Weiwei. She again delivers a powerful expose here...