The Pawnshop (Lombard) (2022)

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Image via http://www.acmi.net.au

Clips from the US ‘reality’ TV show Hard Core Pawn occasionally appear in my socials and its depiction of pawnshops is firmly rooted in the capitalist myth that those without somehow deserve their lot. The owners unapologetically buy low and sell high and aggressively eject the many grifters trying to con them with worthless or stolen junk. In Lukasz Kowalski’s empathetic observational documentary Lombard, we see poverty in all its forms in Poland’s largest pawnshop.

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Kāinga (2022)

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Image via miff.com.au

The third in a trilogy of films raising the voices of women (after Waru (2017) and Vai (2019)), Kāinga (or home) gives us eight short films each focusing on a girl or woman from an Asian country trying to find her place in Aotearoa New Zealand. The connection between them, as the stories span decades, is the same house on 11 Rua Road where they all live or visit.

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The Duke (2020)

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Image via ign.com

It seems churlish to criticise this sepia-toned homage to working class heroes as it’s clear from the outset that it’s not trying to rock any boats. And who doesn’t love Jim Broadbent and Helen Mirren in a ‘based on a true story’ hagiography of the man who stole a painting from the London National Gallery in 1961?

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