He also infamously served on the board of Cambridge Analytica, the data-analytics firm involved in the Facebook/Cambridge Analytica data brouhaha.

His strange belief in a repeating cycle of history that ebbs and flows, with movements that can be predicted like weather and ridden like a wave, is specious reasoning at best. However, anyone expecting to see Bannon have his feet put to the fire by Morris will be sorely disappointed by the director’s strange unwillingness to truly confront the subject at hand.

Bannon contemplates the answer, he is silent, perhaps even lost for words. The right person, at the right time. With Steve Bannon, Bill Clinton, Hillary Clinton, Errol Morris.

For those eager to watch him look like a fool, Alison Klayman’s “The Brink,” a fly-on-the-wall portrait released in March, gives him more rope to hang himself. The meeting yields a contentious but not especially illuminating documentary, which could just as easily be titled "My Dinner With Steve K.". Errol Morris ‘American Dharma’ photocall, 75th Venice International Film Festival, Italy – 05 Sep 2018 Controversy Naturally Follows. What emerges, though, is a rather florid, disjointed conversation, one where Morris' attempts to challenge and confront Bannon -- who mixes discussing apocalyptic visions of insurrection with his love of old movies -- feels mostly cathartic for the filmmaker, ultimately, without yielding much additional insight to understanding Bannon that hasn't already been said. Death: The Rise and Fall of Fred A. Leuchter, Jr.” (1999), “Standard Operating Procedure” (2008) and “The Unknown Known” (2014), the Bannon film is a study in rationalization, a portrait of a man who bends the world to his philosophy, assimilating or shutting out contradictory evidence. How does someone who rails against government corruption, or elites at Davos, support Trump, who critics would argue embodies many values that Bannon claims to loathe? Morris loudly retorts “…I was afraid of you guys, afraid of what you represent. This past fall, the stage was perfectly set for the launch of Errol Morris’s latest documentary, American Dharma: An Oscar-winning director takes on Steve Bannon, perhaps the most controversial figure of the Trump Presidency; the film nabs Oscar-season festival premieres at Venice and Toronto; and it's an acquisition title launching during one of the hottest documentary markets in a … The 98-minute documentary is culled from 16 hours of interviews in which Mr. Bannon and Mr. Morris candidly discuss topics ranging from the 2016 presidential election and Mr. Bannon’s dismissal from the White House, to Mr. Bannon’s taste in movies.

Directed by Errol Morris. This is not a documentary that anyone needs, not even Bannon’s fanboys, who will have already heard the spiel. Morris premiered American Dharma a while ago at the Venice International Film Festival, not long after the New Yorker Festival cancelled an on-stage interview event with Bannon, when other guests of the festival threatened to pull out. Morris does pepper in his own questions, rebuttals, and ideas, but when Bannon responds by asking yet more questions (a common destabilizing tactic amongst those who make bad-faith arguments), Morris allows himself to be sidelined by his own befuddlement. But I have the awful feeling that it will be Bannon’s followers and others with his particular mindset who will wind up embracing this film the most. Bannon has succeeded because he knows how to do precisely this while making people feel like he’s actually giving them a tough lesson, like Gregory Peck’s steely general.

Notable people who joined the line included Vanity Fair reporter Gabe Sherman, who seems to have him on speed dial; Alison Klayman, who made the fly-on-the-wall Bannon documentary The Brink, which followed him through the 2018 midterm elections; and famed documentarian Errol Morris, best known for his films The Thin Blue Line and The Fog of War. In a clip, Bannon tells far-right politicians in France to wear being called racist as a “badge of honor.”), Bannon already has a tendency to self-mythologize, and elevating him in a documentary helps reinforce the idea that he is a political mastermind, as opposed to a fringe figure who may have gotten lucky in one election. (Films aren’t his only stumbling block—he actually describes Greek tragedies as being ultimately “hopeful” at one point.). In a revealing moment, he suggests that the comments section at Breitbart became more of a community for its contributors than the actual cities they lived in.

In a time where our political climate is so polarised, many people are incapable of dealing with (or even acknowledging) any semblance of moral ambiguity. This is, notably, the second Bannon documentary released this year, following. In the famed documentarian’s latest, he largely cedes the floor to the fascistic far-right propagandist and ex-Trump strategist. Here, there were many free seats at the screenings, though Wednesday’s first official showing was met with enthusiastic applause and a minutes-long standing ovation for the director. Even so, Morris prods Bannon on the scrims he has erected for himself. People with contentious views and beliefs are simply ‘de-platformed’ and shut down, so it feels right that Morris allows us, the viewer, to draw our own conclusions on the destructive nature of Bannon’s social and political ideas.

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