In 'The Patient,' Patience Doesn't Really Pay Off
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.

Adapted and directed by Peter Brook from the Royal Shakespeare Company’s ‘production-in-progress US’, this long-unseen agitprop drama-doc – shot in London in 1967 and released only briefly in the UK and New York at the height of the Vietnam War – remains both thought-provoking and disturbing. A theatrical and cinematic social comment on US intervention in Vietnam, Brook’s film also reveals a 1960s London where art, theatre and political protest actively collude and where a young Glenda Jackson and RSC icons such as Peggy Ashcroft and Paul Scofield feature prominently on the front line. Multi-layered scenarios staged by Brook combine with newsreel footage, demonstrations, satirical songs and skits to illustrate the intensity of anti-war opinion within London’s artistic and intellectual community.
'The Patient' is bound by four walls and a mediocre ending that leaves you wanting more.
A recent look at gender and racial diversity in film shows some signs of progress. However, white men still make up the vast majority of actors and directors in top-grossing films.
This Comedy-Drama set in Nazi Germany, shows a young boy, Jojo who wants to be Hitler's personal guard and even conjures up Hitler to be his imaginary friend. His nationalism and prejudices of Jews change when he discovers a Jewish girl hiding in his attic.
GOAT (2026) opens to the chanting of a crowd: "Roots run deep!" The rest of the film goes on to echo that sentiment, offering gorgeous animation and a heartfelt story along the way.