We Wish to Inform You That Tomorrow We Will Be Killed with Our Families: Stories from Rwanda

A documentary about the American war in Vietnam, made while the war was still being fought. Davis intercuts interviews with generals, officials, pilots, veterans, grieving Vietnamese families and ordinary Americans, setting the language of policy against what that policy did on the ground and at home.

Why it’s here: The punk move is the editing: Davis lets the war's architects talk at length, then cuts their words against a funeral, a bombed village or a cheering football crowd, and trusts the audience to feel the gap. The pedagogy is in how the film teaches viewers to hear the language of power, euphemism and abstraction included, while looking at what it covers up. Worth knowing that the juxtaposition is the argument, and General Westmoreland and others objected that their words were framed unfairly, so watch it as a persuasive documentary, not a neutral record.

Germany, near the end of World War II. Ten-year-old Jojo is a devoted Hitler Youth recruit whose imaginary best friend is a goofy version of Adolf Hitler. Then he discovers his mother is hiding a Jewish girl, Elsa, in the walls of their house, and everything he has been taught starts to collide with the person in front of him.

Why it’s here: The punk move is the nerve: Waititi mocks Nazism with slapstick and a ridiculous imaginary Hitler, then keeps turning the screw until the joke stops being funny. The pedagogy is in how it shows indoctrination from the inside. Jojo is a kid absorbing propaganda, pageantry and belonging, and the film shows how easily that happens and how a real person can break the spell. It is a satire, not a history lesson, and some viewers find the comedy too soft on the Holocaust; the film's answer is that ridicule is a way of denying the movement its dignity, not the suffering its weight. Waititi, who is Māori and Jewish, plays the fantasy Hitler himself. Best for teens and up.