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Title Your Name Subject and Section Professor’s Name Date One of the themes of the contemporary global film is exemplified in the context of Goodbye Solo by the stranger's connection to a lonely immigrant in America (Bahrani, 2008). In this respect, the film shares many tendencies of the Third Cinema, including social themes, immigration experience, and anti-essentialism, yet differs from the Third Cinema type in favoring personal subjectivity over collective agency (Mestman, 2011). It is seen that Bahrani’s (2008) film falls into the Third Cinema movement but at the same focuses on the political effects on the individual and, in doing so, also de-emphasizes some of the more global aims of the movement. Therefore, while dispensing an intelligently themed black comedy of socially realistic critique, Goodbye Solo blurs the conventions of Third Cinema by exploring the character's moral and emotional change. Third Cinema, which Solanas & Getino (1970) term in their “Toward a Third Cinema," is an anti-Hollywood/European type or a revolutionary form of filmmaking. To a more significant extent, this movement gives prominence to political content and social relevance at the story's core, likely to be manipulated by commercially dominated cinema. On the other hand, Third Cinema is seen as a means of provoking and soliciting reflection of social change against all types of oppression and domination—colonialism, capitalism, and imperialism. It arises from indie or resist productions and often employs modes of formulation unallowed in cinematic films. The parameters of Third Cinema are “anti-commercial” in nature: ideologically, they are opposed to Hollywood-style commodification, in which style and formal properties are subordinated to content. The focus remains on topical political and socially relevant problems, primarily those involving minorities and the oppressed. These films tend more toward communal issues and not individual distress. However, again, they portray societal suffering. Moreover, Third Cinema repeatedly avoids linear plot development of actions and consequences, which is typical of Hollywood movies. Finally, the non-chronological or confused structures may be adapted to reflect on the problems since the latter are not linear and precise (Mestman, 2011). In Goodbye Solo, most aspects of Third Cinema are evident, especially regarding the coming-to-American dream, the struggles of immigrants, and the structures that isolate marginalized persons. Notably, the entire movie is centered on Solo, a Senegalese cab driver in Paris, and his poverty and loneliness are evident in the movement's focus on social causes (Bahrani, 2008). Unlike Third Cinema films, which encompass a collective struggle, Goodbye Solo has chosen to focus on this intimate struggle of Solo to deal with a suicidal William. This personal, mise-en-scène-oriented style concerns itself with passion and personality, which sets the film apart from many third-cinema counterparts. Where it questions social systems, the film mixes political and personal narratives. Nevertheless, the movie can be said to have followed the movement's guidelines even after this synthesis. In its overall theme, Goodbye Solo breaks with Third Cinema as it replaces the struggle of a group with that of the individual. Consequently, the man from “The Intouchables” represents the reactionary attempt at retaining one’s class status while grafting on a heroic narrative that competes with that of the destabilized colonized (Nakache & Toledano, 2011). In Goodbye Solo, Solo, as a protagonist, is totally “entangled” in the micro-politics of eradicating William's desire for s...