Law on Film

This episode we look at Blade Runner (1982) (dir. Ridley Scott) and its sequel Blade Runner 2049 (2017) (dir. Denis Villeneuve), two films that imagine a world where the line between human and machine, creation and creator, has all but vanished. Ridley Scott’s 1982 classic depicted a rain-soaked dystopia where “replicants”—bio-engineered beings—fight for recognition, identity, and life itself. Denis Villeneuve’s 2017 sequel deepens that vision. Law operates in the shadows across both films: as surveillance, classification, and control. The “blade runners” themselves enforce a form of administrative violence that exposes the limits of legal personhood. What does it mean to have rights without recognition, or to be alive without legal existence? And conversely, what are the implications of recognizing rights and legal personhood in robots? In this episode, we’ll examine these and other themes around artificial intelligence, migration, colonization, and bioethics as well as the way films themselves can contribute to and shape public perceptions about these issues. 

Timestamps:

0:00     Introduction

2:45      Emotion and memory in robots

8:08      Slave labor and robot rebellion

9:54      Generative AI and other changes since the first Blade Runner 

15:16      Robots giving birth

20:19     Robot rights

24:17      A new category of companion

32:56    Filmic depictions of AI

38:01     “Time to Die”

43:21     The political economy of AI development

47:22     A dystopian vision of data and surveillance

52:18     Any positive post-human future

57:58     Concepts of immortality

Further reading:

Almog, Shulamit, “When a Robot Can Love – Blade Runner as a Cautionary Tale on Law and Technology,” in Ius Gentium: Comparative Perspectives on Law and Justice (Jan. 1, 2013)

Birhane, Abeba, van Dijk Jelle, and Pasquale, Frank, “Debunking Robot Rights Metaphysically, Ethically, and Legally,” 29(4) First Monday (2024)

Darling, Kate, The New Breed: What Our History with Animals Reveals about Our Future with Robots (2021)

Dick, Philip K., Do Androids Dream of Sheep (1968)

Lewis, C.S., Abolition of Man (1943)

Oliver, Kendra H., Higgs, Oliver S., and Clayton, J., “The End of Genetic Privacy in the Blade Runner Canon,” 14 (1/2) Journal of Literature and Science 108 (Dec. 2022)

Pasquale, Frank, “Cultural Foundations for Conserving Human Capacities Amidst Generative Artificial Intelligence: Toward a Philosophico-Literary Critique of Simulation,” in Being Human (B. Roessler & V. Steeves, eds, 2024)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil libert

Erin Brockovich (2000) (directed by Steven Soderbergh) is based on the true story of Erin Brockovich, a legal assistant without formal training, who uncovers one of the most significant environmental lawsuits in U.S. history: the case against Pacific Gas and Electric for contaminating groundwater in Hinkley, California. The film, which features an Oscar-winning performance by Julia Roberts in the title role, explores the role of lawsuits in exposing truth and gaining compensation for victims, the gendered dynamics of legal advocacy, and the challenges of taking on entrenched power structures in society.

Timestamps:

0:00     Introduction

1:59       Who is Erin Brockovich?

3:11       Obstacles to holding corporations accountable

5:49      How Erin Brockovich overcomes those obstacles

8:10      Imbalance of power and resources

14:40    Hinkley, California

18:00    Accessing records

21:16     Tort reform, punitive damages, and proportionality

27:10     States and environmental regulation

32:22    Causation and attribution science

37:30    Whistleblowers              

41:17      Finding the “smoking gun”

42:53    The practice of law and parenting

Further reading:

Banks, Sedina “The ‘Erin Brockovich Effect’: How Media Shapes Toxics Policy,” 26 Environs Env’t L. Poly’ J. 219 (2003)

Brockovich, Erin and Eliot, Marc, Take It from Me: Life’s a Struggle but You Can Win (2002)

Chen, Sarah Small, “Toxic Film: Analyzing the Impact of Films Depicting Major Contamination Events on the Regulation of Toxic Chemicals,” 35 Georgetown Env’t L. Rev. 561 (2023)

"'Erin Brockovich’ Made their Town Famous: They Still Don’t Have Clean Water,” Wash. Post (Dec. 27, 2024)

Martens, Daniel L. “Chromium, Cancer, and Causation: Has a Death-Blow Been Dealt Chromium Cases in California?” 16 Natural Resources & Env’t 264 (2002)

McCann, Michael McCann & Haltom, William, “Ordinary Heroes vs. Failed Lawyers – Public Interest Litigation in Erin Brockovich and Other Contemporary Films,” 33 Law & Soc. Inquiry 1045 (2008)

“Still Toxic After All These Years,” Grist (Jan. 29, 2019)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. 
For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.html
You can contact him at jonathanhafetz@gmail.com
You can follow him on X (Twitter) @jonathanhafetz 
You can follow the podcast on X (Twitter) @LawOnFilm
You can follow t

This episode examines a case that sits at the uneasy boundary between criminal adjudication, media power, and moral authority: the prosecution and execution of Aileen Wuornos, labeled the “first female serial killer. We look at two documentaries by Nick Broomfield—Aileen Wuornos: The Selling of a Serial Killer (1992) and Aileen: Life and Death of a Serial Killer (2003)—alongside the feature film Monster (2003), written and directed by Patty Jenkins and starring Charlize Theron in an Oscar-winning role. Broomfield’s documentaries are less about guilt or innocence than about process: who controls the narrative, how legal representation operates, and what happens when a defendant’s life becomes an object of transaction, between lawyers, media, and the public. The films also penetrate the issues around the application of the death penalty in the United States, and the problems that arise when the state seeks to executive individuals who are themselves victims and suffer from severe mental illness. Monster  approaches the same facts through dramatization. It also raises important questions, including how far context should matter in judging criminal responsibility and construction of narratives around crimes.

Timestamps:

0:00   Introduction

2:58   Capturing law on film

5:24   The two Nick Broomfield documentaries

11:16   Addressing Aileen Wuornos’s murders

14:04  The flawed defense strategy

18:47  The depiction of Tyria Moore (Aileen Wuornos’s girlfriend

20:55  Selling the Aileen Wuornos story

23:09  The theme of the “monster”

28:29  Themes of betrayal and self-defense

31:53   Nick Broomfield and an outsider view of the American legal system

34:56  Mental illness and the death penalty

37:39  Media coverage of sensational murders 

39:22  Failures of the legal process

44:26  A critique of the death penalty

47:00  Exoticization in the films

Further Reading: 

Cavanaugh, L. Sheila, “‘White Trash:’ Abject Skin in Film Reviews of ‘Monster’,” in Skin, Culture, and Pscyhoanalysis (Cavanaugh, L. Sheila et al. eds.) (2013)

Dargis, Manohla, “Life and Death Issues,” Los Angeles Times (Jan. 9. 2004)

Diamond, Suzanna, “‘A Flower in a Hard Rain’: Melodramatic Storytelling by, and About, Aileen Wuornos,” Anthurium, vol. 15(2) (2019)

Horeck, Tanya, “From Documentary to Drama: Capturing Aileen Wuornos,” Screen, vol. 48(2), pp. 141-59 (Summer 2007)

Pearson, Kyra, “The Trouble with Aileen Wuornos, Feminism’s ‘First Serial Killer,’” Communication and Critical/Cultural Studies, vol. 4(3), pp. 256-75 (Sept. 2007

Smith, Abbe, “The ‘Monster’ in All of Us: When Victims Become Perpetrators,” 38 Suffolk U. L. Rev. 367 (2005)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor a

My Undesirable Friends: Part I—Last Air in Moscow (2024) is Russian-language American documentary film written and directed by Julia Loktev (with co-director Anna Nemzer). The film describes the effort to maintain press freedoms in Putin’s Russia in the period leading up to the full-scale invasion of Ukraine in February 2022. The documentary provides an intimate portrait of independent Russian journalists—mainly young women—who risk everything to pursue truth and accountability amidst escalating repression under the Putin regime. Filmed in late 2021 and early 2022, the documentary captures how the legal machinery of censorship, surveillance, and state-harassment converged to crush internal dissent and incapacitate civil society. It not only provides a profoundly disturbing account of what has occurred in Russia but also serves as a broader warning about the fragility of press freedoms and in a time of rising authoritarianism worldwide. 

Timestamps:

0:00      Introduction

2:45       How the film came about

5:25       A primer on Russian censorship and repression

15:15      “Foreign agents” and “undesirable organizations”

23:32     Social marginalization through the creation of an enemies list 

28:46     State persecution of TV Rain and other independent media 

32:45     The manipulation of language

36:30     Identifying the pivotal moment 

43:36     How the film captures the elimination of press freedoms

48:26     Courts and lawyers

53:27     The Kremlin’s public mobilization to support the war in Ukraine

58:53     Independent journalism in exile

1:02:17   Parallels to the United States under Trump

Further reading:

Chang, Justin, “‘My Undesirable Friends: Part I’ Is a Staggering Portrait of Russian Journalists in Dissent,” New Yorker (Aug. 14, 2025)

Edel, Anastasia, “Putin vs. the Press,” Foreign Policy (Oct. 3, 2025)

Human Rights Watch, Russia’s Legislative Minefield: Tripwires for Civil Society Since 2020 (2024)

Human Rights Watch, Disrupted, Throttled, and Blocked State Censorship, Control, and Increasing Isolation of Internet Users in Russia (2025)

Krupskiy, Maxim, “The Impact of Russia’s ‘Foreign Agents’ Legislation on Civil Society,” Fletcher Russia & Eurasia Program (2023)

Troinovski, Anton & Safronova, Valeriya, “Russia Takes Censorship to New Extremes, Stifling War Coverage,” New York Times (May 18, 2022)

Yablokov, Ilya & Gatov, Vasily, “Broadcasting through the (New) Iron Curtain: Practices, Challenges, and Legacies of Russia's Independent Media in Exile,” Journalism Studies (Feb. 11, 2025)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working

Small Things Like These (2024), adapted by Edna Walsh from Claire Keegan’s 2021 novel, tells the story of how coal merchant Bill Furlong (Cillian Murphy) uncovers disturbing secrets in a small Irish town in the mid-1980s. While going about his job delivering coal, Furlong discovers the truth about the Magdalene laundries—the abusive asylums run by Roman Catholic institutions from the 1820s until 1996. During this period, thousands of girls and women were imprisoned, forced to carry out unpaid labor and subjected to severe psychological and physical maltreatment. Furlong’s discovery about the local convent in his town parallels the story of his remembering and having to come to terms with his own traumatic childhood. The film provides a powerful and moving depiction life in a small Irish town, the role of the Magdalene laundries, and the power of the Roman Catholic Church to enforce a code of silence about the abuses taking place within a community. 

Timestamps:

0:00   Introduction

2:14     The Magdalene laundries

6:39    Laundries in a broader social context

13:02   The convent’s power and secrecy

17:18    The absence of guilty men

18:31   The banality of evil

20:34  Why the laundries lasted so long

24:00  How they ended

26:02  Inquiries and accountability

28:16   Focus on the laundries in films and popular culture

30:38  The Bill Furlong character

36:20  Ireland in the 1980s

Further reading:

Seán Patrick Donlan, “Screening for Help – Irish Care and Confinement," Film Ireland (Nov. 21, 2025)

Keegan, Claire, Small Things Like These (Faber & Faber 2021) 

McGourty, Courtney, “Not Merely a Shameful Past: The Case for State Responsibility in the Magdalene Laundries,” Opinio Juris  (Aug 11, 2023) 

Report of the Inter-Departmental Committee to Establish the Facts of State Involvement with the Magdalene Laundries (2013)

Smith, James M., Ireland's Magdalen Laundries and the Nation's Architecture of Containment  (Univ. Notre Dame Press 2007)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. 
For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.html
You can contact him at jonathanhafetz@gmail.com
You can follow him on X (Twitter) @jonathanhafetz 
You can follow the podcast on X (Twitter) @LawOnFilm
You can follow the podcast on Instagram @lawonfilmpodcast

We return to Syriana, a film we discussed previously in Episode 40, but one that feels newly urgent in light of the current war with Iran. When it was released in 2005, the film offered a dense, unsettling portrait of a post-9/11 world shaped by oil, covert operations, and overlapping networks of state and corporate power. Today, Syriana reads less as a product of its time and more as a reflection of a sharp turn in U.S. foreign policy, shaped by the erosion of institutional guardrails and a naked military imperialism—with the current reality even more dystopian than the one depicted in the film.

0:00     Introduction

1:15        Why Syriana is so relevant to the U.S. military action in Iran

3:20      "The Committee for the Liberation of Iran”

6:47       Syriana as Dubai

9:15       Corruption moves from sidelines to the cabinet under Trump

12:06     The continued vulnerability of migrant workers

14:03     The loss of U.S. omnipotence on drone warfare

16:29     The involvement of Israel

18:33     The authoritarian turn in U.S. foreign policy

21:20     Syriana: a must watch now

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. 
For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.html
You can contact him at jonathanhafetz@gmail.com
You can follow him on X (Twitter) @jonathanhafetz 
You can follow the podcast on X (Twitter) @LawOnFilm
You can follow the podcast on Instagram @lawonfilmpodcast

This episode looks at The Lives of Others, Florian Henckel von Donnersmarck’s haunting exploration of surveillance, complicity, and the brittle architecture of authoritarian legality in the final years of the German Democratic Republic (GDR/East Germany). The critically acclaimed 2006 film examines how law can be co-opted into an instrument of domination, how bureaucratic routines of “security” normalize repression, and how small acts of resistance acquire profound moral weight under systems built on fear and an extensive system of informers. The Lives of Others raises enduring questions about the ethics of observing and informing in Cold War Eastern Europe. To help unpack these themes, I’m joined by Mark Drumbl and Barbara Holá, whose recent book Informers Up Close: Stories from Communist Prague (Oxford Univ. Press) offers a deeply researched, empirically grounded look at informers within repressive regimes and transitional justice processes. 

Timestamps:

0:00      Introduction

4:23       East Germany in 1984

6:32.      The timelessness of informing

7:35.      The surveillance state in the Eastern bloc

13:27      Informers and informing

19:36.    Informing's afterlife

23:26    The book’s methodology and illustrative cases

33:26    The corrosive impact on social relations

35:02    Who becomes an informant and why

38:22    Informers and transitional justice

44:57    The opening of the secret files

50:39    Informers and agents

55:54    Resistance and historical revisionism

1:00:46 How the book came about


Further reading:

Ash, Timothy Garton, The File (1997)

Burkhard, Bilger, “Piecing Together the Secrets of the Stasi,” The New Yorker (May 27, 2024)

Cords, Suzzane, “Stasi: How the GDR kept its citizens under surveillance,” DW (Aug. 1, 2025)

Drumbl, Mark A. & Holá, Barbora, Informers Up Close: Stories from Communist Prague (2024)

Alford, C. Fred, Whistleblowers: Broken Lives and Organizational Power (2001)

Lindenberger, Thomas, “Stasiploitation: Why Not? The Scriptwriter’s Historical Creativity in ‘The Lives of Others,’” 31 (3) German Studies Review 557 (2008)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. 
For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.html
You can contact him at jonathanhafetz@gmail.com
You can follow him on X (Twitter) @jonathanhafetz 
You can follow th

The Killing Fields (1984), directed by Roland Joffe, depicts the Khmer Rouge takeover of Cambodia and the genocide that followed, which resulted in the death of approximately 2-3 million people. The film is based on the experiences of New York Times journalist Sydney Schanberg (Sam Waterson) and Cambodian journalist Dith Pran (Haing S. Ngor). It provides a haunting depiction of mass violence as well as a moving story about these two colleagues and friends. In the wake of the 50th anniversary of the Khmer Rouge takeover of Cambodia, it is worth revisiting a film that is as powerful and relevant today as when it was released.

Timestamps:

0:00      Introduction

2:16       The Khmer Rouge and Year Zero

6:04      The U.S. contribution to the Cambodian genocide

8:14        The role of journalists in Cambodia and conflict zones

17:34      The treatment of journalists under international law

18:46     The killing fields and the film’s impact

24:08    Sydney Schanberg and Dith Pran, and journalistic ethics

34:10     The ECCC and transitional justice in Cambodia

42:44     Journalists and international criminal proceedings

47:50     Haing Ngor and his tragic fate

53:26     Civil society endeavors to bring history to life

55:21      The fall of Phnom Penh 

59:03    The failed attempt to get Dith Pran out

1:00:15  The risks facing journalists today

Further reading:  

Becker, Elizabeth, When the War Was Over: Cambodia and the Khmer Rouge Revolution (1988)

Brown, Mark, “Genocide Films, Public Criminology, Collective Memory,” 53 (6) The British Journal of Criminology (2013)   

Chandler, David P., The Pol Pot Regime (1991)

Kiernan, Ben, Genocide in Cambodia (Revised ed. 2008) 

Ngor, Haing (with Warner, Roger), Survival in the Killing Fields (1987)

Nunn, Nora, "Rose-Colored Genocide: Hollywood, Harmonizing Narratives, and the Cinematic Legacy,” 14(2) Genocide Studies and Prevention: An International Journal 65 (2020)

Schanberg, Sydney H., The Death and Life of Dith Pran (1985)

Shawcross, William, Sideshow (1979)

Law on Film is created and produced by Jonathan Hafetz. Jonathan is a professor at Seton Hall Law School. He has written many books and articles about the law. He has litigated important cases to protect civil liberties and human rights while working at the ACLU and other organizations. Jonathan is a huge film buff and has been watching, studying, and talking about movies for as long as he can remember. 
For more information about Jonathan, here's a link to his bio: https://law.shu.edu/profiles/hafetzjo.html
You can contact him at jonathanhafetz@gmail.com
You can follow him on X (Twitter) @jonathanhafetz 
You can follow the podcast on X (Twitter) @LawOnFilm