Quartile rating: 6.5/10 · 1 rating
In 1932, the writer Paul Nizan published "The New Watchdogs" to denounce the philosophers and writers of his time who, sheltering behind intellectual neutrality, imposed themselves as true watchdogs of the established order. Today the watchdogs are journalists, editors, and media experts who've openly become market evangelists and guardians of the social order. In a sardonic manner, "The New Watchdogs" denounces this press that, claiming to be independent, objective and pluralist, makes out it is a democratic force of opposition. With forcefulness and precision, the film puts its finger on the increasing danger of information produced by the major industrial groups of the Paris Stock Exchange and perverted into merchandise.
The New Watchdogs is a sharp, sardonic French political documentary drawing on Paul Nizan's 1932 critique to expose how contemporary media, despite claims of independence, serves corporate and establishment interests. Its plot is coherent and forceful, presenting its thesis with precision and building a compelling indictment of media concentration in France — above average for the genre. As a documentary relying primarily on talking heads and archival footage, cinematography is functional but unremarkable. Acting is not applicable in a traditional sense, but on-screen presence and interview subjects are competent without being particularly compelling. Novelty is modest — media criticism documentaries are a well-established genre and while the Nizan framing adds literary texture, the film follows familiar observational documentary conventions. The ending wraps up the argument adequately but without a memorable or distinctive final note, landing it below average in resonance.