Fest Track On Sirk TV Film Review: NEW ORDER [Denver Film Festival 2020 – Virtual]

The aspect of dystopian movies is the matter of relation in terms of how close to the truth they can stay. The more disturbing ones take notes from history and place them within new context and modern settings. With “New Order” set in Mexico or in a version of Mexico City, the film starts showing the extreme separation from the rich and “the help”. Establishing during a wedding between Marianne & Cristian, the film moves more like a “Short Cuts” stream of consciousness through different rooms while showing the different moving perspectives of different classes. Specific aspects of need pour right on the doorstep during this celebration and sets up the conflict (however internal). But things aren’t going right. There is a sense of disturbance with the essence of green paint. Encroachment slowly comes in with invading forces but what becomes interesting is the flip that happens. Even while one area is subjugated, another area takes advantage and that is where the real damage lies. Production values are realistic as different landmarks almost look like news footage melded with a cinema verite quality which shifts from the earlier elegant camerawork (a tone shift obviously done with purpose). The reality is that those who tell the eventual story of history dictate how it is told. The use of phone camera is interesting although not used in the way one would think. Without giving too much away, the machinations move to the very end and are slicing. No one is safe. Human cruelty is brutal especially in desperate circumstances. Some of the scenes inside a certain garrison are harrowing because political correctness does nothing in those situations. It is about surviving when their seems there is no hope and the power struggle is apparent. There is no line between man and woman and yet the ignorance of the characters (even as a caricature of sorts seems extremely harsh). The film is very effective in displaying that movement while also showing that people one thinks are friends or confidants can easily manipulate aspects to their own advantage to the immense tragedy of others. Some of the images are downright horrible and yet one knows they happen all over the world. In a country that faces its own governmental problems currently in what is supposed to be one of the most free countries in the world, it brings into sharp focus the small crevice between light and darkness. The film also shows people exist with good souls but it sometimes it doesn’t reach mass effectiveness and rather is swept under the rug. “New Order” is a vicious take on a story told once too often that bears repeating as it continues to happen but arts is always a reflection of the life seen.

B

By Tim Wassberg

IR Interview: Patrick Vollrath & Joseph Gordon-Levitt For “7500” [Amazon] – Part II

 

IR TV Review: BILLIONS – EPISODE 7 (“The Limitless Sh*t”) [Showtime-S5]

The aspect of motivation versus action continues to be the compelling form of what “Billions” is moving towards. However sometimes it treads over repetitive steps in what can be shifted from the A to B story. In Episode 7: “The Limitless Shit”, that exact predilection of what is inferred hijacks Axe and his team in the office. That is the trick of working to absolute adrenaline is motivations get missed and consequences get lost. Some of the most interesting diatribes including one with Taylor (played by Asia Kate Dillon) shows an interesting idea of what cooler heads can do. But just an episode before, Taylor was railing against stepping over the line becomes a slight pendulum. All the characters for the most part will seemingly be taken down by their own shortsightedness or the simple base nature of others. This is completely true of relationships in this story though some of the ones that became the most dynamic sat out this episode especially with the last shot of the previous episode. That one itself involving Julianna Marguiles was an interesting metaphor and discussion on the notion of power versus control. Here the ethics of morality becomes a little more murky.

Motivation versus contentment and simple decency don’t really filter in except on the periphery as a guideline. Giamatti’s Chuck Rhoades plays an interesting move with students he is teaching. Every individual has their own in terms of how he teaches them to accomplish their goals. In this endeavor Chuck is frank and it shows an inherent understanding of his psyche in terms of survival which again points to the person in this story who will likely win, in whatever form that takes. The notion of commerce and art is also a continuing thought and what dictates a “sell out” per se. Axelrod with his two top supporters, both women, are slowly but surely making their power moves but it is interesting to see how as a fox he is almost toying with the decisions they are making. Ultimately the loyalty he loses will undo his power plays. If one is at war all the time, one cannot understand the contentment of being at piece. What is interesting about Axe compared with the beginning of his path is how the essence of home and normalcy never enters into his sphere anymore. Wags is only companion and usually over scotch. He compartmentalizes it out and, as a result, his humanity comes into question This is a tricky line because without showing a little bit of empathy (which he did in the Yonkers episode) it hard to feel bad for an alpha who stepping on everyone to get to the top. Because that figure ends up taking a great fall.

B-

By Tim Wassberg