Really there were only a few crowd-pleasing hits at this year’s T/F, which was interrupted (for us) by a snowstorm and fouled by some too-late nights and difficult film picks. This was one of them, despite being a two-plus-hour crackpot investigation into unprovable murder cases. I caught up with Brügger’s The Red Chapel shortly before this year’s festival slate was announced, and this was the #1 Sundance movie I was pulling for.
Some good uncomfortable laughter, some twisty investigation and humor in construction/presentation offset the ultimate topic: power grabs, espionage, mercenaries, murders, white supremacy, attempted genocide – US and UK governments blatantly destroying Africa’s hopes of self-sufficiency. Göran sparks off the investigation and does all the background research, and Mads provides context, theatrical antics and the overall sense that we can’t tell how much of this is true.
Opener was River Arkansas again, but with new songs, and we grabbed a juice at Main Squeeze beforehand.
Silent newsreel footage played at a handful of frames per second, beginning with Il Duce’s death. Unfortunately I am not someone well-versed in history who says “ah it’s that famous footage I know so well of the notorious event at the end of Il Duce’s life,” but rather I am someone who has to wikipedia who Il Duce was… ah, it’s Mussolini, fascist dictator of Italy for twenty years. The movie then flashes back to footage from early in his reign and carries on forward.
It’s silent for the first ten minutes, then gentle glimmering drone music kicks in as Duce stands at some kind of parade or rally, looking like the fourth Stooge. Closeups of the Great Man get intensely slowed down, while crowd shots of darker-skinned people run at almost full speed.
Segment 3 in Tripoli features a Florence Foster Jenkins song about modern Europe letting refugees die. 100,000 Libyans were shot in the 1920’s? Italy carried out a North African genocide by raining poison gas from planes? Someone needs to look into this. The movie is doing some sort of Ken Jacobs thing, hypnotizing the viewer with archive footage (I fell asleep at least once and had to rewind). “Barbaric Land” was a phrase used about Ethiopia when Italy was colonizing.
The evil dictator… the fascist system… the normal people who carried out orders to exterminate thousands, photos of them smiling casually next to their planes loaded with poison gas, and period pictures of Africans representing the victims… a photo slideshow, the pictures handheld by gloved fingers, trembling in front of the camera.
The Avengers and the Guardians and all the new guys like Strange and Panther collide, as a space monster with a firm belief in genocide as the cure for the universe’s problems kills a few people (Loki, rainbow bridgekeeper Idris Elba, green Guardian Gamora, Vision) en route to collecting the Infinity Stones vaguely mentioned in previous movies. The heroes put up strong resistance, but the movie’s all about personal sacrifices – brothers Thor/Loki, lovers Scarlet Witch/Vision, lovers Starlord/Gamora, foster family Thanos/Gamora/Nebula, barely-just-met-allies Strange/Iron Man. Some are prepared to sacrifice, others aren’t so sure, and their hesitation gives Thanos the edge, so he gets the stones, literally snaps his fingers and kills half of everyone everywhere, including: Black Panther, Scarlet Witch, Bucky, Don Cheadle, all the Guardians except Rocket, and Samuel L. Jackson. We are assuming that either (1) Benedict Wong uses space-time powers or (2) Ant-Man uses subatomic multidimensional powers to somehow undo the carnage, or (3) everyone who wanted out of their contracts got turned to dust and we just carry on with whoever’s left, throwing in some X-Men and Captain Marvel and Young Han Solo or whoever to take their places.
I was worried that with my poor memory of the previous movies, we’d be lost as to the location and importance of each infinity stone, but the movie does a good job explaining stuff without getting bogged down Matrix-style – all you need to remember are the characters. Mostly it’s ‘splosions and wisecracks, as usual, and those are on point. We dug Peter Dinklage as a giant dwarf weapons forger, can’t make myself care about Young Spider-man or Iron Man’s wedding to Gwyneth Paltrow, didn’t miss Hawkeye. Was warming up to Strange, surprised to see him and Panther turned to dust already. It’s disappointing that these movies are doing the same things as the X-Men series but in a different order… I suppose next we’ll get Avengers: Days of Future Past.