New Order
works just like a premonition as it does an old newscast.
It tells the story of a nightmare that in its violent triviality would be the sad chronicle of any day.
And sad.
And it is there in its revealing effect, by brutally lucid, where it succeeds in becoming the first horror film with the manners of a tabletop melodrama.
Everything as unreal as it is true;
as wild and sour as usual.
The new proposal of the Mexican
Michel Franco
has for the first stage the wedding between the heirs of two families from the upper neighborhoods of the city.
The camera opens a gap between the guests and the noise in a devastating
opening shot close to the prodigy
.
And the spasm.
Suddenly, the revolt, the chaos and the blood to the cry of "Die your God".
All of it tinged with a strange green color that calls for uprising with the same evidence as nausea.
Those who rise up are the poor, the Indians, those who serve the rich.
Or so it seems.
New Order
wants to bother with an elementary exercise of turning the terrible into simply possible.
Or real.
It is not that it can happen, it is already happening.
At the Capitol a few days ago and elsewhere.
As is the norm in this director with a
Hanekian
taste
, the violence runs across the screen with a hypnotic calm that scares.
It is not so much about normalizing it, much less
glamorizing it
.
The idea is to offer it as is, in its
only crude naturalism
, but with the context slightly modified.
It is enough to change the decoration, so that everyday matters such as discrimination or abuse show its less (or more, depending on how you look at it) photogenic side.
It succeeds in becoming the first horror movie with the violent and trivial manners of a tabletop melodrama
But
New Order
wants more.
He does not aspire to tired dystopia, but to portraiture.
It is not possibility, it is certainty.
The narration is diluted in an infinity of voices that leave all their power of conviction in their capacity and will to paranoia.
It's chaos, but meaningful.
It is a film that relies on the most physical, acid and even tactile protagonism of cinema.
On the other hand, the metaphor of colonization as an eternal aggression colors every plane.
And he does it, how could it be otherwise, with the color of blood.
The imperial dream of some is a daily nightmare for others.
The latter with the passage of time have remained as slaves of those who inherited the former.
We speak, of course, of racism.
And so.
The result is a film for amazement, dissension and, if necessary, the revolt that crosses the screen in a sigh.
But no air with which to sigh.
Michel Franco removes any attempt at subtlety from himself.
Each statement comes close to both the complaint and, if necessary, the insult.
And it is there, in that terrain where there is no room for
more delicacy than the cry
in which the
New Order
becomes strong.
And attack.
In the story
The night face up
, Julio Cortázar tells the perhaps dreamed story of a man who dreams of being another man.
Two stories run in parallel divided by the line that separates day from night, the vigil of torpor.
One who travels by motorcycle to date suffers an accident and in the sleep of
shock
he imagines himself being pursued by the ancient Aztecs.
In their own way, the two accounts contradict each other.
Reality belongs to only one of them, although the truth reaches both.
Determine who dreams of who will seal the possibility and meaning of the narration itself: in one of the stories, the protagonist is sacrificed.
New order
is that other story perhaps dreamed of by us.
It's nightmare and mess.
But isn't the movie the one that dreams of us?
+ The clarity and timeliness of a film that appeals and portrays us is always welcome-Not seeing it among the Oscar nominees feels like a missed opportunity
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