26 March 2010
I could sit and write about this film all day and never cover everything. The tone, the aesthetic, the patina of dust on a misused and neglected society, the camera that wanders handheld and unabashedly curious through an all-too-realized world of despair and disdain, exploring just like we would, letting the characters come in and out of frame. And of course the much-documented trick photography, seemingly seamless sequences through impossibly tense and hopeless situations.
All of it adds up to realism, but realism applied to dystopia is wonderful and unsettling and beautiful. The slow, tense, uncoordinated chase scenes (jumpstarting a car by pushing it in your socks while being chased by furious revolutionaries who are afraid to open fire, only one of several examples). Each time I watch I am stunned again by the density of visual exposition, the info-dump that manages (almost) never to rely on boring old "As you know, Bob," conversations to convey its story to you. I absolutely have to get my hands on the script. (On that note: five credited screenwriters, including the director; rarely is a script with that many hands in the pot so fucking tightly crafted.)
Oh, and "Lets be perfectly clear boys and girls, Cunts are still running the world." Thanks, Jarvis.