《Nuevo orden》 - After the 《clown》, it's the carnival of the gun holder

The new order, by Michelle frank, the new generation director of Mexico, is undoubtedly the topic of this fall Film Festival. The film is short and concise, which takes less than 90 minutes, and presents a society with many problems and incomparable divisions through several reversal of plot and various "visual wonders without cover up". The class gap, the corruption of the ruling class, the rich living in the bubble, the spreading demonstrations and their violent violence are the main themes of the times. But the director is not satisfied with it, and above that the film's vision points to the end of the riots and all the chaos that is most likely to arrive - a "new order" that is more military and totalitarian. After the conflict, the dawn light not only did not come, but everyone fell into a deeper vortex. And compared with the original rulers, the new regime is more cruel, more intelligent, cruel and rogue.

The movie begins with a focus on the rich in Mexico City, where Novello's daughter is married, and in a big villa, guests wear Chinese clothes and enjoy a wonderful life in the pleasant sun. They did not notice, or deliberately ignored, the riot that was taking place outside the heavily guarded walls, not far away. The hostess shuttled inside and outside the house, inadvertently, the green liquid from the bedroom faucet made her uneasy. She began to check every place where the water came out of the mansion. The camera followed her steps, which brought us to the top class of the world.

But something strange is more than that. The marriage witness was delayed to arrive. Several guests were attacked on the way to come. They were covered with green paint sprayed by protesters. The kitchen servants pointed at each other in a strange way. At the door of the house, an unexpected guest was welcomed, and Rolando, who had been away from the host's house for eight years, was welcomed. In order to pay his wife a priceless cost of surgery, he had to turn to his former employer.

The first half hour of the film vividly shows us what the "weekend of the rich" looks like. It is very likely that the cupping and changing cup will become a business. Men, like women, show off their wives and daughters like women show jewelry. Behind etiquette and decency, there may be open play and laughter. The exchange of power and money is naked enough to be put on the table. It is not only in the envelope The rich gift may be the marriage itself. Meanwhile, the audience who has the "full-knowledge perspective" begins to smell the tension. Rolando and the hostess are all shivering in a few simple questions and answers at the door of their home. It points to the deep contradiction between the rich and the poor even through friendly negotiation. Finally, Marianne, the bride, was involved in the old feelings, and also held the mentality of cutting off with her snobbish mother and brother. She resolutely chose the most important day in her life, threw off the wedding banquet and went to Rolando's home to fulfill her kindness.

Back in the house, the danger came on schedule. The dark skinned aborigines turned over the wall and entered, killing and approaching the panic group of guests without expression. The unexpected burglary began. Not only the intruders, who were originally assigned to the group of wealthy people, joined the captivity team, and they took large bags like the festival to search for everything that looked valuable in the room, opened the safe with the gun against the head of the hostess, drove the guests to the corner of the wall, threatening to order their transfer and handing over their property. With the sound of gunfire, the proletarians enjoy the joy of the reversal of status and enjoy the pleasure of power and coercion. We watch all of this and begin to think about which side of their position stands.

But it's not all about the story, or just the beginning of a nightmare. Another chapter in the next hour began, and the director's "blackening" face began to show. The bride who thought she left in time was lucky to avoid the disaster, and the family who was shaped as her kind opposite was "due retribution". But on the contrary, Marianne himself was the real one who had experienced the catastrophe. After several regular scenes, we swept through the empty streets, bodies and still dark smoke. We saw the army quickly took over the situation overnight. The "insurgents" with very recognizable skin color were so incredibly completely out of the field, instead of more trained government forces.

Martial law, censorship, curfews, audience can not digest the real causes behind the riot, and observe the reactions of all parties. The worship of order and double control of personal freedom overwhelm the instinctive fear. Marianne, who was trapped in the poor, was soon taken away by the military police, not escorted home, but into another "human purgatory.".

What happens next doesn't need to be overstated in words. When tough power, easy-to-do money benefits, human brutality, and captivated beauty are juxtaposed, it's not hard to imagine. But when we really saw the tragedy on the screen, we still felt a thrill. In prison with Marianne, the rich families who were arrested in the riot, like her, became a sacrifice for a new order, and a tool for the bottom military police to "earn money" and to let go of anger. The revelry and revenge of the former mob invading the mansion, the unjust evil released in the action of expressing the demands, extends to this place seamlessly. The abuse of rich children in prison is a more brutal continuation of street violence. The director uses this message to release it to be clear, but when state machines are empowered to quell atrocities, it is often the beginning of another disaster. What is more terrible than the imbalance of power is the abuse of power.

In general, the second part of the film is a little bit of "getting mad", depicting violence and human nature extinction, more evil than the real-world critical sexual abuse scene, and seemingly effortless killing of civilians, and the complete breakdown of social contract, which will make people feel any discussion about the uprising and the legitimacy of the "new order" followed by it It's all meaningless. In front of the lively issues reflected in the film, you will realize that because "there are so many dead people", there is no way to discuss the deeper social and value level. The main characters in the plot are impressive, but most of them have not left a slightly specific view or idea for the audience. The aborigines who initially provoked the incident and the military police who later took over the situation were in a "Aphasia" state.

In the danger that an anti Utopian fable may become a strange "visual feast" or even a horror film, we can not ignore the perspective of information and emotion transmission. Looking back, the main line of the film is still the rich class as the main body, depicting their deep fear in the face of class unrest as "good people who abide by their own responsibilities". If the robbery in the house expresses the direct conflict and threat of social change to their own interests in their eyes, then the tragedy (including the final ending) happened to Marianne later represents the basic cognition and exclusion of the post reform society in the subconscious of the rich. Because in their view, whether it is the uprising mob or the military and political power to continue to violence through maintaining order, there is no difference in essence, and it is an extremely barbaric animal and is not the way out of civilization. The film "new order" combines the two motifs of class movement and totalitarian society, trying to discuss the invalidity of the former with the latter's horror. It tries to deny both by playing right hand with left hand. It is successful in the sense of warning, but it is still the "word of all" from the perspective of the rich class. The film not only avoids the view of "rebel" in social movement, but also simplifies and over renders the "devil" attribute of the power man in the totalitarian society. Such a storytelling method is not the last but it is not honest at least to explain why "the rich are innocent and so hateful".

Some say the new order is the sequel to clown, which tells us what we are waiting for after the mob revelry, but at the same time, the film seems to be a little far away from describing "unjust evil". It is undeniable that the work is full of foresight, and some of its bridges even fit many of the events that happened in 2020. However, a bold "last-life fable" should not be an anesthetic in front of the reality. The nihilism breath in the second half of the film should not be the only possibility to define the future. It is more worthy of our thinking to transform the crisis and destruction in the fictional world into a way to change the status quo within the current capacity.