- Also Known As:
- Unknown
- Year:
- 2012
- Countries:
- Predominant Genre:
- Adventure
- Director:
- Best Performances:
- Premiss:
- Whites searching for meaning outside their own superficial culture go slumming in others’.
- Themes:
- Personal change | Self-expression | White culture
- Similar (in Plot, Theme or Style) to:
- Review Format:
- DVD
Empty Vessels Make the Most Noise
As usual, when Whites search for something to fill the void at the center of their inner lives, they find their own political obsession with pigeonholing others (to demean them) getting in the way of any true personal expression. Here, Whites universalize their existential suffering as if everyone else also had no culture to tell them who they are and no culture to tell them how to solve the problems they face. Whites permanently analyze but never truly understand or truly live, since such analysis is an attempt to avoid understanding: Wanting to become something, not being anything. The film’s characterization is so poor precisely because Existentialism is such a superficial philosophy that its adherents are more interested in thinking about life than actually living it.
All of life is a foreign country.
Jack Kerouac (1922 - 1969), US author. Letter, 24 June 1949 (published in The Beat Vision: A Primary Sourcebook, edited by Arthur & Kit Knight, 1987).
White Whine with Every Meal
Whites’ lack of genuine experience results from the necessary emotional repression inherent in White culture (White supremacy is only sustainable by avoiding all contact [& experience] with non-Whites; hence, White violence placates their fear of those they exploit). This explains why Whites use non-prescription drugs to medicate their inability to connect both with others and with themselves. Such emotional repression means automatic personal dishonesty, it also means judging people politically as a group; rather than personally as individuals; hence, the loneliness on show in this film. The always-unrequited White desire to be someone other than whom one is, purposely-trapped in a culture that defines people by skin color and by little else.
Rolling Stones Gather No Moss
Although self-discovery can only come from within ones cultural experience, Whites persist in believing otherwise, their culturelessness virtually guarantees this. Yet, Whites never accept this reality - any more than this dishonest film does. The experience of life so gained is not real experience but a running away from it; hence, the film’s superficiality. All that such people can ever be is parasites; feeding off their cultural betters while repeatedly engaging in emotional self-indulgence and psychological self-destruction by feeding off cultures they despise; including their own.
Whites are stuck in their culture because no others will accept them because of the lack of trust engendered by White supremacy. Whites, thus, learn to rationalize their self-oppression with mealy-mouthed movies like this, rather than face-up-to the quintessential emptiness of a culture designed to serve collective goals far more than individual ones. The so-called free spirits on display here are, in the end, no more free than the White puritans they so openly disdain.
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