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- Unknown
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- 83 minutes (Uncut)
- Review Format:
- DVD
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- 2012
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- Predominant Genre:
- Comedy
- Director(s):
Directors Daryl Wein 
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- None.
- Premiss:
- Dumped by her boyfriend just three weeks before their wedding, Lola enlists her close friends for a series of adventures she hopes will help her come‑to‑terms with being single.
- Themes:
- Advertising | Aggression | Alienation | Christianity | Curative | Destiny | Emotional repression | Erotophobia | Individualism | Justice | Loneliness | Materialism | Narcissism | Nostalgia | Parasitism | Passivity | Personal | Political | Propaganda | Sadomasochism | Schizophrenia | Solipsism | Totalitarianism | The West | White culture | White people | White supremacy
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- Unknown
White Whine with Fish
The same old White whining from a superficial culture that masochistically‑indulges in its own very shallowness. Watching this movie is like being a psychiatrist listening to the umpteenth tale of self‑inflicted woe from the umpteenth tedious and self‑destructive client.
By conflating the personal with the political, all personal relationships become political (& vice versa) – since all such relationships are then limited to the politics of what one is used‑to rather than what is good for one. Hence, the complicated social dance here where the dancers never really touch each other in any deep, emotional way, such that the complicatedness of their lives becomes a substitute for the life‑affirming depth that is so sorely lacking.
But rather than find a better way to live, the Whites and Jews here prefer to drown in their own (allegedly ethnically superior) ordure, rather than face the awful truth that they just might not be all that lovable. The endless scenes of people talking about themselves – to themselves – with others present, is as depressing as it is ludicrous (when, in fact, these scenes would actually appear to have been designed to be humorous). By not listening to others, the characters never see beyond themselves enough to form any kind of worthwhile relationship with anyone else – and never learn enough about others to help them discover themselves. The cinematic goal here seems to be: Show political life in all its ugliness, but offer no insight into what is shown nor into the personal limitations of the characters presented.
Rather than show any interest in the meaning of their lives, these characters obsess with trivia and the terrible, unacknowledged fear that their culture is little more than a prison for the emotionally‑repressed (a prison which created the emotional repression to begin with), from which they dare not escape because of the emotionally‑repressed fear that they would find no psychological‑fulfillment outside of it. This leaves them with nothing more than the absurd hope of the allegedly‑glorious jail break that, in Judeo‑Christianity, is the grave.
The emotional dependency on show here reveals a lack of any experience of healthy human relationships, such that water finds its own level as the emotionally‑blind lead the emotionally‑blind. It is almost as if should they ever meet a happy person, it would make them unhappy to know that their dire situation is neither healthy nor necessary.
The lack of exercised facial muscles of the main characters – so common in White movies – makes one realize White people have few external reasons to enjoy themselves; while they still wish they felt better, more often, about themselves. This typical smiling‑with‑the‑teeth (rather than with the eyes) has exactly the same negative affect on any emotionally‑healthy member of the audience, as it does upon the characters here, begging the question: Are White actors simply unable to emote or are they simply reflecting the emotional repression of White people in real life?
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