- Also Known As:
- Unknown
- Version
- Languages:
- Length:
- 74 minutes (Uncut)
- Review Format:
- DVD
- Year:
- 2009
- Country:
- Predominant Genre:
- Science‑Fiction
- Director:
Director Martyn Pick - Outstanding Performances:
- None
- Premiss:
- In the future, lots of aliens get killed for no particular reason.
- Themes:
- Advertising | Aggression | Alienation | Christianity | Civilization | Courage | Curative | Destiny | Emotional repression | Loneliness | Loyalty | Materialism | Narcissism | Nostalgia | Passivity | Personal | Political | Political Correctness | Propaganda | Religious fundamentalism | Republicanism | Sadomasochism | Schizophrenia | Solipsism | Stereotyping | Totalitarianism | The West | White culture | White people | White supremacy
- Similar to:
Nostalgia for the Future
The usual White supremacist tosh about non‑White immigrants‑as‑aliens; races who lurk and plot
and from whom Whites need protecting through genocidal warfare and endless blood‑lust.
Despite being set in the grim darkness of the far future
, this movie is profoundly nostalgic for a Roman‑style imperium – with Whites in unassailable command.
However, unlike the Roman empire, this one is not multi‑cultural, but a mono‑cultural polity wherein Whites struggle to survive potential defeat at the hands of space‑age Barbarians living on the periphery of the empire – a chaotic struggle against the alleged chaos of others. The Nordic production design makes clear the Nordic supremacy on offer, here.
As usual with Whites, when the rules of war are not followed by the enemy, it is desecration
; when Whites throw out such a rule‑book, themselves, it is valorous and glorious never to yield to your enemies nor ever to take them prisoner.
That no consistent moral philosophy is stated nor acted upon, makes it hard to understand any of the characters and, thus, impossible to empathize with any of them, amid the Caucasian lust for violence as a substitute for a culture worth defending or friends worth risking one’s life for.
By presenting the enemy aliens, daemons and home‑grown traitors as two‑dimensional, there is no understanding of their motivations and weaknesses that could lead to an easier way to defeat or to make peace with them – and certainly nothing to aid this propaganda exercise in becoming anything like an emotionally‑engrossing drama.
This is a movie as superficial as the culture which produced it, where even its religious aspect reflects the White Christian dogma of public virtues and private vices in order to give the false impression that White Christianity gives Whites the moral virtue they actually lack.
With no‑one to root for and no political issues being explicitly explored, one only has the action scenes, the SFX and the brevity of this movie to speak in its favor. The gloomy death‑worship with which this film is imbued – which ultimately overwhelms and sinks it – suggests nothing more than a masochistic Caucasian martyr‑complex.
Despite possessing superior firepower, Whites feel doomed to die in constantly teetering on the brink of extinction
at the hands of sub‑human outsiders they cannot, ultimately, control nor defeat. This renders Whites as helpless victims of their own paranoia and self‑victimization - as with the ancient Greeks, constant warfare will put paid to White civilization, since spending all your time & money on war leaves very little else to spend it on.
Like the Japanese unwillingness to surrender in the Second World War, the White willingness to die for the emperor, here, serves no practical purpose but the ultimate suicide of a culture, its people & its hypocritical values.
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