”Meksikolaisen Michel Francon New Order -elokuva ei päästä katsojaa helpolla.” ★★★★ HS
”a vivid warning against the consequences of inequality” ★★★★ The Guardian
Meksikon pääkaupungin kerma kokoontuu Mariannen ja Alanin häihin. Samppanjat menevät vierailta väärään kurkkuun, kun tarkkaan vartioitujen muurien yli alkaa vyöryä aseistettuja kapinallisia. Ilmiselvästi he janoavat kostoa ja haluavat päitä vadille. Mutta mihin vallankumous tähtää ja ketkä sen takana todellisuudessa ovat?
Michel Francon (Meksiko, 1979) New Order (Nuevo orden) on voittanut muun muassa juryn erikoispalkinnon Venetsian elokuvafestivaalilla, ja Tukholman elokuvajuhlilla se palkittiin Impact Awardilla ”aikamme ilmiöitä luotaavasta visionäärisyydestään”.
Elokuvan alkuperäinen ikäraja on K16.
”a provocative and uncompromising vision of late-stage capitalism.
There are few films that have managed to capture the zeitgeist of a tumultuous 2020 more effectively than Mexican director Michel Franco’s sixth feature, New Order. The film may have been conceived, written and shot before the events of 2020 but it brutally exposes, in the ways Covid-19 and Black Lives Matter have also done, the profoundly unjust and alarmingly unempathetic characteristics of a world built on structural inequalities and an unequal distribution of wealth.
– The epic, dystopian quality of the film is signalled in the giant abstract canvas by Omar Rodriguez-Graham Only the Dead Have Seen the End of the War – After Tiepolo, which features in close-up in the opening sequence but is later seen in its full gigantic glory, adorning the family home. There is something of Picasso’s Guernica in the film’s urgent brushstrokes – its thematics also signal the horrors of carnage repeated through history. Shades of Haneke and Buñuel also infuse the film’s design – the former’s scorn for the bourgeoisie, the latter’s non-romanticisation of the marginalised.
New Order’s nihilistic ethos makes for tough viewing but its uncompromising vision of a world where brutal deeds don’t always result in positive change acts as a warning of the danger of underestimating the capability of societal structures determined to protect the interests of a select few, whatever the consequences.” / British Film Institute
”Franco’s previous films, including 2012’s After Lucia and 2017’s Chronic, have established his critical cred as a purveyor of crisp Haneke-style vignettes about the numbing aftermath of awful trauma, but here the scale is expanded considerably, and the shackles are off. What’s the worst that could happen? You’re looking at it. – Still, this is a jolt and then some, a film which will succeed in riling those on the left and the right. If you believe cinema’s job is to ask the questions rather than offer the answers, then this will usefully challenge you.” / ★★★★ Little White Lies
