ICYMI: Canadian experimentalist Isiah Medina’s latest flits between radical and grandiloquent, but deserves close reading and exasperated sighs in equal measure
‘If cinema was a 19th-century dream actualised in the 20th century through chemistry, then the auteur was a 20th-century dream that needs to be actualised in the 21st through digital.” Canadian experimentalist Isiah Medina is hellbent on that task in his latest feature, which almost entirely comprises a troupe of po-faced cineastes declaiming such theory-freighted slogans, and bemoaning what dogs the genuine auteur these days: western-centric power hierarchies, industry racism, the economic exclusion of serious artistic work, the tyranny of language.
It’s dense stuff, and staged at an ironic, if not quite playful, remove. Mark Bacolcol plays Clem, a director struggling to finance his next feature in the face of the system. Boyfriend Ez (Kalil Haddad) is an unblinking ideologue, who peps Clem up by telling him: “Be proud: regardless of race, most people don’t like your work.” Collaborators Nico (Jonalyn Aguilar) and March (Charlotte Zhang) are struggling to hurdle the same structural obstacles. A hipster collage in his office juxtaposes Mao’s Cultural Revolution with the title of Armond White’s 2020 book Make Spielberg Great Again. Needless to say it’s not the great white hope Clem is holding out for. Continue reading…
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