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The film is an exhilarating, heady viewing experience if one gives in to its panoply of alternately familiar, disconcerting, and curious imagery.
The actor/writer/director’s trademark blend of cleverness, crassness, and earnestness finds great material in the wheeling, dealing, and bumbling of the modern Hollywood studio system.
The film explores how a collective of young artists created a living space within a Providence, Rhode Island, mall and how they were able to keep it hidden for four years.
Exploring a stilted, stifled society sheltered from a wider dystopian landscape, the film impresses with its dark humor, resonant intelligence, and emotional truth.
Cinephiles looking for a vintage dark drama of obsession and gaslighting may want to hoof it to Manhattan’s Film Forum — with the proviso that they should be prepared to be jolted by moments of madness and sadism.
Issues of mortality, ethics, and duality are raised, among others, yet the real meat of the story for director Bong Joon-ho lies with the colony’s leader, Kenneth Marshall, a Trump-like figure.
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