“Wow, that was intense!”

Punk rock is known to be very intense, with its crowds moshing during shows and its fashion including very intimidating elements. Repo Man seems to follow the same kind of vibe with its themes.

Otto, who is a punk rocker, finds his way towards a repo business, where he meets a lot of a wide variety of different characters. The usage of the car conversations would be the best motif used in order for us to know these characters a little bit more. Through the conversations with Bud, we are able to find out that he lives life through a code and would act in the film according to this code. He never acts on his own and only reacts to different circumstances that arise. The most prominent example of this would be his encounters with the Rodriguez brothers, where he only retaliates after he is provoked by them. With Otto’s conversations with Lite, on the other hand, we are able to see his character as more calm and collected. With the shootout scene, for example, we could see this calmness as he risks his and Otto’s life by answering gunshots with blanks. A clear contrast can be seen between these two characters.

Otto’s own character would develop as the plot progresses and things get more intense. When the arc of extraterrestrials enters and escalates the conflict between repo businesses, we could see how Otto’s fluidity would come into the fray. He gets himself into a lot of situations: meeting a UFO believer in Leila, getting beat up by a family he tries to repo off of, and eventually meeting the owner of the prized Chevy Malibu before driving off with it. We could see the punk rocker in him as he feeds off the intensity that he sees around him. The intensity he got out of repoing his first car would be the catalyst for him craving even more of that intensity as time goes on.

This craving would ultimately lead him towards the climax of the film, as the Chevy Malibu transforms into the “time machine”/”flying saucer” that Miller tells him about early on in the film. The absurdity of it and the intensity it gives off would only entice Otto to enter into that vehicle, even with no certainty of what will happen to him after he does so. Bud, despite following his code through avoiding harm for this vehicle, and Lite, despite staying calm and collected throughout this whole chase for the Malibu, would only fall short to Otto and his punk rock lifestyle. Perhaps, it could serve as a commentary to how times were changing during the release of Repo Man, and people needed to change along with it. Perhaps, people need to let go of their codes and learn to be less calm in order to win.

Punk rock, ultimately, would play as the perfect soundtrack to Repo Man, with the film’s events and characters being supplemented and complimented by the history, figures, and hidden messages of the music genre. It was really refreshing to see how well its era was represented through this film and to see how much of an impact it had upon the people who lived in it.

Velvet Goldmine: Representation Personified

Being in a music organization for my whole college journey, I really enjoyed watching Velvet Goldmine. The music biography is just starting to pick up steam, with films like Bohemian Rhapsody and the upcoming Rocketman gaining a lot of buzz in terms of audience fare and critical acclaim. But, during the year 1998, it must’ve been a risk for a film like this to be made and screened for the public on the big screen.

Known to be a tribute to David Bowie, it was interesting to see the correlations between him and the Brian Slade character. Slade, a glam rock star in the film, would carry a lot of Bowie features, with the make-up and mannerisms being copied almost. The concept of using characters within the production of music would also be clearly seen with both as Slade uses Maxwell Demon to represent another side to him. This would definitely be a parallel to Bowie’s usage of Ziggy Stardust as another persona. Bowie’s phobia of being shot would even be touched upon during the 1^st act of the film.

The Curtis Wild would known to be an amalgamation of both Iggy Pop and Lou Reed, who Bowie would carry a strong relationship with. The real life relationship that they all carried proved not to be the demise of any of them though, as the film projects.

Ewan McGregor doing his best Iggy Pop impersonation

The homosexual elements would also prove to be well represented as they would accurately how free-spirited and open teens and young adults were during that era, as they faced backlash from the older generations. Glam rock artists would also face this backlash initially as audiences needed time to adjust to their daring ways, but this hurdle would eventually be overcome. Taboo would definitely be something to further the plot along, as external elements would come into play as the film progresses.

Comparing this to the aforementioned Bohemian Rhapsody, I feel like this would be more liberal with how they took things. Bowie would come out openly as bisexual, as he served as the demographic’s icon for years. The film didn’t steer away from this fact either through the Slade character, as it was clearly depicted that he did experience these things and faced ugly consequences with the people around him. Diving into the depiction of Freddie Mercury in the 2018 Golden Globes Best Film winner (which I still don’t get), his sexuality seemed to be glossed over for other agenda. Although there were scenes which teased his homosexuality, his relationship with his heterosexual partner Mary was still the main focus.

Bohemian Rhapsody (2018): A chance for LGBTQ+ representation wasted

I really do praise how daring and brave the filmmakers took this film, leaving nothing unturned in terms of representation. Again, with the still adjusting society that would initially view this film in 1998, they really took a big risk with this. Although personally, I did feel a bit lost with the way the plot was depicted, I did feel like it was beautifully done in terms of the visuals and plotlines used. The contrast between the “visual album” scenes with Brian Slade and the murder mystery scenes with Arthur Stuart I think was done well, with audiences being left to decide which was real and which was fiction. Perhaps, people will never know in the crazy world of Rock n’ Roll.

Shakespeare in Slumber

To be honest, I didn’t really know what to feel right after watching My Own Private Idaho. It was a bit strange to see modified Shakespearean dialogue in a modern setting, or to see sex scenes portrayed through different postures. But, putting all these elements together, it started to make sense.

With the story of Mike, it’s not really something that’s unfamiliar with audiences. I’ve personally seen the story of the abandoned boy looking for a parent in a bunch of films, with it even being used in films coming up this year. What really made it interesting would be the factor of his narcolepsy. It was really refreshing to see this being used in a film, with the unpredictability and its abruptness coming into the plot. In instances where things would get interesting, such as his encounter with the older woman who hired him and the confrontation with his father, his narcolepsy would serve as a way to end things in its tracks. Narcolepsy could also be seen as a way to further the story, particularly with how Mike would move from setting to setting. Hans would be seen bringing him from Idaho to Portland or he would suddenly on a plane jut arriving at Idaho from Italy. Lastly, it was also used in a random manner, as Mike would suddenly experience it during times between dialogue or between events. It was fascinating to see how this one factor of the character could serve the plot in so many different ways.

It was interesting to see how the element of Shakespeare also came into play. Known to be parallel to the Henry IV play, Scott’s whole storyline would borrow from it. Scott, coming from the scorn of his father as he would interact with the “slums” of Portland, would eventually come back to his family and their prestige by the end and would even reject his old life and old friends. This story of betrayal and social classes would absolutely still work in modern times, which this film showed to its audiences. Despite the backlash that Van Sant, the director, thought his choice may have gotten from audiences, the reception he got showed that he was right to push through with it.

Lastly, with the queer element, it was refreshing as well to see it portrayed in such a different way. With many films focusing on either the raw sexual nature or the pure love that homosexuals share, My Own Private Idaho chose to use both. Depicting both the atrocities and aggression that male hustlers experience from their clients and the pure love expressed by Mike towards Scott, the contrast clearly served a purpose. Just like a heterosexual relationship, relationships within the realm of homosexuality would also extreme poles in terms of the nature of it. There shouldn’t be any taboo against it if it doesn’t prove to have any difference from a “normal” relationship.

In conclusion, the film does prove to express a lot of messages about many ills that society faces today. Homophobia and discrimination against lower social classes are definitely attacked by the elements that the filmmakers chose to use, and audiences are challenged to avoid these prejudices. It was just a bit tough to see this at first I guess, but now I see that it was beautifully done.

The Road to Nowhere

A review on Futureless Things by Kim Kyung-Mook – 172297

South Korea being a nation lacking progressive ideals regarding homosexuality and same-sex marriage, I must say that Futureless Things by Kim Kyung-Mook is the first time I’ve seen two individual of the same-sex kiss on the big screen. Not to mention, seeing Gong Myung and Shin Jae-Ha, Yoo Young and Jung Hye-In, popular actors and actresses known for their appearances in Korean dramas alongside their on-screen partners of the opposite sex, was a complete surprise to me. At least for me, seeing homosexual representation in Korean cinema through Futureless Things was a first that was executed without bias and/or detrimental implications that would further worsen the negative stance of the majority on the subject matter.

outh Korea being a nation lacking progressive ideals regarding homosexuality and same-sex marriage, I must say that Futureless Things by Kim Kyung-Mook is the first time I’ve seen two individual of the same-sex kiss on the big screen. Not to mention, seeing Gong Myung and Shin Jae-Ha, Yoo Young and Jung Hye-In, popular actors and actresses known for their appearances in Korean dramas alongside their on-screen partners of the opposite sex, was a complete surprise to me. At least for me, seeing homosexual representation in Korean cinema through Futureless Things was a first that was executed without bias and/or detrimental implications that would further worsen the negative stance of the majority on the subject matter.

Initially, I had expected an ordinary slice-of-life, or at the least bit, a light film (which to date, I don’t know why I still expect, seeing as the repertoire of films so far have been far from normal). Although, admittedly, going about the film, I struggled to understand the events that were unfolding at first. Futureless Things is a commentary on the lives led by store clerks whom we take for granted. The interactions between the convenience store clerks and each customer is seemingly fleeting and trivial—a give and take relationship purely functioning on the basis of fulfilling quick needs. I can go as far as saying as most teenagers my age barely spare a glance at these employees because I have seen it happen. Convenience store clerks encounter myriads of personalities each day, as depicted clearly in the film. In the case of There is a variety of strange and polite customers, with a frequent dash of racist and rude individuals who mainly judge blue-collar workers on the basis of culture, religion, political, and national contexts. Whether it be relationships of parasitism between the employee and boss, or tense dynamics between employee and customer, Kim Kyung-Mook explores the themes of one’s agency in his film. Quoted in one of the reviews released at the time of the film’s releases:

“An individual is unique and a being has free agency, but a thing is an object without life or consciousness. To be a thing you exist only as a tool for someone else. Kim makes it very clear in the film that everyone that sits behind the counter is merely a tool to be used and then thrown away” (Baylon, 2015).

True enough, portrayed flawlessly in the film is the cynic perspective that all relationships are born out of necessity. The convenience store clerks were not the only ones taken advantage of, and neither are they completely out of fault. As seen in the clerk who had a tendency to slack off and laze around during his shift, there was barely no sympathy and remorse given to the boss and owner of the store who was struggling to make ends meet. To worsen things, he was not even a corporate big shot who owned several franchises and branches of the convenience store chain. He was simply trying to make a living out of the society’s need for products on the instant, and even providing jobs for several minimum-wage workers in need of a job. Instead, it backfired on him, putting his name in debt and causing him to resort to suicide in order to save face. Personally, that scene was so heavy that it moved me to tears, seeing how much he had struggled in the past. Sadly, the lawyer’s plain absence of empathy in the face of an individual’s death—whether it relates to business or not—simply proves the prevalence of commodification in this day and age.

Works cited

Baylon, R. (2015, Feb 6). FUTURELESS THINGS: A Bright, Gleaming Comedy Well-Stocked With Laughs. Modern Korean Cinema. Retrieved http://www.modernkoreancinema.com/2015/02/review-futureless-things-bright.html

Who Needs Reasons When You’ve Got Heroin?

A review on Trainspotting by Danny Boyle – 172297

“Choose life… But why would I want to do a thing like that?”

Trainspotting by English director Danny Boyle has definitely made its way up my list of favorite films of all-time. Upon first viewing of the film, the unabashed rawness of Boyle’s masterpiece kicked me quite in the gut. While the first few films viewed in class were all sort of peculiar, Trainspotting was a wild, untamed ride that kept me hooked in spite of the intense gore and violence, ceaseless smut and vulgarity, and the brazen portrayal of drug addiction. I would say that all the themes found in the movie are definitely not my cup of tea–had we not watched this in class, I would not have ever given this film a chance. However, I am also quick to say that simply judging the film by its disturbing scenes, without giving it much of a chance to redeem itself, would lead one to miss out on one of the greatest films of all-time.

Personally, I believe that what kept me fixated on the film’s story is the complete unreliability of Renton both as a narrator and a decent human being. He seems to have been provided by his parents with everything materially, coming from a relatively middle-class family, but nonetheless still chooses the life of a heroin addict. I must say, the pessimism Renton holds over life have been infuriating at times, considering how many shots he’s had at living a clean, drug-free life. With his parents’ constant support of sending him to rehabilitation, spending thousands of pounds to get him off drugs and heroin completely, coupled with his sporadic episodes of detoxification, it was difficult to comprehend Renton’s character as a whole. Firstly, he had exhibited a desire to get off the drugs; though clearly, it was easier said than done. Here, we understand the great complexities of drug addiction. While some might say that it comes as a choice, it is also important to acknowledge that they are victims of substance abuse that have destroyed millions of lives. Renton’s constant desire to turn his back on heroin is often trumped by the physical and mental struggle of needing the drugs back in his system—and the cycle repeats all over again.Moreover, Renton’s lack of judgment and taste in decent friends exerted heavy influence in his long-time struggle with heroin addiction. And to be fair, Renton is not the best person you could ask for a friend either. While his complexity as an individual frustrated me throughout the film’s duration, I believe that this is what makes him a great character. He rarely follows through with what he says and even deceives his friends without unabashed remorse; as in the case of having stolen Tommy and his girlfriend’s sex tape, leading to a bad breakup which had left Tommy distraught. Instead of dissuading Tommy from resorting to heroin use as a temporary escape from his emotional grief, I would go as far as saying that Renton had enabled his friend’s drug abuse. To put salt on the wound, Tommy was the most decent and respectable one out of his friend group–living a comparably healthier lifestyle than his peers who were heavy users of narcotics. He did not partake in the life of crime and theft his friends lived, but all this was washed down the drain. Due to his crippling drug abuse and his contraction of HIV/AIDS, Tommy had lost all purpose in life brought about by the lack of a health and proper support system. On the other hand, ironically enough, Renton was now clean thanks to his parents’ assertiveness after his overdose which had nearly costed his life. But if there was something Renton had done right in his lifetime, it would probably be his decision to move to London and start with a new slate. If there was something he had done even better, it’d be his choice to take all the money with him and start anew.

Trust the Process?

A review of Hideaki Ano’s Shin Godzilla – 172297

Coming into the second film in the lineup, I had initially heard about rave reviews surrounding the Godzilla franchise starting from its 1954 Gojira origins, to the 2017 animation film. With its mass cult following, Shin Godzilla by Hideaki Ano is set in Tokyo Bay with an unidentified creature wreaking havoc across the districts of Tokyo. The news reaches the Office of the Prime Minister, leaving them to further investigate on the matter before releasing more information to the public–avoiding mass hysteria and panic. Rando Yaguchi, the Prime Minister’s Cabinet Secretary, suggests that it might be a living creature causing all the damage, but he is not believed until several teams of researchers are brought forth to verify such information.

However, as the government-hired researchers work hard on identifying the creature, it is revealed to have been able to stand up. Without much of an earlier heads-up and/or warnings from the government, the people of Tokyo’s Kamata district are unprepared for the destruction that the creature leaves in its wake as it navigates through the urban area. All while time is wasted in confirming and determining the information to be released to the public, the creature makes it away to land. This is a common theme observed throughout the film where, as Godzilla continues to inflict damage to the city, much of the time is spent by the governing body in meetings, following each and every step of the process thoroughly as the creature brings about chaos to society. Such may be considered as Japan’s value for the bureaucratic process, but to which, the public’s needs are compromised due to the painstakingly slow procedures to be followed. In the film, I had personally interpreted that such rigour and strict adherence to the process was made evident through the onslaught of static shots executed in Shin Godzilla’s cinematography. In terms of the film’s technicality, while the film’s overall aesthetic exuded that of elegance and grace in true Japanese fashion, Shin Godzilla was successful in using the audiovisuals elements of cinematography, storyline, and film scoring in furthering the message of bureaucracy even in the face of calamity. The execution had definitely kept me, as a viewer, frustrated at the system at hand, and the uncanny representation of society in the film.

Ultimately, I could not help but compare Japan’s first-world advancements to ours. While Japan “trusts the process” a bit too much, one might say that our national government has downright no respect for such due process, as seen in the thousands killed by the extrajudicial killings prevalent in contemporary Philippine society. Even though such bureaucratic procedures are long-drawn-out, in my belief, I would rather have leaders who possess good decision-making skills and leadership in the midst of pressure and adversity–a far cry from our own national clowns disguised as politicians.

The One-Man Prod

A Review on Steven Soderbergh’s Schizopolis – 172297

As aspiring filmmakers and members of the film industry, I believe that one must keep an open mind before anything else — with the first step being ready to watch films beyond an individual’s established niche in order to extensively grow in this field. I realized, however, having encountered such situation with Steven Soderbergh’s Schizopolis, that this is rather easier said than done. Choosing to leave one’s comfort zone is an act of courage and bravery. By subjecting yourself to such movies in the name of art, I believe that whoever does this is really willing to learn more about the language of film. I am not that type of person.

Schizopolis was a testament to my detrimental habit of automatically shooting down films that I struggle to understand. Admittedly, I was at first skeptical of the film—its premise not exactly my cup of tea to begin with. Schizopolis features the story of Fletcher Munson, a white-collar worker living a life so nonsensical that his daily conversations render futile. Munson’s relationship with his wife is further exacerbated when co-worker Lester Richards passes away, leaving Fletcher to take his job upon his boss’ orders. To complicate things just a tad bit more, a doppelganger is brought into the picture, alongside an exterminator who speaks his own vernacular. Admittedly, I found the film’s storyline hard to follow, having been painstakingly segmented into three parts. Not to mention, the dialogue (specifically, the use of shorthand in most scenes with Munson and his wife) was also a factor that had contributed to my difficulty in understanding the events that transpired throughout the film.

Coming into COM 111, I had already briefed myself to have an open mind about the selection of films to be showed in class. In order to branch out and diversify the skills under my wing, I have to be versatile and learn how to tackle a variety of films — not just what I am used to. As much as I would love to accept and view all the movies in the market, I am the type to quickly disregard a movie if its plot, or some elements/aspects of the film make me uncomfortable in any way. I would barely spare it another glance, unless I had already paid for my ticket, or it was a necessary viewing for class. In other instances, I would not have even given such movies a chance in the first place if I had already heard bad reviews about it, or rumors regarding its content. This, however, is detrimental and a threat to my development/knowledge in film because before I could even learn about something, it is automatically shut down. In fear of having to watch films that make me uncomfortable or sad, I miss out on overall good/exceptional films with a few gory themes due to my blatant bias and ignorance towards films that do not suit my palate. The film, as we all have observed, does not beg to be understood; but rather, appreciated given its experimental nature. While I cannot wholeheartedly admit that Schizopolis is a film that I understood, or enjoyed in the least bit, I would at least like to commend the bravery Soderbergh had exerted in creating such a film. The innate artistry, blatant complexity, and overall courage in experimentation is what truly makes Schizopolis a Soderbergh film.

Repo Man

Repo Man is a film that hooks your interest right from the get-go. The very first scene immediately leaves the viewer wondering about what the movie is about. The cop that popped the trunk open got disintegrated with visual effects that really give off an older film vibe. I really love this aesthetic and it reminded me of the films that people deem to be a classic often recommend online. Repo Man is definitely one of those films.

The story immediately opens up to Otto, the main character, experiencing what may be the worst day of his life. He gets fired from his job and he ends up losing the girl he was with to another punk rocker. However, things, and life immediately changes for Otto when he is tricked by the repo man to aid in repossessing the car that the repo man claimed to belong to his wife. This is the start of Otto’s career as a repo man, where plenty of weird and crazy things happen to him.

As the story progresses, Otto meets Leila, who is a girl that finally gives the audience a glimpse of the movie’s first scene’s relationship is with what is currently happening. Leila reveals to Otto that the Chevy Malibu that disintegrated the cop at the beginning of the film contains aliens, which is why these men in black looking guys were trying to catch her; Leila is connected to the guy driving the Chevy Malibu around.

Because of this the film actually made me think that it was going to be satirical and poke fun at cult-like religions such as Scientology. However, the film offers so much more blind entertainment that just that. The film itself, stripped of it’s satirical take on Scientology, can be seen as something that anyone can enjoy. It is, what I would like to call, a popcorn movie. The film itself could be blindly enjoyed with or without further analysis. I think that’s what I really love about the film; it allows for mindless and entertainment weird enough to keep you hooked and interested to find out what happens.

Be that as it may, the film is so much more than mindless entertainment. It also takes jabs at capitalism and marketing. One of things that might be missed out on if not analyzed further is how the labels of the different items in the grocery store were generic. The soda cans were labeled as “drink”, the tomato juice and the grapefruit juice were also simply labeled as what they are. I think this is really interesting because it made me think about how marketing is able to sell a product that might be the exact same as a generic brand to its customers. This labelling can be seen as the movie making fun of the people who choose to buy name brands because of the value these name brands try to sell with their marketing. I started to remember how my marketing classes taught me the importance of creating value and associating this value with your brand in light of the capitalistic world we live in. Your brand image is key, and perhaps that is also something the movie could be interpreted to be talking about; there are people who purchase things they cannot afford in order to seem like they live a certain life. From that interpretation, the film might be taking a jab at the people who are in the multi-level marketing business – although it might be a stretch.

With that being said, the film offers so much if you truly look into it, but can also be mindlessly enjoyed as a stand-alone without the analysis. Repo Man – a truly entertaining film.

Velvet Goldmine

Velvet Goldmine is a movie that follows the story of the popular musician Brian Slade through journalist Arthur Stuart. In my opinion, the movie seemed similar to Bohemian Rhapsody, which was released in 2018, in the sense that it explores the lives of rock stars and sort of shows the behind the scenes and personal struggles that the stars experience. The film gives us a glimpse of what the glam rock era was like by showing the lives of the musicians Brian Slade and Curt Wild. The film also explores sexual themes, gender fluidity and how fans, such as Stuart, of the glam rock stars Slade and Wild are able to relate to them.

As with Bohemian Rhapsody, one of the things I really like about the movie is the exposé of the lives of the successful musicians. It is definitely an interesting for a normal person to find out what goes on behind the scenes and in the private lives of the super stars that make the music millions if not billions of people listen to. Even if it is exaggerated for the film, the difficulties and pressure artists face even if they are very popular, or all the more if they are popular, is able to show fans that artists also have it tough despite their seemingly perfect lives. At one point, it made me wonder if all successful artists go through a phase wherein they drown themselves partying and doing drugs like cocaine to escape from the pressure of the lives that they live. It is a little bit ironic how the fame that these artists strive for and work toward also put them heavily under public scrutiny and becomes the cause of their public breakdown and stress.

Another interesting similarity from Bohemian Rhapsody and Velvet Goldmine is how both Freddie Mercury and Brian Slade initially marry a woman (Mary Austin for Mercury and Mandy Slade for Brian Slade), then explore their sexuality once they achieve some sort of success in being a musician.

One of the things that I disliked from Velvet Goldmine is the music. I never enjoy musicals or films that contain plenty of scenes that revolve around music. While I understand that this film is meant to be a biographical film about David Bowie albeit not officially, and thus, it has to have plenty of music as that was what his life was about, I still did not enjoy it and found myself bored at times. The only saving grace for the film for me was the different androgynous looks sported by the stars during the glam rock era because it looked really eccentric but also interesting and exciting. You would have a very difficult time looking for, if you are even able to find a pop star that would wear the eccentric look that they sported during the glam rock era.

With that being said, I do not think I would recommend this film to people who dislike musicals and tend to prefer action movies or ones with a complex plot. The weird “twist” or revelation at the end about Brian Slade being Tommy Stone was also not very clear for me. It was heavily alluded to that Tommy Stone was Brian Slade. However, Tommy Stone had a completely different face and build from Brian Slade(given that they are portrayed by different actors), which made me wonder if the film was also alluding towards plastic surgery and perhaps the lengths artists go through to escape their insecurities and public scrutiny.

Schizopolis (1996): Soderbergh refuses to make it easy for you

“In the event that you find certain sequences or events confusing,” Soderbergh says at the start of the film as he addresses the audience, “please bear in mind this is your fault, not ours. You will need to see the picture again and again until you understand everything.”

I was up for the challenge for unpacking any hidden meaning as soon as the film was introduced as weird. I think I gave up well before the 10-minute mark of the film. Not because there was no inherent meaning in Schizopolis, but I suppose Writer-Director Steven Soderbergh (Ocean’s trilogy) would want us to watch it that way. And it’s a lot less frustrating to watch a film like this when you’re not desperately analyzing why Fletcher Munson (Soderbergh) is making those faces in the mirror, or why there’s a pantless man being chased with a giant net. I got less impatient when I relaxed and let the film take me whichever crazy way it wanted to go.

But even with such an unconventional film like Schizopolis, it is consistent with one thing: it refuses to make it easy for you. Opening and ending credits? Nope, you get a black-shirted man with no pants on, chased by orderlies. Act transition cards? Nah, we’ll use house numbers for all three acts. Smooth, natural transitions? No. Deal with whiplash from the jump cuts. You will be taken wherever Soderbergh wants. Dialogue? The film gives you plenty of dialogue alright. Take your pick from husband and wife (Betsy Brantley) exchanging generic greetings, to nonsensical yet seductive exchanges between lonely housewives and an exterminator who’s more than happy to keep them company (‘Nose army?’ ‘Nomenclature’).

Schizopolis could have been a lot simpler: an overworked husband, an under-appreciated wife, growing apart. But Soderbergh just plain refuses to tell this story in any simple, conventional manner. Showing their detachment is Fletcher and his wife speaking to each other in passive, rehearsed didn’t-bother-to-fill-in-the-blanks dialogue. Even their extramarital affair is with each other (or rather with their doppelgängers, played by the same actors). And insert broadcast news clips, a porn parody side plot, and all other shenanigans in between, with seemingly no regard for sequencing. Seemingly.

I find it interesting that Soderbergh’s film falls under experimental comedy, but it surprisingly has more structure than you’d think. It feels more as if Soderbergh was following a strict template or formula, at least one that I can’t understand, but probably makes perfect sense in his mind. Narrative-wise, we know it follows a three-act structure, consistent (although bizarre) transitions, and a recurring play on communication. It seems that there iss a method to the madness after all.