Film

Fable Feels 'Blind' to its Own Illogic


Blindness

Director: Fernando Meirelles
Cast: Julianne Moore, Mark Ruffalo, Gael García Bernal, Danny Glover, Alice Braga
MPAA rating: R
Studio: Miramax
First date: 2007
UK Release Date: 2008-11-28 (General release)
US Release Date: 2008-10-03 (General release)
Website

Before Star Wars, serious science fiction survived on the allegorical. Take a typical situation, instill it with some sort of out of this world premise, and watch as humanity races toward its own prophetic self-destruction. Children of Men did it with infertility. Soylent Green offered up environmental catastrophe, food shortages, and roundabout cannibalism. And now comes Blindness, offering the title affliction as yet another way of undermining the social order and illustrating the standard dystopic notions of power corrupting basic moral principles. One expects more from City of God/The Constant Gardener filmmaker Fernando Meirelles, and the source material (from Nobel Prize winner Jose Saramago). Sadly, what we wind up with is a puerile, preachy mess.

In a nameless metropolis, random citizens begin to go blind. The government's reaction is swift and uncompromising. While scientists gather to investigate the cause, the afflicted are rounded up and placed in an abandoned asylum. There, they must fend for themselves, creating their own sense of order and means of survival. In Ward One, an optometrist and his wife find themselves caring for a ragtag group of individuals. They have a secret from the others, however. She can still see. As civility devolves into chaos, the patients in Ward Three, led by a power mad bartender, begin demanding servitude from the others. At first, it's financial. Soon, it's sexual. As anarchy reigns, it is up to the only person with sight to strategize a way out of this living Hell. If she can't there may be no hope for humanity after all.

There is a precise moment when Blindness goes wonky, a single sequence that shows how unrealistic Meirelles plans on playing with this metaphoric material. As the asylum slowly fills up, the director dissolves between a shot of a scruffy hallway, and a corridor riddled with urine, feces, and other types of human waste. It's the before and after, the shocker that provides the first indication that this movie is not going to pussyfoot around the realities of the civilized losing their grip on the basics of being people. As unnamed characters wander in and through their own filth, the notion that all sense of hygiene and propriety would be lost is sledge-hammered over our head relentlessly. By the time a fat lady is shown lounging, pimply body bereft of a single stitch of clothing, we're supposed to suspect the worse. This is how the world ends - in a river of offal.

And that's exactly what Blindness delivers - 30 minutes of basic bookend apocalypse followed by a middle 90 of nauseating repugnance. Coping skills cranked down to zero and left to rot by a republic hellbent on playing concentration camp, all allusions are tossed aside for endless sequences of sleaze and self pity. Julianne Moore, relegated to a saint in sighted garb, does all the dimensional duty here, while cast mate Mark Ruffalo (as her eye doctor husband) gets to feel severely sorry for himself. Both Meirelles and author Saramago have stated that the title illness is not meant to be taken literally. Instead, thanks to its described milky whiteness, it's supposed to suggest the loss of detail and definition, not a plunge into total darkness.

Yet that's exactly what this movie does, time and time again. Desaturating the image to suggest the sterility of contemporary life as San Paolo steps in for Anywhere Earth, our director begins things with a criminal taking advantage of our first victim. Soon, a hooker is humiliated as her nakedness is ignored by those looking down on her profession. By the time we get to the loony bin, and Gael García Bernal has turned into Jack from Lord of the Flies, everything is dim and grimy. Even the mass rape scene, with the ward women submitting in return for promised food, is photographed in deep shadow - perhaps for ratings reasons, or to heighten the imagined horrors in the mind's eye. Meirelles clearly wants the audience to experience what his characters are going through. Unlike the controlled artistry of Julian Schnabel's similarly styled The Diving Bell and the Butterfly, however, Blindness has no rationale for its scattered stylistic approach.

Indeed, the entire film reeks of the illogical. No one ever comes to the detainees' defense. Their quarantine might as well be a human landfill. The rest of the world disappears so rapidly that you wonder why some nation didn't just nuke everyone else as a precaution. When they finally escape, our refugees face little threat from the outside mayhem, as if only in the closed confines of their camp would power mad people try and control everyone else. And let's not even discuss the moment when our heroine and her husband discover their home - clean, untouched, and capable of a certain level of creature comforts. You can tell Saramago had a lesson to teach with this material. Blindness may have been a screed against finding meaning through your eyes only. But Meirelles messes it up so badly, we can't support the sophism.

In truth, it all becomes a matter of acceptance. There will be those who find this film as insightful about the human condition (and its easy of corruptibility) as anything since the aforementioned William Golding masterpiece. Others will sniff out its implausible pretensions and grow aggravated quickly. Perhaps a more subtle hand would have helped sell this literal lesson in the blind leading the blind. Maybe no adaptation could bring to life what Saramago suggested on the page. Whatever it is, Blindness cannot succeed as either entertainment or epiphany. Instead, it’s an unpleasant experience magnified by the arrogance inherent in its sense of self-importance. Currently, there is controversy over the depiction of the sightless in this film. Those who dismiss the claims forget one thing - the most reprehensible character in the entire third ward is someone who was actually born blind. That they 'overlook' such symbolism is par for this movie's preachy, distasteful course.

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From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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