Agitational left-wing diatribe or fantasy about a mostly lesbian women's army confronting the compromised "in-name-only" socialist government of the United States (there is a sort of bubbling-under anarchist sentiment in here).
Yeah, you know what, it's a little out there, just run with it.
My attention kept drifting because I felt this obsessive need to get into the filmmaker's head. I get, I suppose, radical socialism and I get radical feminism. As a straight white...dude...I guess I have trouble understanding radical lesbianism. I couldn't figure out why, given the fairly ludicrous premise for this movie, a women's army such as this would be "mostly lesbian." Is it because the people who conceived of this film were lesbians and this was kind of a political fantasy of theirs, or was it a comment on radical feminism, that only lesbians (for reasons I don't understand but kind of want to - if this is indeed the case) would be militant enough to get it together and get down to business? Or was it that the feminist struggle of the time resembled this in some way? I am, quite obviously, not the audience for this movie, but I'd be lying if I said I didn't find it interesting. The politics here are inescapable and unavoidable - if you can't tolerate the Left's extended cinematic trips (and this is one long one), you're not going to make it through - there's not much else to glom on to. It is impossible to suspend disbelief (or was for me), especially considering this film is really a polemic thinly disguised as a fictional drama. And I don't mean that as criticism. It is what it is. This film is about ideas, and it doesn't equivocate.
The movie does have a (genuine) punky, indie, underground feeling to it that might appeal to some who otherwise wouldn't be interested in something this ideological. The soundtrack is interesting and kind of weird. Not *quite* punk but not quite anything else either (which maybe makes it more punk, I don't know.) Oh - I disagree with other comments that this movie is somehow confused or unfocused. It's not. If anything, it is as subtle as a sledgehammer. I mean, I, for one, know *exactly* where the filmmakers stand. The plot seems to be fairly logical, if strangely paced.
This film is low budget (and wears it on its shirtsleeve), rough around the edges, and frankly I think this movie would be a complete failure if made with a big budget - if for no other reason than a large budget would sabotage (through overproduction and glossiness) the undeniably radical position the film takes. Possibly the film's most compelling attribute it is that it is wholly uncompromised (for comparison see The Spook Who Sat By The Door - which is not as low budget, but is similar in its revolutionary fervor).
In any case, this movie is not for everyone. The summer blockbuster crowd isn't likely to enjoy this, and I doubt those on the right side of the political spectrum are likely to make it through (though I can imagine some of them, maybe, rubbernecking in a voyeuristic way - "so this is how the other half lives, eh?").
Oh, and it ends with the World Trade Center being bombed (well, the transmitter on top), and Eric Bogosian shows up and has exactly one line, and I guess that's worth seeing if you're a Bogosian fan (I am).
Anyway -- recommended, with strong reservations. If you like double meat and cheese on your ideological pizza, you'll probably dig this, or at least find it worth your time.
Yeah, you know what, it's a little out there, just run with it.
My attention kept drifting because I felt this obsessive need to get into the filmmaker's head. I get, I suppose, radical socialism and I get radical feminism. As a straight white...dude...I guess I have trouble understanding radical lesbianism. I couldn't figure out why, given the fairly ludicrous premise for this movie, a women's army such as this would be "mostly lesbian." Is it because the people who conceived of this film were lesbians and this was kind of a political fantasy of theirs, or was it a comment on radical feminism, that only lesbians (for reasons I don't understand but kind of want to - if this is indeed the case) would be militant enough to get it together and get down to business? Or was it that the feminist struggle of the time resembled this in some way? I am, quite obviously, not the audience for this movie, but I'd be lying if I said I didn't find it interesting. The politics here are inescapable and unavoidable - if you can't tolerate the Left's extended cinematic trips (and this is one long one), you're not going to make it through - there's not much else to glom on to. It is impossible to suspend disbelief (or was for me), especially considering this film is really a polemic thinly disguised as a fictional drama. And I don't mean that as criticism. It is what it is. This film is about ideas, and it doesn't equivocate.
The movie does have a (genuine) punky, indie, underground feeling to it that might appeal to some who otherwise wouldn't be interested in something this ideological. The soundtrack is interesting and kind of weird. Not *quite* punk but not quite anything else either (which maybe makes it more punk, I don't know.) Oh - I disagree with other comments that this movie is somehow confused or unfocused. It's not. If anything, it is as subtle as a sledgehammer. I mean, I, for one, know *exactly* where the filmmakers stand. The plot seems to be fairly logical, if strangely paced.
This film is low budget (and wears it on its shirtsleeve), rough around the edges, and frankly I think this movie would be a complete failure if made with a big budget - if for no other reason than a large budget would sabotage (through overproduction and glossiness) the undeniably radical position the film takes. Possibly the film's most compelling attribute it is that it is wholly uncompromised (for comparison see The Spook Who Sat By The Door - which is not as low budget, but is similar in its revolutionary fervor).
In any case, this movie is not for everyone. The summer blockbuster crowd isn't likely to enjoy this, and I doubt those on the right side of the political spectrum are likely to make it through (though I can imagine some of them, maybe, rubbernecking in a voyeuristic way - "so this is how the other half lives, eh?").
Oh, and it ends with the World Trade Center being bombed (well, the transmitter on top), and Eric Bogosian shows up and has exactly one line, and I guess that's worth seeing if you're a Bogosian fan (I am).
Anyway -- recommended, with strong reservations. If you like double meat and cheese on your ideological pizza, you'll probably dig this, or at least find it worth your time.