The earthly material manifestation of humankind is termed a biped in possession of organs that endow each individual member of the species or so the current religion of Science reminds them all. The context of self-realization at the end of a figurative pendulum swinging back and forth between different poles of individual awareness and different forms of group and biological identities. The most major division being what was once termed simply male or female. Given the notion of the progression of physical change of the organism measured against the events that it participates within either passively or by simple commission there is the measure of something abstract called time. The peculiar penchant for the recall of what is termed the mind to allow a any given event to persist in terms of the cognitive appreciation of one being stored collectively is known as memory. Without going on and on this current sensibility of mutually accessible experience by virtue of what are termed the five senses is offered as reason. Reason supposedly the cornerstone of large diverse echelons of humanity by skill and usefulness which organized as a unit is considered a society. The forward looking goals of the wheel for further organization and security seemingly ever at odds with self-serving animal goal of the individual cogs. The modern terms History, Sociology, and Psychology in light of Science as a ever-present point of view serving the goals of Society most times in terms of the notion of Politics. The definition of politics being the whims of those who make the rules that all others are compelled to follow ultimately through force. This long windy very inadequate explanation leading only to one very over-evident fact in terms of prevalent phenomena. That the live of ‘intelligent‘ human beings is a constant struggle for freedom versus social control. Thus we are offered the political film that takes a specific narrowed point of view and recreating the filmmaker’s vision of humanity in the sense of their notion of society alternately under control of others in contrast ultimately by their own control of the film.
The film entitled, Zama, by the female Argentinian director, Lucrecia Martel is a microcosm of a larger political virus that is currently competing to overwhelm what was once the reigning social order. An order that in the self-empowering jargon of this new competitor that is corrupt and needs to be deposed. The longstanding social culture targeted being Western European male or ‘white male‘ for short. The focus of the drama being both villain and protagonist. Those identifying with the targeted social order being personified by him and all others by virtue of inference being his victims. The victims posed as females and males of a divergent ethnic affiliation. Essentially a chess board of ‘black’ and ‘white’ characters whose goals are ever at odds. The premises being that the ‘white‘ players are inherently aggressively determined to ultimately destroy the ‘black‘ players. In terms of the larger struggle of modern politics this production essentially being a foil for the battle of one group to overwhelm what its leaders have determined are all other rivals that stand in its way of acquiring overwhelm unilateral control of humanity at large. In the old jargon of European society, “The pot calling the kettle black!” The means of effecting this onslaught being to indoctrinate through the thin soup of intellectual indoctrination over-layered with constant animal stimulation. The higher function of the average human brain with what is very loosely referred to as modern education. The cervical with image based provocative situations on film in this particular case. The modern contemporary death cults of Feminism, Socialism, and Marxism for the mind. The portrayal of constant casual violence and humiliation visited upon all characters for the stimulation to raw nerves for the other! The film alleging by virtue of a stilted aura of the cult of modern sciences of Sociology, Psychology and History, that the ‘white‘ players are irredeemably corrupt and the ‘black‘ players are justifiably unaccountable in any act that might be seen as correspondingly improper.
The scant details about the background of Martel as a filmmaker proclaim her other two previous films, La Cienaga (trans: The Swamp) and The Headless Woman. Both plots seemingly structurally similar in they portray a pessimistic view of what was up to now considered regular society descending to madness and despair. Perfect dismal vehicles for unconsciously defaming what is considered in the modern Left Wing jargon as old white culture as no longer useful being corrupt and inept. The values and customs of what has been purported to be in force for some two-thousand years offering in the opinion of the filmmaker nothing but unrelenting misery to all members of that bankrupt society. The fact that the director comes with high marks from what are the most currently prolific critics and seems lionized by the milieu of young modern (Leftist) intellectuals smells of her being the classic ‘fellow traveler‘ in the Marxist sense of same at best. Int he more extreme sense an insurgent who like Globalist George Soros, wishes to completely destroy current society and salt the earth under its ruins. Depending on what side of the argument one might be on she is given a heroes welcome or despised as yet another seditious revolutionary.The fact that this plays in a contemporary art house itself a subsidiary institution under the banner of an elitist university whose tuition is accessible to only a select group from higher income brackets seems telling in itself. The offspring of the enfranchised privileged culture of tyranny are being indoctrinated by the foreign tongues that their forebears supposedly singled out for colonial exploitation. Essentially the textbook experience of Communist indoctrination ala Trotsky, Lenin and Marx Consider further that the realm of the art film like opera is a toy of the upper circles of society whose funds are needed to oil the many divergent exercises in cinematic creativity that run far afield of Hollywood mainstream entertainment. That institution itself today being extreme far Left and morally antagonist to what is currently considered the failing majority of the nations population in traditional ethnicity and values. This medium of film in both realms being dogmatic propaganda to harangue rather than entertain or inform.
It seems that anyone who might have been alive before nineteen-nineties would have some sense of a different perspective of life where constant contention by subdivision into fractious identities was not supported or considered desirable. The milestones of public events both staged and legislated suggest that the fiercely debated arguments of earlier eras implying that champions of social concepts that were foreign and antagonistic to the mainstream population were dangerously threatening their way of life. The current sense of orchestration of event after event by an overbearing rogue power structure that only heeds its own financial self aggrandizement over the wishes of the populous that it subtends. This cartel attempting to support a society that they base upon constant demoralization by relentlessly cynically political art forms inspiring guilt and fear being nothing more than psychological warfare in the most classic sense. The perpetrators counting on a clandestine access to the institutions of prevailing society so that they can wreck them anonymously by scapegoating ‘strawmen‘ and from the unsuspecting ranks of the middle. The age old strategies of identity groups that have persisted over the millennia far past their targeted rivals most likely to blame. The filmmaker’s movie offering those not still indoctrinated by the narcoleptic encephalitis of contemporary Cultural Marxism might see its content as a wake up call that the cultures of the rest of the world to annihilate them. And perhaps even take measures to counter these types of culturally subversive exercises in poorly masked posing as socially redeeming? Given the cyclical nature of the larger most factual context of world history the present course will only result in an even more traumatic replay of the political excess of societies as managed by Stalin and Mao.