>>5976505Alex Garland remade that level from Call Of Duty where you assault Washington DC, I just watched it the film is fairly good, it is literally Escape From Tarkov the film crossed with some sort of Jack Kerouac road movie.
Susan Sontag once wrote an art essay about how everything existed to be turned into a photograph. Nowadays, everything exists to be turned into Call Of Duty.
Imagine you are playing some urban CQB first person shooter like Call of Duty or Tarkov, you are really getting into it, you are hiding behind a pillar, you have smoke grenades and your cool AR15 holo sights attachments and your tactical gear, but then all of a sudden you realise you constantly have the haggard and constipated face of Kirsten Dunst looking at you, she is just there following you behind you all the time looking a bit dirty and unwashed, just very worn and wrung out and ghastly, this would utterly ruin your videogame experience.
This is in fact the most terrifying summary of the catastrophic apocalyptic downfall of America, Kirsten Dunst is no longer capable of making herself look attractive. So that is basically the film, some people from Hong Kong get shot after they overtake America, as in a car that overtakes America maybe that is another China-US relations metaphor. There is a really cosy happy refugee camp stadium scene, I could not help thinking of the Escape From LA John Carpenter stadium scene, I guess Alex Garland in contrast wants to convey the message that refugee camps are happy and good. The film has some weird music like the forest fire bit, it is mostly ok. There is an explanation for why the film does not have a lot of smartphones (in fact they do show an interesting analogue film development / digital phone display scene) but I couldn't help thinking that the war journalism of today is mostly user-generated content, there is no gatekeeping by Reuters journalists when you can click on /pol or /gif for some gleeful Haitian cannibal self uploaded footage, maybe that is why Kirsten Dunst looks a bit ugly tired and sad, no need for white lady journalism curation. In fact there is even a flashback scene in the film where she remembers photographing a sort of Haiti or Brazilian ?? looking atrocity scene (it is a man looped in car tires and set on fire, a sort of cartel type punishment) I watched that scene perplexed at how this savagery occurred with a convenient white camera lady standing by innocently to document it, no sexual violence whatsoever, but Kirsten Dunst is ugly now, so I suppose it makes sense
