I Blame Society: serial killer comedy satirizes Hollywood
Look at this ooffers movie recommendations inspired by new releases, premieres, current events or sometimes simply our impenetrable whims. This week: 2021 is about halfway through, so we’re looking back at the best movies released this year that we haven’t reviewed.
I blame the company (2020)
Calling a woman ‘crazy’ is a loaded proposition in 2021, and Gillian Wallace Horvat is banking on that. She also taps into the stereotypes of millennials as authorized narcissists and white women as harmless and helpless victims. Mostly, she’s betting the movie industry prioritizes “strong female characters,” “underrepresented voices,” and “intersectionality” – or, as one sloppy trust fund producer type calls it, “intersex. – are fundamentally dishonest. All of these tensions are at play in the messy, inspired, biting black comedy I blame the company, Horvat’s first feature film as director, co-writer and star. In real life, Horvat is a prolific producer and director of short documentaries. But in the film, “Gillian” is a struggling filmmaker who has decided that her last chance for success is to revive what she rather menacingly calls her “me murderer project.”
Shot in a found pictures style, but without pretending that the pictures were actually found, I blame the company recalls the false Belgian documentary of 1992 Man bites a dog, where a film crew filming the activities of a serial killer is seduced by the pleasure he takes in his “work”. The two films are similar in that they both take the personality traits of a psychopath and use them as fuel for dark humor: the Gillian in the film pushes the aphorism to “take risks for your own.” art ”to amoral extremes, and takes all the wrong lessons. pop-feminist empowerment rhetoric. (“Bend over, baby!” She yells, holding her selfie stick in front of her as she decides it’s time to raise the ante.) She also can’t understand why everyone else. becomes so weird when she says she’s working on a movie about the murder of her best friend’s girlfriend and she gets away with it. What if she crawls through Stranger’s Rooms in the middle of the night with a GoPro strapped to her head like a postmodern Manson girl? It’s for his art! As she moans to her boyfriend Keith (Keith Poulson) halfway through the movie, “You don’t think I’ll ever make a movie. You don’t think I could kill someone. You don’t think so. that I can do whatever! “
His personality is off-putting to say the least. But Gillian is very good at one area, and that’s handling people. It’s a bunch of red flags, but she changes the subject so effectively whenever one of them appears that it takes longer than you think to leave her, asking her to promise that “No movie is worth hurting someone” as she walks out the door. (She refuses.) An inexplicable death linked to Gillian is ruled out by an investigating officer once she begins to cry, and the fake suicide notes she leaves at the scenes of her crimes are thrown just for friends and the families of the victims adhere to the ruse. The superficial absurdity of these notes – one woman “writes” that she commits suicide because she is just too pretty to live – targets the vapidity of Hollywood, as does the obnoxious tourist outfit Gillian wears when she is just too pretty to live. goes “undercover”.
But what does I blame the company sharper and more memorable than another disgruntled screed is the fact that Horvat is aiming much of his satire against herself. Some of Gillian’s victims deserve it, but others don’t. And who is this unemployable person to say who deserves to live and who deserves to die, anyway? An artist brought up on her own delusions, that’s who. And to make a low budget movie like I blame the company—not to mention letting the world know about it with the confidence to get anyone to notice it – that’s kind of who you need to be.