Pledge Allegiance: Kleiman’s Intriguing Debut a Fascist Allegory
Sure to draw superficial comparisons to other famed pre-teen assassin films like The Professional (1994) or Hanna (2011), Australian helmer Ariel Kleiman’s directorial debut Partisan instead feels like what you’d imagine Yorgos Lanthimos’ version of The Village (2004) would feel like. Headlined by none other than Vincent Cassel and a cast of Euro accents speaking English, Kleiman and screenwriter Sarah Cyngler concoct a film that’s oddly obscure and perfectly menacing, with an unwillingness to explain itself, recalling titles by Lucile Hadzihalilovic, wherein groups of children are possibly being utilized for insidious means by the adult community. An allegory concerning the oppressiveness of Fascism, Kleiman’s film is also a coming-of-age-tale, spiked heavily with cold-blooded murder.
Opening with an ambient score that recalls Vangelis (utilized once more as a book end to the film), we observe Gregori (Vincent Cassel) in the midst...
Sure to draw superficial comparisons to other famed pre-teen assassin films like The Professional (1994) or Hanna (2011), Australian helmer Ariel Kleiman’s directorial debut Partisan instead feels like what you’d imagine Yorgos Lanthimos’ version of The Village (2004) would feel like. Headlined by none other than Vincent Cassel and a cast of Euro accents speaking English, Kleiman and screenwriter Sarah Cyngler concoct a film that’s oddly obscure and perfectly menacing, with an unwillingness to explain itself, recalling titles by Lucile Hadzihalilovic, wherein groups of children are possibly being utilized for insidious means by the adult community. An allegory concerning the oppressiveness of Fascism, Kleiman’s film is also a coming-of-age-tale, spiked heavily with cold-blooded murder.
Opening with an ambient score that recalls Vangelis (utilized once more as a book end to the film), we observe Gregori (Vincent Cassel) in the midst...
- 9/30/2015
- by Nicholas Bell
- IONCINEMA.com
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