This major new investigative documentary by one of Britain's leading woman filmmakers explores and exposes the decades of militarism, gun culture, toxic masculinity and social unrest that led to the age of Trump.
They come at night and everybody steps out. They light torches and remember those who have walked these streets before them. In the coming hours, the city will be on lockdown: an eclipse appears and meteors start to fall.
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Rikard is an autistic and severely deformed man who was separated from his mother at birth. Thirty years later he is convinced that he will get her back if only he wins the Scandinavian Championship of pétanque. He tries to do the impossible. His fragile physique and a harsh judging environment are not going to stop him. Plus there is a 200 foot giant on his side.
'Bo' Gritz is one of America's highest decorated Vietnam veterans and the media turned him into the real life inspiration behind Rambo. He also killed 400 people, turned against Washington and moved to the Nevada desert where he now sleeps with many weapons. Filmed over ten years using impressive visual material, Zimmerman's portrait of Bo embodies contemporary American society in all its dizzying complexity and contradictions.
This, at times, shocking documentary flows like a stream of consciousness, a fever-dream of cascading and often contradictory ideals--but throughout its duration, a profound anticipatory anxiety, a duress and hopelessness at the ever plodding on parade of images, emerges.
Combining the long-winded ramblings of aging war-hero Bo Gritz, scenes from Rambo (a fictional character whom he inspired), shots from Bo's current life, and actual images from the Vietnam war, the film weaves a narrator-less experience that seems as much about war as it is about how our heroes and icons sour with age and reflection. Bravado for Bo transforms into cruelty, cruelty to doubt, doubt to this endless reflecting, tinged at once by regret/guilt and justification/nostalgia. We watch as Bo alternates between the two-- clearly troubled by the blood on his hands, and on the poised knife he often uses as a symbol for his country, but also unable to regret a life spend walking in the soldier boots of his father.
"I don't want them to haunt me" Bo says of the people he's killed; a few hours after a man used Bo's own gun to commit suicide; but we can see the shadows under his eyes, the hunched tension of his posture. Bo is already a man, haunted.
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