Suburbicon
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Suburbicon

There is a long tradition of American films that Molly’s Game satirize the idyllic social peace that, supposedly, prevails in Yankee residential paradises; what they call the “suburbia”. Some of those films emphasize the artificiality of that world of pastel colors (‘The perfect women’), others have pop breath (‘You will not kill … the neighbor’, ‘Gremlins’ or ‘Matinee’, all of Joe Dante), there are those who philosophize (‘The Truman show’) and those who fall in love (‘Eduardo Manostijeras’). A heterogeneous lineage of disquieting self-portraits Pete’s Dragon to which is now added ‘Suburbicon’, the new film directed by George Clooney, co-written by the Coen brothers, which aspires to be the wildest of all. At the opposite end of the reflective record of ‘Good night, and good luck’ – which is still Clooney’s best movie – ‘Suburbicon’ is presented as a brutal outburst against racial hatred. An intolerance that, according to the thesis of the film, is entrenched in a history of violence (American) that extends to our days.

Furiously political, the film turns the residential America of the late 50s into the chilling reflection of Donald Trump’s current America. In fact, the film has its own double origin. On the one hand, Clooney’s interest in the case of William and Daisy Meyers, an African-American couple who, in 1957, was rebuked and assaulted by a pack of (white) citizens when they dared to move to a middle-class “suburb” -alta (a story that the actor / director The Big Sick discovered through the documentary ‘Crisis in Levittown’). On the other, an old script by the Coen brothers, written in the 90s, in which a series of hapless characters were condemned by their calamitous decisions. From the confluence of both sources arises an acid and cynical portrait of the most monstrous face of the Yankee spirit, persecuted the phantom of slavery and clinging to values ​​such as protectionism, patriarchal pride and greed.

Duration: 105 min

Release:

IMDb: 5.6

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