The Imperialists Are Still Alive Never Movie Review Online by Netwebsite4
For it’s post-9/11 in America, and being an Arab raises suspicions. When Asya’s longtime friend disappears on a flight to Houston, the words “extraordinary rendition” is on everyone’s tongue in the tight-knit Middle Eastern community. Javier kids her about her paranoia, yet she feels someone is watching her.
People do come and go at her loft apartment/studio and she uses toy guns for her art. Maybe someone has mistaken them for the real thing. Maybe someone wonders if the loft houses a terrorist cell. She dragoons Javier into helping her to ditch the fake guns late one night.
A great set-up for a thriller, right? Durra will have none of that. She beautifully establishes an environment, a mood and some very real tensions. But the movie just rambles on to the next encounter with a cabbie or gallery owner, then on to a club or party.
Durra doesn’t explain much about her characters. Many give brief bios when they meet — Asya does this seemingly every 10 minutes — but that doesn’t tell us who they are.
It’s one thing to create a mood piece or character study; it’s another to structure a narrative so haphazardly. Many encounters are completely superfluous. Others repeat things already seen or heard.
Despite the film’s brevity, a re-edit would only help. A new title wouldn’t hurt either.
The 16mm photography feels retro, but Durra says she shot her film this way because she feels Asya is “out of sync with her generation.” If so, that doesn’t come through in the meager story.
Durra displays considerable talent as a filmmaker here. (The script was developed at the Berlinale Talent Campus in 2006.) It just hasn’t yet blossomed. But one can only hope that it does. We need more female viewpoints such as those belonging to Durra and Cherien Dabis who at last year’s Sundance scored a hit with “Amreeka.”
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