Dust is set in a dystopian world where most of humanity lives in walled cities to protect themselves from a chaotic environment where evolution occurs at breakneck speed, creating organisms which can be a deadly plague or miraculous medicine. It’s the job of a tracker to document the changes and, with the help of a black-market merchant, find a cure to save the society which he rejected.
“Zoom” (2015) is a hybrid film on many levels. It’s a Brazilian/Canadian comedy/drama mixing live action and animation directed by Pedro Morelli. The plot is split between three narratives involving comic book artist Emma Boyles (Alison Pill), novelist Michelle (Mariana Ximenes), and film director Edward Deacon (Gael Garcia Bernal). Each exists in parallel realities which become increasingly intertwined as they come together in a metafictional conclusion.
We cannot help but feel a hunger for authenticity, honesty, spiritual solace and human connection, but these are precisely what is scarce in our social and economic structure.
There is a tremendous amount of pain in our society. There are many sources of this pain: the emotional desertification of dysfunctional families, the knowledge that we don’t fit in and never will, a widening disconnect between the narratives we’re told are true and our experience, and a social and economic structure that tosses many of us on the trash heap.
The lifestyle we’re told we need to be happy is unattainable to many, and disconcertingly unsatisfactory to the top 10% who reach it.
We cannot help but feel a hunger for authenticity, honesty, spiritual solace and human connection, but these are precisely what is scarce in our social and economic structure.
The process of awakening has many paths. For some, the path starts with the incoherence of official explanations and narratives. For others, it’s the inner search for truth via psychotherapy or spiritual practice.
For some, it’s an investigation into the way our economic and political hierarchy function. For others, art is the starting point: a film, a novel, a comic, a song.
For many of us, it begins with this simple but devastating realization: I don’t fit in. I don’t fit in, have never fit in and never will fit in. I play along because it’s easier on me and everyone I interact with to do so, and I value my independence which means I have to find a way to support myself. That is difficult, as what I like to do has little to no value in our economy.
What interests me is how the epidemic of pain and alienation that characterizes our society is the direct result of how our economy and social order is structured. Incoherence, self-destruction, pain and alienation are the only possible outputs of the system we inhabit.
I recently had an amazing free-form 1:50 hour conversation on these topics with New Zealand talk-show host Vinny Eastwood. Any conversation that stretches from the erosion of community to loneliness to Daniel Ellsberg to Marx to Taoism to alienation to Michelangelo Antonioni and on to the process of awakening is amazing in my view.
My conclusion may strike many as radical, but to me it is self-evident: the primary source of the rot, insecurity, inequality and alienation of our society is the way we create and distribute money, which is the conduit for creating and distributing political power.
If we don’t change the way money is created and distributed, we change nothing. Money = power. If we don’t devise a form of money that is beyond the reach of central banks and states, all “reform” is just window-dressing, simulacra of “change” that simply solidifies the system’s bogus claim of being reformable.
Cryptocurrencies are in their infancy. There will be many more iterations of Cryptocurrencies beyond bitcoin and Ethereum; recall that bitcoin went public in 2009.
There are security challenges with cryptocurrencies, and the potential for central-state meddling via backdoors in computer operating systems. But once we understand that community and the potential for a less toxic society and economy are crippled by the centralized structure of the state and its money, then there is no way forward but to develop structures of money, work, community, purpose and meaning that are outside the direct control of the state and central bank.
This sort of “crazy talk” is unwelcome. As I noted earlier this week on my chart of the Ministry of Propaganda, in the status quo, skepticism is always a conspiracy or a hoax.
So instead we consider an exploding opiate epidemic, an epidemic of obesity and metabolic illnesses, a discourse of inchoate rage and a Grand Canyon-sized gap between what we’re told is true and what we experience as true “normal.” These things are not normal; they are manifestations of a system that can only generate one output: self-destruction.
We live in a time of great uncertainty and confusion. Events keep happening that seem inexplicable and out of control. Donald Trump, Brexit, the War in Syria, the endless migrant crisis, random bomb attacks. And those who are supposed to be in power are paralysed – they have no idea what to do.
This film is the epic story of how we got to this strange place. It explains not only why these chaotic events are happening – but also why we, and our politicians, cannot understand them.
It shows that what has happened is that all of us in the West – not just the politicians and the journalists and the experts, but we ourselves – have retreated into a simplified, and often completely fake version of the world. But because it is all around us we accept it as normal.
HyperNormalisation
The film has been made specially for iplayer – and is a giant narrative spanning forty years, with an extraordinary cast of characters. They include the Assad dynasty, Donald Trump, Henry Kissinger, Patti Smith, the early performance artists in New York, President Putin, intelligent machines, Japanese gangsters, suicide bombers – and the extraordinary untold story of the rise, fall, rise again, and finally the assassination of Colonel Gaddafi.
All these stories are woven together to show how today’s fake and hollow world was created. Part of it was done by those in power – politicians, financiers and technological utopians. Rather than face up to the real complexities of the world, they retreated. And instead constructed a simpler version of the world in order to hang onto power
But it wasn’t just those in power. This strange world was built by all of us. We all went along with it because the simplicity was reassuring. And that included the left and the radicals who thought they were attacking the system. The film shows how they too retreated into this make-believe world – which is why their opposition today has no effect, and nothing ever changes.
But there is another world outside. And the film shows dramatically how it is beginning to pierce through into our simplified bubble. Forces that politicians tried to forget and bury forty years ago – that were then left to fester and mutate – but which are now turning on us with a vengeful fury.
“Wing Chun” (1994) is a martial arts comedy directed by Yuen Woo-Ping (True Legend, Iron Monkey) starring Michelle Yeoh and Donnie Yen. Loosely based on a true story, the film tells the story of Wing Chun (Yeoh), a talented kung fu master who lives in a mountain village with her father, sister and aunt. After rescuing a widow from bandits, she must defend herself and her village while dealing with drama related to a childhood friend Leung (Yen), who returns after many years of studying kung fu.