Michel Franco
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It’s hardly surprising that the director of The War Zone , itself a harrowing depicting of child abuse (albeit from another quarter), would appreciate Franco’s film.
Frequently misattributed to Plato due to it being featured as the quote that opens Ridley Scott’s Black Hawk Down (2001), the words are in fact those of Spanish philosopher George Santayana, perhaps most famous for penning the famous statement, ‘those who cannot remember the past are condemned to repeat it’.
Shot with roving intensity by Yves Capes ( Holy Motors , 2012), and featuring Franco regular Monica Del Carmen ( After Lucia , 2012), and Dario Yazbek Bernal (one of the unfortunate siblings from his grueling debut, Daniel y Ana , 2009) New Order isn’t likely to win over any of the director’s detractors, but there’s no denying it’s power to impressively disturb and gall its audience by hitting too close to home in its examination of the selfishness of humans and their apparent self-fulfilling prophecy of annihilation.
At first, he does tend to her calls—sharing a conversation in one beautifully composed shot of many, while bathed in a soft red light that straddles only a portion of the frame’s center (courtesy of New Order, Holy Motors and Zombi Child DP Yves Cape).
People who've thrown away precious chunks of their lives on more recent films like, oh, Charlie Kaufman's "Synecdoche New York" or Nicolas Winding Refn's "The Neon Demon," are probably still ruing the time they wasted on those sorts of pictures.
Like Bong Joon-ho's Oscar-winning masterpiece Parasite, Michel Franco's New Order allegorises a clash between the haves and have-nots.
Though after Bong Joon-ho’s Best Picture-winning Parasite became a global phenomenon, there’s perhaps never been a more receptive audience for films depicting a breakdown of unsustainable social contracts.
“New Order” invokes comparisons to Kubrick at his most dyspeptic; it’s also been likened to Bong Joon-ho’s Oscar-winning “Parasite,” a comparison that does no one any favors.
Nuevo Orden no se acerca al fino análisis de clase que hizo Parasite de Bong Joon-ho, porque no logra desarrollar de forma creciente la tensión insoportable entre ricos y pobres para explicar un asesinato.