This time, director Michel Frank's The New Order is a critique of today's increasing military control. . . He uses more of a powerful and face-to-face expression to tell stories. One day in Mexico City, on the day of Marianne's (Naian Gonzaléz Norvind) wedding, an ex-employee of her family came to ask for help, when most of the people were indifferent and refused to help. . . Marianne relented, but protests broke out in the city...she was forced to take refuge. However, at this time ZF caught a lot of rich people (including Marianne). . . . .
The New Order tells the story of innocents and ruthless radicals in which the wealthy turn to the needy armed forces to maintain order for survival, and the impoverished opponents execute the ruling class with equal vio--lence. . . . The director expresses concern and condemnation of military power: In his future world, no one is just or pacifist
Rather than 'eating the rich,' the lower classes are continually victimized in a vicious circle whilst the upper echelons inadvertently finance the uprisings which will ensure their own irrelevance and demise. The control of information through violence and propaganda are the tools which usher in the military rule, and rising nationalism can evolve into the totalitarian powers fashioned into the 'new order' of the title by the end credits. Along the way, the narrative intensity and fluctuating empathies ratchet up a tension which eventually wears one down into exhaustion, which may be the point of Franco's overall filmography, many of whom decry as repellant or exploitive.
Well, if you're brave enough, you can turn off the lights on a summer night to see it. . . .
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