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DIRECTED BY: Dana Ziyasheva
FEATURING: Arman Darbo, Chloe Ray Warmoth, Jackie Loeb, Nick Moran,
PLOT: On his fifteenth birthday, Ulysses must live up to his namesake when his friend Ugly Duck is exiled to Repentance island.
WHY IT MIGHT JOIN THE APOCRYPHA: This is the only film I’ve seen that could hold its own on a double bill with Alien Crystal Palace. For those (many) of you who haven’t seen ACP, read on and I will attempt to explain…
COMMENTS: Early on in GREATLAND, an elite team of enforcers known as “The Optimists”—a flash-gay, scantily clad group of glamboyant men, one of whom is armed with a weapon decorated with shimmering hearts that reduces its target to sequins—vaporize an ancillary character. This man’s crime? He “invaded and contaminated the most sacred part of a woman,” and compounding that offense, he raised that crime’s result—his daughter, Ugly Duck—in an altogether “stone age” kind of way. Yessir, we’ve reached a post-post-post-modern future in GREATLAND, one in which there is no permitted gender or racial identity, and society seems to be tipping into no identifying as species, either. The citizens of Greatland are allowed to know only love, acceptance, and positivity.
The film’s first act seems to be an anti-progressivist screed, a reducto ad absurdum commentary on the destruction of traditional norms (gender and otherwise). An all powerful “Mother” program monitors the childlike populace with the firm-but-benevolent hand found in many dystopian visions. This film doesn’t seem like it could have been authored by your stereotypical reactionary, however. The satire is too spot-on, from the gloriously flaming gayness of the forces employed to maintain order, to the hyperkinetic “political” broadcasts featuring a wheelchair-bound, pansexual emcee who oversees the current contest for the official “Sweetheart of Greatland” (the contestants are a Dobermann Pischer and a Persian Cat).
Above and beyond the madness of its setting, this is a story about Ulysses (an altogether impressive Arman Darbo) and his pursuit of the invisible man’s daughter. GREATLAND works, mostly, as a quest narrative. Mostly. Just as it works, mostly, as a satire. Mostly. Around the halfway mark, we see a bit of the “outside world,” which starts to make some sense. “Greatland” is some kind of social-experiment-by-way-of-enslavement for the financial benefit of the inventors and propagators of the city in question. However, a minor application of logic makes this element crumble to pieces, as well. Dipping her fingers into so many subversive pies, Dana Ziyasheva ultimately upends the massive dessert tray she’s put together.
Does this make GREATLAND weaker than it could have been? Possibly—but it’s much better than my strained metaphor. The lumps of damaged pie filling and cracked crust still manage to sate both the eye (dystopia is rarely this colorful) and the psyche. The final note I made while watching this movie is an entire page covered with a question mark. A logical mind cannot hope to wrap this all together. But after finishing GREATLAND, bewildered though my reason was, I couldn’t deny the unpleasant lump in my stomach. Something dark and strange is happening in this movie, and its structural chaos and contradictions are perhaps part of the overall message. Ziyasheva seems to be saying we are doomed to terrible absurdity. Or perhaps she’s just having us on.
WHAT THE CRITICS SAY:
“…(too) ambitiously weird… If GREATLAND is an allegory (and I have no doubt it is), I couldn’t tell you what it is trying to say or represent… As a simple fantasy romance, the film is perfectly engaging, but the society is way too bizarre (yes, even for me) and once the politics is introduced it becomes truly nonsensical.” -Alix Turner, ReadySteadyCut.com (contemporaneous)