METAPHYSICAL MOVIE REVIEWS
from Robert Tobin
TWO MOVIES: “Black Bag” & “No Other Land”
In “The Celestine Prophecy” as well as in quantum physics, it is suggested that what we perceive as coincidence or serendipity is actually synchronicity.
This conclusion is less ignorable after seeing “Black Bag” and “No Other Land” on the same weekend when a New York Times op ed column* acknowledged the Covid virus originated in a Wuhan bio-lab.
“Black Bag” is a spies-spying-on-spies thriller unfolding in the current-day. It studies how personal interests intertwine with institutional investments and international intrigues to produce effects completely un-anticipatable and potentially devastating. I leave it to you to see how that turns out, and instead highlight its underlying – pun intended – cautionary tale about how secretiveness fertilizes the seedbed in which the likelihood of deceiving oneself and others grows ever larger.
Those in the so-called “intelligence” community are admonished not to tell even their own spouses where they’re going or what they’re doing, keeping all such information hidden in their ‘black bag.’ This not only gives the movie its title; it also exposes the outer limits of a shared human aspiration: complete freedom. This film’s protagonists eventually find the apparent advantages of unaccountability are accompanied by a loss of genuineness that exposes vulnerabilities at life’s surface and inhibits experiences of richness at its depths. While often seemly ill-advised, this movie reminds us that honesty really is the best policy in personal, organizational, and international relationships. Commitment to its value shapes the morality which assures it.
The consequences of such scruples’ absence are vividly illustrated in “No Other Land.” This documentary introduces two young journalists living a half-hour apart and a world away. One has no voting rights and zero mobility while living under military law; he is one of countless Palestinians being forcibly displaced by expanding Jewish settlements. The other has voting rights and unrestricted travel privileges while living under civil law; this Israeli is one of hundreds of thousands of protesters in his own country and millions around the world who condemn antisemitism without endorsing Zionism and defend any nation’s right to self-defense while opposing the genocide of its declared enemies.
Jiggling hand-held camera shots, dramatic in-your-face confrontations, and quiet conversations convey a West Bank Palestinian community’s experience in the decades before October 7, 2023, when Hamas terrorists killed 1,189 Jewish concert goers, injured more than 7,500, and kidnapped 215. Seeing that horrific attack as unconscionable is just as important as understanding it did not arise out of nowhere.
Exactly where is this “other land” to which they were being asked to relocate, asks a mother whose son has just been shot by soldiers waving demolition notices for homes bulldozed even as new construction permits elsewhere were being denied and building tools seized. Equally poignant was the young Israeli’s increasing helplessness in quelling his Palestinian collaborator’s hopelessness as their efforts to mobilize public concern fail to ease legal indifference and military intimidation. Desperation erodes trust and allegiance among friends, and leads to bad decisions among enemies.
Learning about this dilemma is easier said than done, with news media subject to bias and this film not yet having a national distributor or streaming outlet even after winning an Academy Award. Its only available tickets at a small East Bay cinema on a rainy Sunday afternoon matinee were in the front row. Upon entering the crowded theater, we found younger, middle age and older Palestinians constituted most of the audience; I had never seen so many women wearing the hajib. Theirs and other attendees’ silence during and after this show was deafening, as we all quietly contemplated the ramifications of dislocating a culture several millennia old.
As they talked among themselves outside the theatre afterward, I wanted to say something … anything … to express regret for my country’s provision of the explosives that imploded their lives. But, as frequently happens when most applicable, saying “sorry” felt so inadequate I avoided doing it knowing full well any accountability evaded was my own. No doubt they are safer here than there but surely, they too must wonder what “other land” they will move to if anti-immigrant rhetoric translates into deportation policies here and elsewhere.
As Elvis Presley observed (and later found out the hard way himself): “The truth is like the sun. You can shut it out for a time, but it ain’t goin’ away.” Both these stories underscore difficulties in choosing between short-term benefits and long-term gains. Either can be pursued, but not simultaneously. Each has advantages as well as drawbacks, the former usually more obvious than the latter and those more immediate coming from the most temporary, least renewable outside sources. When pursuing their attainment, information-sharing is selective at best; misrepresentation is in the eye of the beholder; and the preferred outcome often secured by the loudest arguer, biggest gun, and/or fattest wallet. Sometimes all three are required.
Reality imitated art when all these lessons came to life the same weekend in the aforementioned New York Times op ed column describing subpoenaed communication between researchers and bureaucrats conspiring to obscure origins of the Covid virus. Afraid the truth would give credence to legitimate concerns as well as wild accusations, they instead did the very thing for which they condemn their critics: interfering with the public’s right to know by lying to protect their work and the institutions supporting it. Worse, they deflected a deepening political divide to a later moment when its exasperation is now even more untimely. Worst, their ruse distracted attention to – and delayed remediation of – lax security measures allowing human exposure to this deadly pathogen in the first place. Advantages gained by such deception never last long, and are aways outweighed by their costs.
Rudyard Kipling advised: when “being lied about, don’t deal in lies or, being hated, don’t give way to hating.” Deviousness created the world of cold calculation and callus indifference depicted in both these movies, and also found whenever any end is allowed to justify its means.
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*”We Were Badly Misled About the Event That Changed Our Lives” by Zeynep Tufekci, March 16, 2025.
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BLACK BAG is a 2025 American film.
DIRECTOR: Steven Soderbergh
SCRIPTWRITER: David Koepp.
ACTORS: Cate Blanchett, Michael Fassbender, Marisa Abela, Tom Burke, Naomie Harris, Regé-Jean Page, and Pierce Brosnan.
Running time: 133 minutes.
Robert Tobin is the father of four, stepfather of four, and grandfather of ten who brighten future prospects for a kind and loving world.
PREVIOUS METAPHYSICAL MOVIE REVIEWS
The Brutalist
Metaphysical Movie Reviews™ by Robert Tobin
2024 co-production (U.S., the United Kingdom, and Hungary).
Directed by Brady Corbet, who also co-wrote the screenplay with Mona Fastvold.
Cast includes Adrien Brody, Felicity Jones, and Guy Pearce.
Running time: 216 minutes.
In “The Stoic Challenge,” William Irvine describes ancient Romans’ proclivity to approach seeming impediments not as obstacles to avoid but rather hurdles to overcome.
A title like “The Brutalist,” and an overture, intermission, and epilogue extending three-and-a-half hours, gives this movie almost as many stay-away warnings as Academy Award nominations (ten).
But those who overcome such hurdles will find themselves intrigued intellectually, informed historically, and challenged spiritually by a production meeting the simplest, clearest definition of art: it makes us feel.
This film renders a florid fictional portrayal of truth(s) emerging when real people encounter harsh realities. There is an acclaimed architect separated from his wife and orphaned niece in midst of the Hungarian Holocaust. He makes his way to a Pennsylvania relative who is helpful until suddenly not. Similar ‘help’ is then provided by a highly successful neighboring businessman having all the good intentions by which the road to hell is paved. This family’s eventual reunion and ongoing survival are threatened once again by the same brutalizing fear-based hatred which initially divided it. Cumulative impacts on all involved forge an emotional toxicity which, as Mark Twain predicted, corrodes the vessel in which it is contained.
Atypical layout of the opening credits and disjointed introductory camera shots quickly dislodge any subliminal expectations about entertainment and storytelling. Inverted angles of the Statue of Liberty further dispel any similarity to typical self-congratulatory tales giving more prominence to locals’ hospitality than immigrants’ perseverance. From there, “The Brutalist” delineates a societal dilemma as hard to deny as it is easy to ignore.
Sporadic disassociation between audio and visual tracks mirrors the sometimes-rattling dimensions of Real Life, while continual flip-flopping of good/bad characters disturbs our left-brain’s proclivity toward consistent binary categorization. Late 1940s chamber-of-commerce videos are interspersed to celebrate not just a place to live, but also a way of life in which a proliferating middle-class masks growing disparity between rich and poor. These videos’ sunny disposition contrasts jarringly with the discontentment and disrespect this story’s ‘haves’ and ‘have nots’ display toward themselves and each other.
All of this unfurls – or, more accurately: unravels – within the context of building construction using the architectural style for which the film is named. It is no coincidence Brutalism emerged in Eastern European countries during their foreign occupation after World War II, describing a design template of exposed structural components completely monochromic and unadorned. A common critique is the cold, dehumanizing effect of resulting facilities on interpersonal relationships foisted around and within them … and throughout this movie.
In “The Brutalist,” the past is prologue to a wide variety of present-day discombobulations. Among these: foreign dystopias in which home becomes horrific; myriad disruptions of involuntary displacement; self-deceptions justifying everyday deceits; conflicts triggered when both spouses are working; pain-relievers with consequences more problematic than the injuries they treat; and influences of class and culture that foster casual, often unconscious correlations between ethnicity, poverty, capability, and possibility.
Regarding the most prominent of these gulfs – migration, the lessons of an ancient empire are again advisory. In the second of his eleven volume “Story of Civilization,” historian Will Durant says the Romans built no border walls until they did no good. He finds this to be a consequence of history’s most recurring nightmare: the lean and mean always take over the fat and happy. “The Brutalist” puts us at the center of this ongoing epic battle in which winners and losers are difficult to differentiate.
At the end it becomes clear “The Brutalist” is not any single one of the narrative’s distinctive characters. Rather, it describes a way of being all of them – and us as well – can become ensnarled when good intentions get more attention than actual effects. The script’s stark depiction of barriers to communication with those we love makes even more ominous our difficulty connecting with those we don’t.
Like some great works of art, this one imitates life at its most profound and unnerving. The tale’s protagonists demonstrate a very human propensity described by every psychologist since Buddha, i. e. accusing others of that which we are most guilty. Their weaknesses, as Socrates observed, are their strengths taken to excess. Their tendency to react rather than respond in crisis situations reveals our psyche’s simultaneous inclinations toward dominance and brittleness. And their racism and sexism share a symptom in common with mental illness and alcoholism, all of which constantly tell us we don’t have it.
All dramas – comic or tragic – arise from people concurrently pursuing respective interests. No one, author David Deida notes, can protect us from the “necessary confrontation with reality” which results.
But this chance to witness the impact of global forces on small-town residents in the safety of our neighborhood theater, or in the comfort of our couch at home, may offer the nearest opportunity to see ourselves in others, and them in us.
This makes “The Brutalist” not so much a show to enjoy as an experience to be savored.
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Robert Tobin has been playing with words and music for seven decades.
He is the father of four, stepfather to four, and grandfather to ten who are brightening our prospects for a kind and loving world.