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By Ray Pride Pride@moviecitynews.com

When Harmony Korine Met Die Antwoord

Umshini Wam, a 16-minute short directed by Harmony Korine (Gummo, Mister Lonely), starring South African musical group Die Antwoord‘s Ninja and Yo Landi Vi$$er (whose look was rumored an influence on Lisbeth Salander in Fincher’s Girl With The Dragon Tattoo) and shot by Alexis Zabé (Fernando Eimbcke’s Lake Tahoe and Duck Season; Carlos Reygada’s rapturous Silent Light and his forthcoming Post Tenebras Lux), debuts at SXSW. Synopsis: “Big dreams, big blunts, big rims, and big guns. its time to get gangsta gangsta. Ninja and Yo Landi are wheelchair-bound lovers and real gangstas. They live in the outskirts of civilization, they shoot guns for fun, smoke massive joints, and sleep in the woods. They don’t have any bling to show for their gangsta cred, but the world deserves to know who they are. They’re tramps, and their wheels are starting to fall off. Ninja become despondent over their vagabond existence, but Yo Landi won’t let him give up.  what ensues is straight up gangsta mayhem, the realist of the real, true gangsta shit.” No word if the “gangsta shit” goes down in the same Nashville back alleys as Trash HumpersAgnès b. co-produces. [H/t @trentone.]

One Response to “When Harmony Korine Met Die Antwoord”

  1. Gabriel says:

    that was deep, I may need to bring a box of kleenex to the movie…

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“By the time the sounds of the Von Trapp children warbling ‘Silent Night’ drift through The Giver, you may find yourself wondering what fresh movie hell this is. In truth, the enervating hash of dystopian dread, vague religiosity and commercial advertising-style uplift is nothing if not stale. Adapted from Lois Lowry’s book for young readers, the story involves an isolated society that, with its cubistic dwellings, mindless smiles, monochromatic environs and nebulous communitarianism, seem modeled on a Scandinavian country or an old Mentos commercial.”
~ Manohla Dargis’ Deadly Lede For Review Of The Giver

“It’s possible that in the coming days or, God forbid, weeks, the president could have something more specific to say about the freighted decades-long history of political imbalance at work, in this case between a mostly black working-class town and its majority white government and police force. But this is a black man who must choose his words about race, governance, and law enforcement even more carefully than a white politician would. And this is the third summer in which, as president, he would have to do so…

“Until this point in the turmoil, the absence of the crucial second face in the incident seemed to heighten the distance between police and the people they serve. It grants them both an anonymity and autonomy that matches the bizarre transformation, in Ferguson and elsewhere, of police into troops. The riot gear turns 2014 into a dot on a Jim Crow–era timeline. Since the officer’s name wasn’t made public more immediately, it should have seemed urgent for the police to lose the riot attire and take steps to minimize distrust, to dispel the contagious assumption that silence equates racism…

“What is so affecting isn’t just that 18-year-old Michael Brown was killed when he was barely a man. It’s other things as well. One was how many reports of the incident that first day mentioned that he was about to start college. That’s a rite that’s universally emotional. But for a black male from a poor family, the first day of college is a freighted day that usually requires the sacrifice of more than one person. Black people know the odds of getting to and graduating from college, and that they’re low. That Brown seemed to be on the right path compounded the parental, local, and national outrage over his being wiped from it.”

~ Wesley Morris On Let’s Be Cops, The Shooting In Ferguson, Obama…