| “Curtis’s stitched-together compositions are less collages than they are Rorschach blots: look into their murk, and you can find your own worldview confirmed.” This passage, which I see as being core to the author’s critique, doesn’t really jive with me. Basically he’s saying these movies are enigmatic, they offer space for reflection, they resonate with a lot of people across the ideological spectrum. Well, you can look at that cynically, or you could say that’s precisely — almost definitionally — what makes them effective art. To go a little further than that: I don’t think it’s a fair claim. Each of his movies since Bitter Lake have had the same general arc of “emerging ideological apparatus promises to resolve social contradictions and empower the common person, fails to do so.” In this sense, his narrative angle is broadly _anti-confirmatory_. Then there’s the aesthetic critique, which, whatever. I really can’t fault someone for finding fault with Adam Curtis’s style. And it’s least overbearing in TraumaZone out of all his movies I’ve seen, so I get why this author favors it. As it happens, I’m about halfway through TraumaZone right now. It’s great. Poses some interesting questions, doesn’t offer any easy answers. |
But the author's focus on ambience, Eno and what he calls "texture" I think misses the point. I appreciate Curtis's eschewing of an explicit "voice of God" narration, like you get in most PBS documentaries. The Rorschach Test forces you to peer into the murk; you can't consume these documentaries passively.
That is, they make you think. That different viewers can come away with different takes on a film is a good thing, not a criticism. I think the author is unduly dismissive.