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When I saw it Quiet place in the theaters, three years ago, like many, I was not worried about the weight of the immersive, horrible, and shattering silence of the horror film. Last week, when I saw it Leku Lasaia II, it was the first time I had been with so many people in a theater or any room in a long time. It was a personally moving experience, however, I ironically realized how, in a film about silence, I became incredibly aware of how noisy it is a cinema. All the sounds around me — the crunch of popcorn, the pair of tight jeans against the vinyl seats, the screams of anticipation — made me aware of the presence and closeness of the film lovers. In the logic of the film, I could kill those sounds; in the logic of our reality, until a few months ago, hats could do the same.
Watching a post-apocalyptic film for more than a year in a pandemic around the world is a tremendous exercise. The dystopian vignettes of deserted streets and covered shops closely reflect what was recently our dystopian reality of Covid-19.
This is probably the result Leku Lasaia II has been criticized for not being imaginative enough – or for being too committed to realism (a strange critique of a monster movie) or not providing enough background to the characters or monsters. It seems that many critics forgot that the film was, in fact, about to be released before the success of the pandemic. The film premiered in New York City on March 8, 2020, but as a result of Covid, it premiered in theaters again and again. For a film produced before the pandemic on the horizon, in fact, it was incredibly clear in the face of the many challenges we have encountered since then, making its latest release ironically punctual.
Already aware of the original premise, the audience is aware of the tremendous noise, and the film handles this very well. We wink at the squeak of a plastic water bottle, we tease at the murmur of a car engine, we hold the breath of our boots. The film plays with sound skillfully and counterintuitively, skillfully making it invisible and inaudible – it shapes silence as a lack of sound it cannot be listen. For example, the amplification of the surrounding noise increases the “silence” of the world and makes it a sharp relief: the singing of birds, the tickling, the rustling of leaves. Our world, even without us, is never quiet.
I have no interest in defending the problematic policy of the original and the sequel. The first film could be read as a comment white fear of race, the latter removes that possibility. People full of color Pt II or they are used to make shameless appearances, or they are sacrificed as noble nobles for the survival of the white Abbott family. Can’t remember Nancy Pelosi a terrible gaffe He referred to George Floyd’s death as a “sacrifice for justice”. In addition to the uplifting, confident, and uncomfortable romanticization of the first film’s guns, it’s also a tribute to futuristic reproduction: Evelyn (played by Emily Blunt) is terrified: “Who are we, if we can’t protect ourselves? [our children]? Blunt is unbelievably admirable, albeit lightly – if briefly – filled with the glory of “Karen,” when Emmett (Cillian Murphy) demands that his traumatized neighbor have literal skeletons in his closet to bring his daughter to life. .
But the film also manages to offer some worthwhile questions. When the Abbott family first meets Emmett in an abandoned steel factory, he is reluctant to help them. In fact, it has fallen so far back in isolation that an airtight furnace serves as its literal and metaphorical inner sanctuary, providing protection from the threat of suffocation. That’s the tension Quiet Place Part I. and II crawl even wider: a shot can save your life, but it always draws more creatures that cause death. America and many other countries took this into account during the pandemic because many people had blocked mental health and domestic abuse; conversely, those who felt that early reopening or social events were stimulating eventually led to more severe waves of infection, and always resulted in more deaths. Emmett’s inner sanctuary acts as a symbol of his asceticism and refusal to contact the world. The philosopher Isaiah Berlin throws out two types of freedom: positive and negative. Negative freedom describes the absence of obstacles to one’s freedom, while positive freedom indicates the ability to act to control one’s life. Positive freedom, however, presents a paradox: in an oppressive system it can change one’s beliefs, make one believe that one’s desires have diminished, and go back to an inner citadel that “feels”. This is literally what Emmett has done, and the strength of the film is that he — and we — need to acknowledge that what is needed in the face of disaster is really the opposite.
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