At a certain stage in the film Sonja Moonear reflects about djing, saying something like it were about putting people in the state of mind you want them to have. The tricky thing is that you can't just force the mood unto them like turning a switch, you need to transform them slowly, in a way they are not even realizing it. When she says that her hand even moves like a snake crawling through the thicket. The Snake manipulating people, it sounds so f****** evil, especially if you associate it with politics. But if you see a beautiful, inspired woman like Moonear talking about music and dance, any political dimension just seems to fade away. What manipulation? It's magical and sexual, if it works, it's orgasmic. It sets energies free, a very spiritual experience. Yeah, sure, probably it was very sexual and spiritual for Goebbels and Riefenstahl, too, seeing all this massive people formations marching around at the Berlin Olympics 1936. So much unifying energies
The only critical words about the electronic musical scene I realized in 110 minutes is one of the djs stating that there you would of course also be confronted with your own weaknesses when you spend your years mainly in a music studio also reflecting yourself. The critic remains vaguely, just a little drop of negativity in an otherwise surgical clean, but nonetheless praising composition. Is this something like positivist fan boy propaganda praising house music into the Heavens of alternative culture? No, of course not, all these extremely long, extremely geometric, extremely static shots can't be characterized as fascist aesthetics, neither. They are neutral containers holding images in which you can discover all sorts of details and plenty of space-time to project your own thoughts and imaginations into
Well, well, I don't know, I don't even know if it stinks, the whole thing
I know I wished it were shot in 3D, would have added the depths it strangely and terribly lacks.