We can consider the new order as a peculiar continuation of the Joker - what would happen if Arthur Fleck's revolution spilled over the whole of society? The conclusions are really terrifying ...
If we consider Aida as the most important film of the year, the New Order must be considered the strongest without a doubt. It is a peculiar cinematic cocktail in the form of extreme provocation and absolutely terrifying, literal brutality, a voice in the moral discussion about the nature of evil and a warning against the fact that faith in revolution always leads to the liberation of society from the shackles of increasing divisions. The violence is so thick here that you won't even hit a pin. Director Michel Franco, whom Michael Haneke can consider as his imitator and artistic heir, immerses the viewer in a river of blood, ironically observing from behind the camera and the events on the screen, and all disputes about assessing the quality of his story. The new order is a production that divides as much as possible: some of you will find it outstanding, others will stigmatize its alleged nonsense, pointing to the lack of a broader context of the story presented by Franco. This does not in any way change the fact that today Mexico is home to one of the most important film voices on the issue of sociopolitical divisions, and in addition terrifyingly timely and universal. There are no "bad" and "good" ones; there are simply people in whose hands the act of brutality always has the same ghastly overtone.
The new order opens with a sequence created as a result of quick editing cuts, composed of several shots seemingly taken out of context. The water flowing down the stairs turns green, then paint of the same color appears behind one of the characters. Green in collective consciousness symbolizes hope, but not in the world outlined by Franco. We are in Mexico City, getting ready for the wedding of Marian (Naian González Norvind) and Alan (Dario Yazbek Bernal). The upcoming celebration is certainly a major event for the Mexican elite; The guests included doctors, traders, judges, croissants using stimulants and other financial sharks. However, the peace of the celebration is disturbed by the fact that riots break out behind the gate to the wedding house, but they are closer to a real revolution. The protesters, for whom the green paint initially appears to be a unifying banner, come from the social lowlands. They are representatives of the working class, servants, cleaners, chauffeurs and other representatives of the poor who, in pursuit of historical justice, decide to go out into the streets and take matters into their own hands. By no means with peaceful demonstrations and shouts; from the very beginning this social change is founded on anger that is taking more and more radical forms. A former employee of the ceremony organizers, Rolando (Eligio Meléndez), finally appears in front of the wedding house, desperately begging for financial help for his wife in need of surgery. Magnates will feel discomfort as a result of this situation, but this is only the beginning of the challenges facing them. Mexico is on fire and the fire of revolution consumes the existing order. Let us stop at this point. The rest of the movie is a carousel of twists that can knock you off your feet.
It doesn't matter if you read Slavoj Žižek, Jordan Peterson, or yesterday, if Christ appeared to you by accident with a rifle on his shoulder - as long as you believe that the new order is a value in itself, Michel Franco proves that Your faith may be deceptive. He'll do it with a shovel, an ax, a machine gun, whatever he has at the moment, as long as you feel that social change can and is getting out of hand. We have known for a long time that the revolution devours its own children; in the modern era, when the world is sweeping a huge wave of various demonstrations, strikes and protests, this slogan becomes surprisingly relevant. Previous victims within the social bloodstream turn into torturers and vice versa. Although you support the oppressed, you will never be sure what will grow out of them after the coup. Terribly rare, it is Mahatma Gandhi; much more often tyrants behaving like wolves nestled among sheep. Even more striking is that the New Order is not some cinematic aberration or a keyless projection of a brutal vision. It has been boiling in Mexico for several months; every month of this year, the North American country has several thousand murders, and the National Guard has been taken to the streets for a really long, 4-year period. Given the right perspective, we will realize that Franco's film can be prophetic. Not only for Mexico itself. In the world of Western civilization, we are not losing ourselves solely in academic disputes about symbolic violence. Social unrest, also in our country, is gaining momentum. The new order is a warning that such transformations do not necessarily match the romantic undertone of Spring or Autumn of Nations. They might as well destroy this people.
