There’s an odd sense of deja vu to Bruce Labruce’s latest provocation, recalling not just some of his own prior joints (notably 2004’s “The Raspberry Reich”) but tongue-in-cheek fantasies of much earlier films featuring the overthrow of patriarchy — the nearly half-century-old likes of John Waters’ “Desperate Living” and the Warhol-Morrissey “Women in Revolt,” in particular. The absurdist tale of “The Misandrists,” about a lesbian separatist army cell threatened by the arrival of a lone male strains “The Beguiled” through a funnel of camp comedy, variably explicit sex and Godardian radical-politic sloganeering.
Like every Labruce film before it, this German-produced, English-language enterprise doesn’t boast a plot so much as a concept, one whose steam runs out well before the (laboriously prolonged) end titles. Still, that happens later than usual this time, and “The Misandrists” further benefits from technical and design contributions more polished than are its auteur’s wont.
Like every Labruce film before it, this German-produced, English-language enterprise doesn’t boast a plot so much as a concept, one whose steam runs out well before the (laboriously prolonged) end titles. Still, that happens later than usual this time, and “The Misandrists” further benefits from technical and design contributions more polished than are its auteur’s wont.
- 5/22/2018
- by Dennis Harvey
- Variety Film + TV
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