The inherent flaws of masculinity have been a mainstream cinematic issue for years, and – rightly so – and most of the films that talk about them are harm to women. Presented at the Berlinale competition this Saturday, ‘Manodrome’ attempts to explore the effects of this virus on a psychologically vulnerable man.
In any case, he is not interested in using his protagonist as the representative of the movement or type of spectacle run by the so-called ‘examiners’ – involuntary bachelors. misogynist embodied by ‘influencers’ Like Andrew Tate. “I didn’t want to make a movie about the far right or the internet,” its director, South African John Trengrove, told the press. “It’s a broader crisis, where men suppress their emotions and compensate for their hyper-aggression and pretentiousness.”
“Manodrome” is about an Uber driver who is coping with the fear of impending parenthood and the imminent loss of his job. trying to hide her traumas – parental abandonment, a childhood marked by being overweight, attraction not taken over by people of the same sex – beneath the muscles he fed obsessively at the gym; on their skin.
Jesse Eisenberg gives one of his best performances thanks to his s talent.it evokes terror, fragility, helplessness and anger.installed as a shield. Alongside her is Adrien Brody, who brings to life the guru of a cult that promotes a masculinity based on absolute humiliation for women. shows the right combination of charisma and danger. In fact, both actors’ work is best in a movie that ultimately pays less attention to exploring its predecessor’s connections to the real world than borrowing a hodgepodge from movies like “The Club lucha” (1999) and “The Master.” (2012) and occasionally threatens to make uninformed links between misogyny and covert homosexuality.
Worse still, the protagonist anti-hero’s fate seems determined from the moment we first see him and from the moment we see him. to sink gradually it becomes more and more difficult to deal with him in misery, and even the possibility of salvation.