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Information

Year
2021
Runtime
105 min.
Directors
Anisia Uzeyman, Saul Williams
Genres
Sci-Fi, Musical
Rating *
5.1
Votes *
0
Checks
101
Favs
6
Dislikes
1
Favs/checks
5.9% (1:17)
Favs/dislikes
6:1
* View IMDb information

Top comments

  1. Siskoid's avatar

    Siskoid

    More poem/political discourse than plot would describe the pace of the African cyberpunk musical Neptune Frost, but it still has a story and moves towards an ending (or a beginning) and feels like a full experience. Cyberpunk is making a comeback in the West using the present-day as a template since we're past some of the touchstones that used to be sci-fi. But we'd abandoned it for a while after accepting some of its tropes as the new normal. In my study of afro-futurism, I've found that cyberpunk has remained of interest on the African continent, and this movie is vocal about why. Dehumanization is more strongly linked to primary resource exploitation (mines, cheap labor) and Neptune Frost rebels against everything the global "Authority" stands for, whether that's the West's notion of Africa, gender norms and queerness, what cyberpunk itself is (here we have it tied to a kind of local mysticism with visions coming through brain wave wi-fi), and the film's genre specificity too. Because yes, it's a multi-lingual musical, and I'd listen to this soundtrack, actually. There are lost of intriguing ideas, like geography as interdimensional travel (look our your window, then at an Rwandan village, then at a mine where people are being worked to the bone... are these all the same "world"?), and the leads are engaging, especially Cheryl Isheja as the hacker who acts as a promise of the Third World achieving full internet capacity. In the Global Village, how can there be a Third World, unless the First World manufactures it with propaganda and warfare? 9 months 3 weeks ago
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