We Might as Well Be Dead, a satirical cartoon about a housing committee governing a dystopia. The film tells the story of Anna (Ioana Aikob), a single mother and security guard. Her role in Anna is to interview and introduce new housing candidates at High Rise. The film doesn’t reveal what kind of apocalypse made this high-rise residence so prestigious, but the new applicants treated the verdict as a matter of life and death, crawling on all fours to the sanctuary. Seeking.
Anna was not born in the community she now calls both home and employer. She is not a perfect citizen by the Board’s standards. She is a single mother and her daughter Iris (Paula Geiger) has begun to show signs of succumbing to the pressures of her closed society and has been hiding in the bathroom of her apartment. Her neighborhood dog goes missing, Anna’s position in the building is further threatened, and her paranoid vibe spreads through the community. Anna tries to convince her neighbors that her dog’s absence was an accident rather than a plot, but her efforts are greeted with increasing enthusiasm, and the mob soon begins to turn against her. .
Director Natalia Sinelnikova brings out a sense of dread through oblique angles and harsh lighting. Often the camera is positioned below the actor’s face, staring at him from a seemingly insane perspective. When the camera returns, the residents of the skyscrapers appear to be crowding the doorways and long, narrow corridors. The visuals are well crafted, but the story lacks momentum. The film deals with themes of surveillance and immigration unrest, but its allegorical ambitions are continually thwarted by the further grievances of its neighbors.
we are as good as dead
Unrated. German, with subtitles. Running time: 1 hour 33 minutes. at the theater.
