Blisteringly bivouacking underground economics, wherein financial and fanatical furrows mendicantly and mendaciously intertwine, Yan Lanouette Turgeon's Roche Papier Ciseaux pressurizes a sadistic scenario with a heartbreaking degree of scarified sentiment, thrust within a carnal quotidien naturalistic mythos, helplessly held together by conscientious duct tape.
Four characters are fetishistically infernalized, 2 existing in a state of sycophantic servitude, the others desperately caught up in the hyperbolic sensation.
The film slyly blends chance and fate, intermingling sudden monumental highly unlikely cross sections while trivially refining them to make it seem as if there were no other possibilities.
Post-religious materialistic mysticism?
That works for me, even if it's just a flash in the pan.
The film also displays critical attitudes towards tax breaks for Aboriginal Canadians, critical attitudes which are then severely criticized.
I tend to think that every dollar I make, and all of Canada's wealth, is generated, and will always be generated, from income earned on Aboriginal lands, billions of dollars a year, sustaining a multicultural nation. If that means Aboriginals pay less tax, who cares, it's their former land, that they traded for next to nothing in comparison, that's responsible for maintaining our financial infrastructure, and our system wouldn't exist without the enormous revenue gained from what was once their land.
For further reading on what Aboriginals did for Europeans upon first contact and afterwards, see Basil Johnston's The Wampum Belt Tells Us . . ., part of Our Story: Aboriginal Voices on Canada's Past.
Stereotypes associated with Italian North American communities are deconstructed within Roche Papier Ciseaux while those associated with Asian North Americans are unfortunately intensified.
Multidimensional representation people, multidimensional representation points out differences between communities without one-dimensionally vilifying them.
This is key.
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