The self -intelligent addiction part, a medical exhibition, was “mixing” the strong, “mixing a dispute” of Benjamin Flahri was the winner of this year’s documentary feature in SXSW. The film provides an intimate record of three drug users and many informants who try to deliver new papers, because they gradually draw a shredded image of a predatory system of Fu recovery.
Focusing on a number of rehabilitation facilities in Florida, weaves “mixing playing paper” together a detailed fabric of “from”, “How” and “Why” with regard to the structural abuse of addicts who seek to recover. It is a film on fraud fraud, as organizations claim that they are interested in drug users, but it systematically guarantees their relapse, all during their neglect and insurance companies on everything they deserve. Basically, it is a dynamic that reduces people to insurance products and policies first, but Fliherai uses his camera to re -domesticate it.
FALAHERTY is the main narration of the film, but its main subjects are twenty Korean windows, Nicole and Daniel, who travels alongside several years as they qualify between different addiction facilities. Each of these places has expensive tests and routine, and the special profit structure that depends on its patients at all. Usually, there are only two ways: joining the predatory pyramid to attract new addicts, or death. This series of interlocking trips is made even more than disgusting outcome.
What makes the “mixing paper” particularly sympathetic is that it was made at a time when my so -being was subject to the treatment of its prolonged addiction. He was lucky enough to not fall into such a system. But as the film continues, the money follows and reveals the extent of these violations widely spread; My life could have been a victim with the same ease.
DOC uses all the simple traditional tricks of the shape, between the interviews conducted in talking about the head of B-Roll, but its goal is to transfer facts and numbers first, perhaps its greatest strength. Not only is a vital and equivalent exhibition of intended wellness, but its information series is shattered by nature and seduction. His subjects are deported their experiences frankly, what is it, as if they had seen their stories several times before, but no one disturbed listening.
There are stains for “mixing” this is a matter of nausea, but only because it means to be. Its wise use of animation – similar to the returning chalk characters drawn on the blackboard – draws isolation images. Interviews with investigators and other parties invested in these cases are used as a variable focus, and confusion in hiding the material details of people. Its archive montage, from mice in the laboratory and the casino gambling, creates worrying parameters around the central trio of the film, transmitting how the world sees as all their struggles without using the dialogue.
However, it may be more shredded about “confusion of playing paper” is the interviews he had with people responsible for finding my addicts on social media and bringing them to the above -mentioned facilities. These brokers are shot in a silhouette to hide their identities, and their voices are converted down, but they take an evil tone and appearance in this process. We only give hints of physical details, such as the shape of sunglasses, or hepatic lights that wear on the features of the beard. It is similar to the secret marine seals that serve the pioneers of capitalism without mercy, and their mission is to employ.
All the time, my length also doubts his role in the stories of his subjects, whether it is just an observer, a kind of intervention, or the worst yet, a empowerment factor. It is the rare documentary that will leave viewers not only angry and more knowledgeable, but it can be said that it is also more emotional, given the extent of its struggle with its place in the lives of these people. DOC gives its citizens the type of agency, dignity and full personality that is often stolen.
Regardless of the number of tricks or prosperity used by the film – the vast majority of them are effective – “mixing” rarely falling in its human focus. The result of Flaharty is simply people like Cory, Nicole and Daniel Confessions and Manufacturing, which drinks the film with a kind of urgency in which no truth or personality can hope. It gives its topics the opportunity to listen, and once, so as not to forget.