
  Review by
        Eric Hillis
  Directed by: Michel Franco
  Starring: Naian Gonzalez Norvind, Diego Boneta, Mónica Del Carmen, Fernando
      Cuautle, Darío Yazbek, Eligio Meléndez
    
  
    In director Michel Franco's New Order, revolution is in the air, and on the streets. It's even in the water.
      The taps at the upper class home where a society wedding is being prepared
      are spewing green water. In the Mexican flag, green represents
      independence and hope, and in Franco's fictionalised revolution it has
      been adopted as a symbol of the oppressed lower classes, who are violently
      striking back against their wealthy oppressors.
  Aware of the symbolism, the mother of the bride-to-be begins to worry
      that her fenced off domicile has been breached by the plebs, but everyone
      is too busy enjoying the festivities to pay her any heed. Things are set
      in motion when a former employee, Rolando (Eligio Meléndez),
      interrupts the party. His wife is in urgent need of an operation which he
      can't afford to pay for, and he's hoping to appeal to his former
      employer's altruistic instincts for a loan. Rolando is fobbed off with
      some money, far short of the total required, and even threatened. His one
      shining light is bride-to-be Marianne (Naian Gonzalez Norvind), who
      agrees to go to the hospital and pay for the procedure with her credit
      card.

  It's at this point that New Order explodes in violence, as
      the wedding party is assaulted by armed protestors who massacre the
      attendants and steal their valuables (there are shades of that infamous
      Dynasty season finale). Marianne finds herself in an
      internment camp run by soldiers who have turned their back on their
      government and are now extorting money from the families of the well-off
      citizens they've managed to round up off the streets, while mowing down
      any protestors who get in their way.
  Caught between the three groups is Cristian (Fernando Cuautle), a
      young employee of Marianne's. He finds himself in the unfortunate and
      uncomfortable position of a go-between who liaises between Marianne's
      kidnappers and her family, the latter of whom begin to suspect he may have
      an involvement in her disappearance.

  New Order is about as nihilistic as cinema gets. Franco
      refuses to take a political stance, with "good and bad people on both
      sides" as a certain world leader might say. It's a cynical and dispiriting
      film, and if it can be boiled down to a single message it's that you
      shouldn't put your neck on the line for anyone. Altruism bites the
      protagonists in the ass here, their naivete exploited in deadly fashion by
      more cynical forces. Its final moments aim for the jolt of the climax of
      Night of the Living Dead, but Franco never quite earns the moment the way Romero did, as we never
      really get to know any single protagonist sufficiently for us to invest in
      their plight.
  A more conventional approach may have centred Cristian, a figure who
      represents the three colours of the Mexican flag - hope, Catholicism and
      ultimately blood. But Franco opts for a
      Battle of Algiers
      inspired process, favouring an overview of the conflict over an intimate
      character focussed drama. The scenes of chaos are impressively staged and
      give the impression of a much larger budgeted movie, but Franco seems a
      little too enchanted with his backdrop. There are shades of Kurosawa's
      class conflict drama High and Low, with that film's kidnapping scenario undergoing a class reversal, and I
      wish Franco had leaned more into this more compelling aspect.

  Is Franco making an important statement here or is he simply out to
      shock? I suspect only Mexican audiences will be able to provide a clear
      answer to that question, but either way he's delivered a film that's
      undeniably gripping in spells. Shot with the cold detachment of a Mafia
      hitman carrying out his 37th murder, Franco's film plants us at a safe
      distance from the atrocities it depicts. There's an undeniable craft to
      the glossy chill Franco creates, and if his intention was to imitate
      European shockmeisters like Haneke and Von Trier, he's succeeded. But this
      is a story that needs more amity with its heroes and contempt for its
      antagonists. Ultimately it's too easy to wash off that green paint once
      the credits roll.
    
      
    
    
      
    
    
      
    
      New Order is on MUBI UK now.