There are subtler moments in Ostlund’s film, but the barfing sequence is the part that people will remember and talk about. The rest of the film merely engages your intellect. The barfing sequence makes you feel Ostlund’s moral disgust at a gut level. It uses gross-out humour to make a serious ethical point.
Here Ostlund is participating in a tradition that goes back at least as far as the 1500s, when Rabelais wrote his earthy epicThat novel recounted the bawdy exploits of a family of French giants, and it laid heavy stress on the body’s baser functions, including vomiting, which Rabelais called “skinning the fox”.The Russian critic Mikhail Bakhtin coined a great name for the literary mode that Rabelais more or less invented: he called it “grotesque realism”.
had the soldier in white – a maimed serviceman lying mutely in a hospital bed, encased in plaster from head to toe. A jar of fluid drains into him via a tube attached to his elbow; another jar near his groin collects his waste. When that jar is full and the other one empty, they are switched. The soldier in white is just a body, in the starkest possible sense. He’s a vessel for consuming and expelling fluids. He may not even be alive.
But the best satirists have always taken aim at barn-sized targets. War. Religion. Human folly. It isn’t the size of the target that matters. It’s the inventiveness of the execution. is one of the greatest satirical movies ever made. The target of its ridicule was nuclear Armageddon – and who wasn’t against? The most resonant scene in Kubrick’s film was the last one, where Slim Pickens rides the descending nuke as if it’s a bronco.
The White Lotus’ Americans are so decadent and morally lost that they make you wonder if their culture is in terminal decline.
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