2023 CANNES INTERNATIONAL FILM FESTIVAL REVIEW!
Kaz (Shadrach Agozino) feels that he has been wronged by the government, that his life has been flipped upside down as a result of who is running the country in which he lives. Kaz determines that he must take matters into his own hands, and the only reasonable course of action is Killing Boris Johnson. Revenge plagues him, and it’s all that he can think about–but will revenge stop his suffering?
Are we trying to justify murder as a means of retaliation, as a way to avenge our loved ones? I can’t be sure that Writer-Director Musa Alderson-Clarke is telling the world to go out and murder the politicians that we believe to be at fault for our losses (I highly doubt that’s what is happening here)–but the message exists regardless, and individuals with pent up anger, with the inability to curb that anger or to find appropriate outlets for it will see a fill that promotes the idea of murder. I’m not saying that Killing Boris Johnson will be a manifesto for viewers, for their greenlight to go out and start killing, but I wonder if it's necessary to take that risk.
I’ve always said that we should let filmmakers have the freedom to make whatever they want; don’t worry about viewers’ feelings. However, Killing Boris Johnson extends beyond viewers’ feelings–as we are talking about people’s lives, not just their feelings.
Take a step back, try to forget about the reality that Killing Boris Johnson, whether intentional or not, advocates for murder. Take a look at the technical aspects of the film–because they are brilliant. I can’t say enough about what Agozino brings to the table, about his ability to convey emotion. The fact of the matter is that Kaz has suffered a tragic loss, one that we all will face, but the pain is unimaginable–and he’s suffering throughout the course of Killing Boris Johnson. Agozino is passionate, full of vigor, and incapable (apparently) of missing emotionally at any moment throughout the film. He drives the film, and he’s the reason that, even through the touchy subject matter, viewers will be able to remain focused and entertained.
Killing Boris Johnson’s aesthetic is gritty, tattered, worn–and it plays into the tone of the film. As the film moves forward, as it develops further and further, and as Kaz falls further from grace, the film’s aesthetic helps to guide viewers, pull them into the film, and empathize with Kaz. The gritty nature of the film is a reflection of Kaz and his predicament–and the visuals help to bring this story to life.
It’s hard to say that art has crossed a line, that an artist has created something that shouldn’t have been–but Killing Boris Johnson walks a fine line between what is and isn’t acceptable. I’m not sure that this is one of those films that will piss people off, but rather it will be concerning to them; it will be concerning the things that the world is being told is acceptable. Killing Boris Johnson is stunning in regard to the acting, aesthetic, and just about every other technical aspect–but I’m not sure that this is able to negate the issues with the narrative. I’m impressed with Agozino and Director of Photography Jack Hamilton, and while I can’t advocate for the viewing of this film, there is a lot to love about it.
Written & Directed by Musa Alderson-Clarke.
Starring Shadrach Agozino, Jesse Akele, Peaky Saku, Cathay Owen, Robert Dukes, etc.
⭐⭐⭐⭐⭐⭐½/10
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