《二十世纪》是一部加拿大电影，灵感来源于加拿大前总理麦肯齐·金的日记。影片采用了超8和16mm摄影机拍摄，以真实的世界人物的语言为引用，同时通过大量场景和动画的运用，营造出怀旧时代的氛围。影片讲述了一段荒诞怪奇的假传记爱情故事，主要围绕着麦肯齐·金和一个名叫艾达·艾尔斯沃思的女演员展开。麦肯齐·金是一个有野心的政治家，他希望通过影响艾达的演艺事业来实现自己的政治目标。然而，艾达对麦肯齐的野心和控制欲感到厌倦，她渴望自由和个人发展。两人之间的关系逐渐恶化，最终以悲剧收场。影片勇敢地触及了一系列议题，包括反串、3P、恋鞋癖、种族和纵欲等。通过这些议题的处理，影片揭示了奠定加拿大基础的沙文主义殖民态度，以及对权力和控制的反思。《二十世纪》是一部充满爱与悲剧元素的电影，通过其独特的拍摄手法和剧情设置，向观众展现了一个荒诞怪奇的世界，同时也引发了对社会和人性的思考。
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影评
《二十世纪》是一部充满喜剧和传记元素的电影，根据加拿大前总理麦肯齐·金的日记改编而成。导演运用超8和16mm摄影机拍摄，巧妙地引用真实世界人物的语句，并通过场景和动画的运用，营造出怀旧时代的氛围。影片还涉及了反串、3P、恋鞋癖、种族和纵欲等议题，揭露了奠定加拿大基础的沙文主义殖民态度。这种独特的处理方式呈现了一段荒诞怪奇又充满爱与悲剧的假传记爱情故事。
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The film depicts a brainwashing totalitarian society that promotes ultimate conservatism and extreme sexual repression. It is a cultish version of 1984 that is even more dystopian/hopeless/unredeemable than The Clockwork Orange. Its underlying Millennium-phobia and the allusions of yellow peril (casting Asian to play this mysterious doctor/villain) made me both sick and sad. The nostalgic mise-en-scene of (mainly) white and blue present a steep visual contrast between its seemingly harmless innocence and the inhuman atrocity that's been happening all this time in this shameful red Empire.
I'll leave the stars blank. God damn. What a fxxking journey to hell. I'm speechless.
Though, before I recede under my duvet and suffer from utter insomnia, I still have one question: I can't figure out exactly what the film wants to express by all that transvestism. Does it represent "if you're deep enough into the system, your 'queerness' would be legitimised no matter what" or "it is a facade of 'free speech/expression' (does the Empire of Disappointment really still need that though???)" or "it represents how utterly distorted the world is" (which is transphobic) or "they're only there for a laugh/for the quirkiness" (still transphobic), or neither?