Art Aggro Dr1ft: What Remains of the COD Era

Aggro Dr1ft: What Remains of the COD Era

Anna Frattini
Aggro Dr1ft

Aggro Dr1ft is a film that has been talked about for a while now. Presented at the Venice Film Festival last summer, this feature film is back in the spotlight following its release a few days ago in the United States. At first glance, the film stands out for two reasons: the first is the thermal lenses used for shooting, and the second – quite simply – is the participation of the divisive Travis Scott. Directed by Harmony Korine, known for directing Spring Breakers – the film that marked a turning point for all the kids glued to Disney Channel screens. Vanessa Hudgens and even Selena Gomez, the two darlings of High School Musical, had officially lost their innocence. Now that the era of Wizards of Waverly Place is long gone and stars like Miley Cyrus have scaled back the channel’s allure of perfection, Harmony Korine takes aim at another bastion of our adolescence: video games with banal and synthetic terminology infused with violence.

Aggro Dr1ft
Courtesy EDGLRD

The Aesthetic of Aggro Dr1ft

The plot is simple, almost obvious for a film with dark tones set in Miami Beach. A tormented hitman on the hunt for the next target, all to be followed by the hallucinatory tones of Korine’s direction. The director ridicules violent video games using the classic components that animate them. Cringeworthy voiceovers, clichéd phrases, and those movements that remind us a bit of the NPC phenomenon. The dialogues are existent, and the clarity of the plot seems to be lacking. Last but not least, the absurdity of these power-inflated men alongside women who have no role other than to exist in function of a patriarchy made of weapons, sex, and exaggerated narrow-mindedness.

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What Remains After Watching the Film Directed by Harmony Korine

In short, in Aggro Dr1ft, there is all the video game culture closely linked to Call of Duty, the electronic music that chills the blood, and a psychedelic hypnosis due to the fluorescent colors of the shots that overturn our perception of the world. In short, those who watch this film seem to be living in a trip of acid and purposeless violence, dictated by a culture that we hope we have left behind. The genius of Korine – if we want to call it that – lies precisely here, in the discomfort that the viewing of this film provokes. The above-mentioned aspects can only lead us to completely rethink the perception we had while, in my case, watching friends play COD after school.

Written by Anna Frattini
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