jbeall wrote:
Anyway, I'm still processing it (all five hours!), but I was wondering how it all relates to the nature of terrorism today. While the terrorists in the 70s had emerged out of the radicalism of the 60s and often came from developed nations, I'm not sure this is the case today. I guess what I'm asking is: what's the relevance of a biopic on Carlos the jackal today? (Definitely not trying to critique Assayas' film/series, which I like very much, but just open the discussion up.)
I don't know if the main theme of the film that Assayas wanted to explore was terrorism. I see
Carlos more as a film about globalization, which is the theme Assayas has been exploring, directly (
demonlover,
Boarding Gate) or obliquely (the family in
Summer Hours, the film and music business in
Irma Vep and
Clean - as I recall we even get a touch of this theme in
Les Destinees sentimentales). In
Carlos it's front and centre, and one of the most interesting aspects of the film for me is the geopolitical one: Carlos himself as a function of how governments actually interact with one another, beyond the polite lie of official diplomacy. As such, the film helps to show how contemporary (post-Cold War) geopolitics developed in the 70s and 80s more than it specifically shows whence modern terrorism sprang - though of course the former is a partial answer to the latter.
And I think one of the film's great strengths - noted by yourself, jbeall and Jean-Luc Garbo - is that it doesn't worry about explaining everything for the audience. There's way too much relevant background to fit into a movie anyway, and it's all there for the taking on the (gloriously globalized!) internet, in a more useful format. It's a good sign if people want to read more after seeing the film.