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Beasts of No Nation

A harrowing descent right into a cutting-edge-day heart of darkness, beasts of no state channels francis ford coppola’s vietnam epic apocalypse now for its tale of one child’s recruitment into an african insurrection battalion. Adapting uzodinma iweala’s novel with fearsome intimacy, writer/director cary fukunaga depicts his unidentified african placing as a aggregate of lushly green forests, bullet-shattered villages and mist-enshrouded horizons—the last of that is due, as a minimum in component, to the fires that rage at some point of the nation-state.


The ones conflagrations are the result of a conflict between government and modern forces, the specifics of which the film, like its unique locale, leaves extra or much less indistinct. Fukunaga’s film is for that reason mired in a hazy, nightmarish fugue of violence and degradation, the director presenting a landscape of hellish depravity and amorality via the eyes of one younger boy unwittingly swept up in his state’s insanity. A coming-of-age saga twisted into unholy shape, beasts of no kingdom eschews undue melodramatic manipulations (and avoids romanticizing its perversions) in charting agu’s maturation into a pitiless soldier.

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