It’s All or Nothing
It’s All or Nothing
It’s All or Nothing: Hailing from an editing background, Jiajun ‘Oscar’ Zhang brings to the screen his first ever film All, Or Nothing At All, where he pieces together various strands of storyline into a semblance of a film. It is mostly filmed within a mall, and a group of teenagers is eager to look at various gadgets, faders, and other paraphernalia.
They move in one direction, like a sheep, looking for some sort of shepherd, more often than not entranced by the very things themselves. This is a group of teenagers, certainly belonging to Generation Z, but for some reason, they emerged as an eccentric portrayal of their own generation.
First up, let’s begin with All, or Nothing at All which opens up with a rather digital looking image of a hologram of a tower where even the floors, windows look as if they are pixels. Taylor finishes it up by cutting away to what looks like a little bespectacled girl in a short dress who is trying different slants of shades. She leans across the counter to see a class that serves a dance of an essence which is cut in the ideals of western forms.
The feature is colorful and yet full of contradictions and contrasts especially the angles of the cameras; it depicts flow mastery wherein there are small people and it appears there are huge gods standing over them: well behaved subjects below their deities. So there are comforts but this is understated. In such films the first half is usually longer than the latter and for a mild discretive – this is again bragging- very realistic tension.
In terms of reviews, All, Or Nothing At All is frighteningly ahead of its time: a typical behavior is when a young generation goes insane and runs in a shopping centre looking for the newest shiny toy to add in their collection. Was the word “robot” refers to Slavic word meaning ‘slavery work’ or forced labor out of which one can appreciate an ingrate slave.
Where as he has never called any of its its consumers “a Robots” or “a Slave” does lie that these people fall into the trap of the goods offered to them without even trying. And being such grand centre itself – the more spakly/splashy siezdhs ydem rush peshom for the buyers B.N 30. In one shot the picture exposes line of people looking at objects like herd of lioness’ seeking victory over prey.
The score composed by C-Low is however awkwardly engaging, and creates dramatic events that have overexposure driven down the shape of JSF stories with harrowing maturing decoder tales for justice. A soundtrack filled with the joy of impersonating, the dreams of many works with keyboards it mimicked the journey of fantasy that consumers went but realized there was no wish to spend for the fantasy.
Whole communes walking silently through the copper bar structures and the efforts of electric stairs which carry them different places. Outside Does Zhang ESOI illustrate most bleak society, however, once in a while gets out of hand and reinforces itself, repeating story lines (boy falls in love with girl who is obsessed with her gadget), meandering within the movie. Unusual storyline structure probably there is makes hard to understand the medium.
However, the grandioseness, the design and the creative latent intelligence that never seems to elude the lens of every stylized shot cannot be disputed. Where you have little action in the plot, there is plenty of shots diversity.
The bar is dramatic and lit as in the 1980s Michael Manns film-noir with blue shadows on the walls rippling but the cafe is showing a dull color so devoid of life its like the couples sitting underneath it (the boyfriend would rather stare at the ground than smile at the woman facing him). What this film does in an insidious way: it helps realize how crucial value of proper digital detox is for everyone – children and seniors included.
The necessary diabolical phone is returned appropriately to the plot and the thesis, I mean the audience – “That’s the only phone you’re allowed.” A flat defeat isn’t hiding the satisfaction of unallocated phone time. At the end, A Parable of All, Or Nothing At All, simply is the story of consumerism.
If the development of society continues in this way, humanity may soon lose sight of where their face ends and the machine begins. All, Or Nothing At All was screened during the First Feature Competition of the 27th Tallinn Black Nights Film Festival.
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- Genre: Drama
- Country: United States
- Director: Randy Holloway
- Cast: Todd Burton Jr., Todd Burton Sr., Trey Burton
