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Hunting Emma

This is an okay Afrikaans-language thriller about a schoolteacher, Emma (Leandie du Randt), whose car breaks down in South Africa’s arid Karoo region on her way to her father’s home for a holiday visit. Compounding misfortunes, Emma is witness to a drug-related execution and must flee for her life through the desert whilst pursued by a gang of criminals. Unfortunately for the bad guys – led by the icy Bosman (Neels van Jaarsveld), who comes across like a cross between Gian Maria Volonté and Bono – it turns out that the resourceful Emma was trained in military survival skills by her ex-Recce father. Will the direness of her situation be enough to goad Emma to finally dispense with her philosophy of nonviolence? Furthermore, will she ever learn to shoot straight? Finding out makes for a fun hundred minutes.

3.5 out of 5 stars. Ideological Content Analysis indicates that Hunting Emma is:

4.Family-ambivalent. Emma’s father (Tertius Meintjes) is depicted as a devoted parent whose lessons stand his daughter in good stead in the face of a challenge. Emma, however, displays a distaste for domesticity, and teaching seems to fulfill whatever impulse she has toward motherhood.

3.Class-conscious. One of the crooks is a rich, recreational criminal.

2.Feminist. “My favorite kind of kitchen work – ironing,” martial arts expert Emma declares after tediously dispatching a sexist gang member with an iron. This fight, significantly, takes place in an abandoned home.

1.Anti-white. Leave it to South Africa’s Department of Trade and Industry, the agency responsible for Black Economic Empowerment, to facilitate the production of a film in which the threat to a woman traveling alone through the “Rainbow Nation” is a pack of white rapists and drug dealers. Emma’s mocha-colored students, meanwhile, give a glimpse of the country’s non-white future.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

blackkklansman

David Duke and Mark Collett discuss the “artistic license” taken by director Spike Lee and screenwriters David Rabinowitz et al. with their depiction of Duke and the Ku Klux Klan in Lee’s new “true story” BlacKkKlansman. Gregory Hood, meanwhile, reviews Purge prequel The First Purge – which, like BlacKkKlansman, was produced by Jason Blum of the anti-white fear factory Blumhouse Productions – and argues that it “implicitly urges its audience to take pleasure in the slaughter of whites even as it supposedly pleads for nonviolence. […] The political situation it portrays is almost a perfect inverse of reality: European-Americans actually live under a ruling class that is replacing them in their own country. The closest thing to The First Purge in real life,” Hood contends, “is not Donald Trump’s America, but Nelson Mandela’s South Africa. This film fails as both satire and entertainment, but it’s a warning about how an increasing number of people see us – and for that reason, it is well worth watching.” Finally, Andy Nowicki wonders aloud how Hollywood will defend itself in the face of accumulating evidences of its vileness.

Rainer Chlodwig von K.

Rainer is the author of Protocols of the Elders of Zanuck: Psychological Warfare and Filth at the Movies – the DEFINITIVE Alt-Right statement on Hollywood!

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