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(en) France, UCL AL #371 - Culture - See Raoul Peck: Orwell, 2+2=5 (ca, de, fr, it, pt, tr)[machine translation]

Date Wed, 24 Jun 2026 08:08:56 +0300


"A collection of Bolshevik and Marxist nonsense," is how one online review of Raoul Peck's latest film sums it up. Enough to pique one's curiosity! Especially since its director has previously excelled in both fictionnotably *The Young Karl Marx*and documentary, including *I Am Not Your Negro* about James Baldwin, and the miniseries *Exterminate All the Brutes* about colonization and genocide.

Here we find a technique dear to Raoul Peck: the portrait. In this case, it's a portrait of George Orwell, with the stated intention of highlighting his political reflections and offering an anti-authoritarian and anti-fascist interpretation of his novel *1984*, often referenced by the far right in recent years. The film presents Orwell's early years, a pure product of the English colonial bourgeoisie, born in India, before attending the prestigious Eton College and then serving for five years in the Imperial Police in Burma. This introduction is perhaps the best part of the film: it highlights the thought process of a man who experienced the imperialist machine firsthand by participating in it, his materialist analysis of colonialism, and how the primary beneficiaries of an exploitative system can also choose to rebel against it.

But after this initial success, the film quickly bogs down, lingering at length on the author's final years, during which he wrote his last novel, 1984. The director wants to draw parallels between the book and the contemporary world. One might have feared that the exercise would be clumsy. And it is. Lost in the intoxication of an otherwise virtuoso montage, the film ultimately muddles everything, placing all forms of authoritarianism, all crowds, and all deaths on the same level. The deluge of images quickly becomes frenetic, jumping from one situation to another without transition or explanation, and never hesitating to resort to shocking visuals. The result is a whirlwind of a demonstration, albeit a chaotic one, with many questionable elements, such as the heavy-handed insistence on applying the concept of Newspeak everywhere, and the use of AI-generated imagery: intended to denounce its use, certainly, but was it a valid reason to employ it? Throughout, one is left with the feeling of a brilliant director whose message has been completely sacrificed to style. If one expected to find an answer to the far right's confusing appropriation of Orwell, one is instead confronted with an equally confusing vision, but one that claims to be on the opposite side.

Upon leaving the theater, one question remains: who is the target audience? Its biases are so pronounced that one eventually understands how a right-wing viewer, even a moderate one, could see nothing but "nonsense." Conversely, for those involved in social struggles, it's difficult to leave without feeling like they've witnessed a lengthy demonstration of stating the obvious, as enthusiastic as it is futile. Especially since the film offers no tools to escape the torpor it plunges us into, merely invoking faith in the people who supposedly won't renounce their "morality": hard to believe after dozens of minutes of images of fascist crowds chained together in a strobe-like fashion. What remains is a film whose sweeping, vague denunciation of the modern world will surely please the "Télérama left," who can be satisfied with feeling they're on the "right side of history," and which may resonate with a few confused individuals, not yet lost to conservative rhetoric. But otherwise, it's difficult to leave without the unpleasant feeling that we've spent two hours being told that 2+2 doesn't equal 5. It's doubtful the demonstration needed to be so lengthy.

N. Bartosek (UCL Alsace)

Raoul Peck, Orwell: 2+2=5, released in theaters on February 25, 2026, 120 minutes.

https://www.unioncommunistelibertaire.org/?Voir-Raoul-Peck-Orwell-2-2-5
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