Get Mr. Gou. Director Corey Krückeberg continues his creative exploration of his favorite artistic technique – the construction of a metatext narrative that allows you to fill the picture with countless hyperlinks and allusions. As a result, he gets a simple, at first glance, in the form of cutting amateur video, which is now full of Youtube, but very complex in semantic content ideological construction. The construction, with which, in the course of the plot, the pop-cultural layers of the modern world are methodically removed one after another, in order to eventually get to the very framework on which the present time rests, the impossibility of love in the scenery of absolute freedom.
Kruckeberg’s experience of the chaotic symbiosis of artistic and pseudo-documentary forms of storytelling was a notable step forward compared to the earlier “If the World Was Mine...” to which Corey had a hand as a screenwriter, and which is also built in a way of referring the viewer to the texts of more famous authors: Shakespeare in the 2008 film, Andy Warhol in the 2013 film. In Getting Mr. Goe, Krückeberg now understands exactly why he has eminent predecessors and what he is trying to find from them - guiding constants that will guide him through the tinsel of familiar thematic material. And from the thick atmosphere of the gay nightclubs of the Bronx, from the agonizing sexual tension that reigns in almost every frame, from the visual noise and empty dialogues, a very subtle in psychological patterns and amazingly sensual story of the relationship between two young people – the shy, ordinary Doc, who spends most of his life in the world of virtual communication, and the liberated, seductive Gou, for whom nothing is worth baring in front of a hundred longing eyes. Feed by the same images of the Internet era, these two are adherents of completely opposite faiths - and in fact it turns out that the life of Gou, who has constant non-mediated screen gadget communication with real people - club visitors, no less virtual and ephemeral than the life of Doc.
In Getting Mr. Go, Kruckeberg reaches a point of equilibrium that eluded him in earlier work. The balance between form and content. Perhaps not the last significance in this success belongs to the fact that Corey himself in the film of 2013 from only a screenwriter becomes also a director, because it is not for nothing that the entire narrative of the film is built at such a complex reception - the simultaneous presence in the frame of the director and the hero in one person. The reception provided Krückeberg with countless opportunities for plot development, with which he played to the fullest.
The ideological construction of “Get Mr. Go” is similar to the building of a huge shopping center – it comes out with several doors to the world of audience perception, while in completely different places. The picture very accurately conveys the spirit of time through the eyes of representatives of a closed social group, which defines itself as a serious work of art.
10 out of 10