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Russell Goldman’s No Comment is a commentary on #MeToo, a breathtakingly powerful work that takes the proverbial bull by its horns, in more ways than one.
Centre stage is Robert Grainger, aged superstar, the face of an action franchise, doing the one-thousandth round of press junket. The disorientation is palpable. Opposite him, literally, is Abigail, his interviewer. The film is set in the sterilized backdrop of a cyclorama: everything that is about to happen will be in hyper-focus. Instead of the promised fifteen minutes, Abigail gets only five. It gets hostile very quickly. She hones in on the real subject of discussions swiftly, the niceties discarded. These minutes on camera get uncomfortable, both for Robert and for the audience, forcing you to question the directorial intent. But Goldman is in control of his vision and craft. No Comment is gritty, raw and uncompromising. The punches land with precision and by the end, there is no space for doubt. Robert’s on-camera attacks at Abigail, her agenda, her purported flaws in logic and investigation are the official line, an alternative no-comment strategy with fangs bared.
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