District 9 is not a nuanced film, nor is its metaphor. Filmed in the slums of Johannesburg, there’s an eerie, earthen verisimilitude to the film’s physicality that simultaneously lends South Africa a depressing gritty realism and expounds upon its alienized social distance. But it is very obviously a parable of human exclusion and prejudice, literalizing the alien in the “other” of race by fitting it into a sci-fi story about actual space travelers. Parable isn’t quite right though – the film is more a vague satire, not particularly pinpoint but workmanlike in its broad-based feeling. Nonetheless, sharp it is not. If it really wants to stake its claim as something more than a bit o’ fun with new filmic toys propping up the seams, it’s on less sure-footing.
If it’s not particularly smart, Blomkamp’s directorial debut at least gets points for attitude. There’s a loose docudrama snark to the film that evaporates before the end but sees the film at its best. In the early stages, we meet Wikus van de Merke (Sharlto Copley), a low-level bureaucrat given a patronage position examining the slums of Johannesburg, South Africa. Obviously, the real world implications insist upon themselves, but the film wastes no time in front-loading its futurist situation where an alien species has crash-landed on the city’s outskirts. Naturally, humanity does as humanity does and throws them into abject poverty backed by a sketchily defined system of cognitive stratification (one would hope the poorly defined nature of the oppression outside of the slum is an intentional commentary on sketchily-drawn racism, but it works more like Blomkamp just sort of dropped the ball on the broader political situation in this world). Soon enough, of course, Wikus is prey to his own catlike curiosity and finds himself changing to become…well, you see where this is going. Continue reading