max

Something sedate to wrap up the week: “Max”, the fictional, “what if” recounting of Adolf’s failed apprenticeship. Some have taken the producers to task for tackling the subject; similarly, an installation art piece in Stockholm was vandalised by the Israeli Ambassador. There is a deeply disturbing theological underpinning within this hostile response which denies the spectre of contingency, insists on the innate and immutable nature of “evil”, and decries any attempt at aesthetic representation. It is as if “evil” always announces itself publicly and in good faith, and thereby does not not require the machination of theory and art to develop and highlight its subtler hues. Quite what is the significance of film (art) and the proper role of film (art) criticsm? And what of the sacking of a Liberal Democrat frontbencher who dared voice her understanding of the motivation behind Palestinian suicide bombings? Does this mean the out-lawing of empathy?