Borat Sagdiyev’s prankster reputation precedes him. Fourteen years since Sacha Baron Cohen introduced the Kazakhstani mischief maker and his mankini in the massively successful, Oscar-nominated Borat, even the vaguely pop culture-aware can recognize his mustachioed visage, or catch a “Very nice!” reference. So who’s still getting pranked by Borat, or any Cohen character who resembles him at this point? The President’s personal lawyer Rudy Giuliani, that’s who.
In Rudy’s defense, he isn’t fooled by Borat during the jaw-dropping near-climax to sequel Borat Subsequent Moviefilm (★★★★☆). Instead, the former mayor of New York is taken by Cohen in another disguise, and by the actor-comedian’s main accomplice in the film, Bulgarian actress Maria Bakalova, playing Borat’s daughter Tutar pretending to be a Russian reporter. So it doesn’t take a spy agency or foreign government to catch Trump’s consigliere with his hands down his pants inside a hotel room with an attractive Russian he’s never met. Just two committed comedians and a well-prepared crew get the job done, and that’s not even this film’s most audacious stunt.
Borat also crashes a speech by Mike Pence at the Conservative Political Action Conference, while wearing a well-chosen disguise. Directed by Jason Woliner (making his feature debut, after cutting his teeth on TV comedies like What We Do in the Shadows), the film addresses the obstacle of Borat’s fame with humor, ingenuity, and by relying on the rapid-fire talents of Bakalova. She carries much of the bizarre, yet politically astute plot about Borat trying to impress Trump by delivering a gift to “Vice-Pussy-grabber” Pence. A formidable one-two punch, Bakalova and Cohen both can go big or play it straight, depending on the situation, and their comic rhythm develops into a surprisingly sweet father-daughter match as they prank their way across America, from a debutante ball to a Republican Women’s Club meeting.
Borat and Tutar even venture to a March for Our Rights anti-mask rally, stepping right into 2020 existence. The film and its humor reside on a razor-thin line between staged and spontaneous, faked and for-real. It’s eerie when it’s not hilarious, and sometimes it’s both. Borat himself, the naïve and offensive, wild-and-crazy guy in the boxy, gray suit still resides on that line, and Cohen mines new layers of humanity from the character in his fumbling attempts to better understand his daughter. His trusted daughter-raising manual by the Kazakhstan Ministry of Agriculture and Wildlife only gets him so far.
But again, Borat’s too famous to fool all of the people, all of the time, so he’s often buried beneath additional layers of fake hair and padding. His personality is missed. Also missing much of the time is the element of surprise. Borat’s first trip to America, and the decade-and-a-half of cringe comedy since, have primed the audience to anticipate exactly where his pranks are headed.
Yet, somehow unsuspecting innocents, and some who have it coming, are drawn eagerly into embarrassing themselves, or exposing themselves for our entertainment. And even when the movie signals where it’s going — when Borat and Tutar decide to bust out a traditional fertility dance at the deb ball, for example — Cohen and Bakalova make each set-piece count by leaving it all on the floor.
Borat Subsequent Moviefilm is available for streaming on Amazon Prime. Visitwww.amazon.com.
Speaking at a House GOP retreat, President Donald Trump warned that Democrats would seek to impeach him if they regain control of Congress in the 2026 midterm elections.
"f we don't win the midterms, it's just going to be -- I mean, they'll find a reason to impeach me," Trump said. "I'll get impeached."
Trump was first impeached in 2019, after Democrats regained control of the House during his first term, over allegations that he withheld congressionally approved military aid to Ukraine to pressure its government into announcing investigations into his political rival, former President Joe Biden.
Documentaries generally don't need an onscreen host. The camera can play host, and real-life stories can tell themselves, with offscreen prompting from research and production, and shrewd direction and editing providing context.
If a filmmaker wants to put the prompting onscreen, there's a delicate art to inserting themselves or an on-camera host into the story without stealing the spotlight from their subject.
Ryan Ashley Lowery, director and creator of the LGBTQ doc Light Up, is anything but delicate in inserting himself and two on-camera host-interviewers -- Michael Mixx and Maurice Eckstein -- into the film's still-compelling portrait of Atlanta's "community of Black same gender loving men and trans women."
Little more than a year ago, Kamala Harris narrowly lost the presidential election. She may have suffered a swing-state sweep, but Donald Trump's 49.8 percent win was hardly a mandate. Consider Franklin D. Roosevelt won his first term with a bit more than 57 percent. That's a mandate.
But lose, she did. And I cried twice. Some frail dudes might not like admitting that, but I'm not so self-loathing that I'm compelled to deny human emotions. Initially, maybe a day after the vote, talking to a neighbor on our building's shared roof, my throat seized mid-sentence and I excused myself. I may have plenty to cry about, but I don't ever want it to make me the center of attention.
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