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.
There isn't a great deal of originality in Jamie Wax's new play, Call Me Izzy, but it may well mark the first time a white porcelain toilet has been featured so prominently in a Broadway production.
The 90-minute, one-woman show opens in the bathroom of a mobile home, situated in a trailer park in rural Louisiana, where Isabelle "Izzy" Scutley (Jean Smart, Hacks) spends much of her time, scribbling on sheets of toilet paper with a mascara pen. Poetically, she describes the various shades of blue produced by the disinfectant tablets that she gingerly drops in the tank. To her, they are beautiful. To her husband, Ferd, not so much.
Life is a cabaret at the titular bolero bar in GALA Hispanic Theatre's Botiquín de Boleros de Columbia Heights. Of course, for this lively, immersive staging, directed and choreographed by Valeria Cossu, we, the audience, are the patrons at the Columbia Heights Bolero Bar.
Seated at cabaret tables onstage, at stage level, or in regular seats throughout the house, audience members may find themselves in the midst of the action for Rubén Léon's heartfelt backstage musical revue, adapted by GALA artistic director Gustavo Ott.
Formerly a mainstay of D.C.'s diverse Columbia Heights neighborhood, the fictional boîte was "one of the hottest cabarets" in town, we're told. But due to the pandemic, it has sat dormant for years, until now -- now being November 2024, just ahead of a presidential election that will prove particularly pivotal for immigrants like some of the performers who call the club home.
The Desperado LGBTQ+ Film Festival, a 16-year-old annual event hosted at Paradise Valley Community College in Phoenix, has been canceled in "direct response" to President Donald Trump's executive order banning diversity, equity, and inclusion programs at federally funded schools.
The festival, held each January at the college's Center for the Performing Arts, showcased films reflecting LGBTQ experiences and most recently featured seven feature films and seven shorts.
Trump's order requires colleges to end all DEI programs or risk losing federal funding. Organizers said Paradise Valley Community College could not afford to jeopardize its funding.
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