Liberation Day

Laibach serves provocateur "director"'s stunt.  If we were wondering how
compromise looks . . ahem, and who could not be wondering that today? . .
this film, which is screening at Facets until Nov. 11, would be my vote for
"production values" entry into the "experimental" film discussion.

*The Wall Street Journal* today shows Trump on its cover page urging the
North Koreans to "come to the table and make a deal."  Film artists . .
come to the table.

This director of *Liberation Day*, listed as a "North Korean expert on
Facets page devoted to the film, shows you how it's done.  Just try taking
Laibach to perform in North Korea.  We used to watch to see the compromises.

But compromise would not be why the cinema was empty when I attended its
first night.  I had a conversation with the projectionist (during his stint
at the desk before start-time): This part of Facets is non-profit, and that
explained to me how the thing could even get to Facets.  (I had been
wondering how many people would be familiar enough with Laibach and its
significance for art to take interest).

It's not as if we need a behind-the-scenes like this.  What has become
interesting is the look of compromise . . in anything and everything on the

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