The title of the film combines elements of both the site of the action, an island at the southern extreme of the Americas, and the secret mission of Fabian, its Argentinian protagonist. His country lost the 1982 war with the British, but he plans a diabolical revenge through a protracted guerilla action of which he is the advance agent.
Shot in strict accord with Lars von Trier and Thomas Vinterberg's "Dogme 95" manifesto, <i>Fuckland</i> keeps the unsteady roughness and intimacy of the small, handheld camera at the forefront of the viewer's consciousness. The illusion is that of a documentary shot by the protagonist. Indeed, it is the tension between illusion and reality that animates this film. Fabian, an amateur magician, appears to be a tourist coming to the Falklands soon after it is reopened to Argentinean nationals. In reality, his mission is to win the ultimate struggle by seducing and impregnating its eligible females, swelling the population with a new generation of half-Argentineans. Several prospects are quickly eliminated by our surly, unorthodox hunter before he fixes his sights on the buxom, ruddy-cheeked, and cheery Camilla. In the ensuing chase, whose end shall not be divulged, we are treated to an intimate, sometimes humorous, sometimes ugly and disturbing view of the disconnect between the outward rituals of courtship and the inner monologue that accompanies it. <i>Fuckland</i> combines politics, sex, and experimental cinema theory—enough there for everyone.
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