Mads Brügger’s feature directorial debut, The Red Chapel, took a Tom Green-via-Sacha Baron-Cohen approach to infiltrating North Korea, with the director finagling himself and two comics — both adopted from North Korea, one with spastic paralysis — into the country.
Given that it’s not hard to make an actual absurd environment appear absurd on screen, he emerged with fairly pointless cringe comedy: plenty of awkwardness all round but no real surprises.
So it’s interesting to hear Brügger admit at the start of The Mole that The Red Chapel, while an […]The post Doc NYC 2021: The Mole, Life of Crime 1984-2020 and Mr.
Bachmann and His Class first appeared on Filmmaker Magazine.
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