![]() The movie borrows from the work of historians-the late Sven Lindqvist and Michel-Rolph Trouillot, and Roxanne Dunbar-Ortiz-all friends of Peck’s. “Exterminate All the Brutes” presents a thesis that Peck takes care to frame as a narrative-and an extraordinary, powerful, urgent one. It is literally a film in Peck’s voice, and that strength, and that audacity, also gives rise to its artistic peculiarities. ![]() Unlike the earlier film, though, the new one doesn’t offer much in the way of film clips from the writers themselves, and doesn’t (at least, doesn’t claim to) quote directly from their work. ![]() And, like “I Am Not Your Negro,” it introduces and distills, from Peck’s own perspective, extant writings, this time by three historians who study colonialism and racism. “Exterminate All the Brutes” is similarly an intellectual effort. The four-hour film is in the vein of Peck’s previous essay-film, “I Am Not Your Negro,” which focusses on James Baldwin’s work. ![]() Which is to say that it’s an essay-film, a film of ideas, that are for the most part expressed by Peck himself, in his own voice-over, which nearly fills the movie’s soundtrack from start to finish. The new four-part series by Raoul Peck, “Exterminate All the Brutes,” that’s streaming on HBO Max belongs to an exceptional genre: it is, in effect, an illustrated lecture, or a cinematic podcast. ![]()
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