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Bwith timeless images, the brilliant Charlotte Zhang discovers the origins of the dystopian future here and now. He sat around the 2028 Summer Olympics, the film thinks a Los Angeles gripped by paranoia and conspiracies; and animal diseases have led to the banning of all animals, leaving the main source of protein distribution – mealworms – in the control of a megacorporation called Ootheca Inc. Surprisingly, the corrupt cockroaches have taken over several areas in the area, making Ootheca’s monopolizing greed even more difficult.
All of this may sound familiar, but at the heart of Tycoon is a deeply personal story of survival. Both struggling against each other, Lito (Miguel Padilla-Juarez) and Jay (Jon Lawrence Reyes) take advantage of the chaos that has spread to launch a series of small-scale attacks, including breaking into an Ootheca trailer to steal boxes of valuable protein powder. Their escape is powerfully delivered in a variety of formats including handheld DV and Super 8 cameras, as well as Xerox technology. But compared to other filmmakers who prefer a DIY style, Zhang pays attention to blocking and production. House party gigs, evening rides into the sunset, or speeding down the street go hand-in-hand with the urban music scene, where the music slowly emerges from the distraction.
Beneath the seemingly benign surface, there are also political issues. As Latino men living in an era of state-sanctioned violence, Lito and Jay are financially challenged and constantly under surveillance. That he chooses a game system instead of waiting to be squashed by it – like Ootheca’s crushed insect – is a surprisingly powerful. Zhang sometimes articulates these political issues with the use of insider words, which are sometimes difficult; however, what better time to deliver the manifesto than the first film?
