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Tribulation 99: Alien Anomalies Under America

Tribulation 99: Alien Anomalies Under America (1992)

US president Ronald Reagan champions a compassionate campaign to resupply the freedom fighters with machine guns, C-4 plastic explosives, and other humanitarian weapons that they so desperately need in their struggle against literacy, teachers, health clinics and agricultural co-operatives.

Maurice Bishop

Jimmy Carter

Fidel Castro

Craig Baldwin

In the year 1000, aliens from the planet Quetzalcoatl flee their dying planet and take refuge under the Earth&apos;s surface. Disturbed by 1950s American atomic testing, the aliens strike back at the USA in such varied schemes as the r...

imperfect cinema at its best

The cinematic equivalent of John Oswald&apos;s plunderphonics which takes as its theme the demented paranoia of Cold-War militarism and fleshes it out with an ultra-critical pastiche of found-footage, comprising SF and black ops imagery amonst other stock sources, to launch a sustained attack on US intervention against the self determination movements of Latin America. Baldwin has called it a &quot;pseudo pseudo documentary,&quot; a film that tells the truth about American imperialism and anti-socialist countersubversion through the faux documentary genre. At a formal level, Baldwin&apos;s film is an exercise in Brechtian postmodernism in which techniques of defamiliarization, verfremdungseffect, and cognitive shock tactics are exploited to produce a work of political art that is at once incisive and baffling. Ostensibly, the film claims to reveal an ancient conspiracy in which a race of aliens, originating, appropriately, from the planet Quetzalcoatl, have infiltrated South America and are waging a clandestine war with the United States. However, through its formal techniques and diacritical strategies, Tribulation 99 is simultaneously engaged in a damning indictment of the US government&apos;s historically tenured policy of political destabilisation throughout the Americas.

The cinematic equivalent of John Oswald's plunderphonics which takes as its theme the demented paranoia of Cold-War militarism and fleshes it out with an ultra-critical pastiche of found-footage, comprising SF and black ops imagery amonst other stock sources, to launch a sustained attack on US intervention against the self determination movements of Latin America. Baldwin has called it a "pseudo pseudo documentary," a film that tells the truth about American imperialism and anti-socialist countersubversion through the faux documentary genre. At a formal level, Baldwin's film is an exercise in Brechtian postmodernism in which techniques of defamiliarization, verfremdungseffect, and cognitive shock tactics are exploited to produce a work of political art that is at once incisive and baffling. Ostensibly, the film claims to reveal an ancient conspiracy in which a race of aliens, originating, appropriately, from the planet Quetzalcoatl, have infiltrated South America and are waging a clandestine war with the United States. However, through its formal techniques and diacritical strategies, Tribulation 99 is simultaneously engaged in a damning indictment of the US government's historically tenured policy of political destabilisation throughout the Americas.

In the year 1000, aliens from the planet Quetzalcoatl flee their dying planet and take refuge under the Earth's surface. Disturbed by 1950s American atomic testing, the aliens strike back at the USA in such varied schemes as the replicant Castro, the psychic vampire regime in Grenada and the Allende plot to alter the Earth's axis. Only covert action by the CIA can stop the dreaded Quetzals.

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Tribulation 99: Alien Anomalies Under America

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