I am not entirely sure I liked Noah Baumbach’s adaptation of Don DeLillo’s White Noise (nor am I sure I disliked it), but I’m 100% positive that the grocery store dance scene that plays while the end credits roll was my favorite part of the film. The scene is set to a new LCD Soundsystem track called new body rhumba and Netflix has uploaded the whole thing to YouTube so you can enjoy it whenever you would like. Also, André 3000 with the cookie box!
The Atlantic is releasing their first feature-length documentary later this month.1 The film is called White Noise and it’s about the white nationalist movement in the US. Director Daniel Lombroso spent four years embedded in the “alt-right” movement to figure out how it works.
Progressives like to believe that racism is an opiate of the ignorant. But the alt-right’s leaders are educated and wealthy, groomed at some of America’s most prestigious institutions. The more time I spent documenting the movement, the more ubiquitous I realized it was. I bumped into one subject dancing in Bushwick with his Asian girlfriend, and another walking around DuPont Circle hitting a vape. Their racism is woven into the fabric of New York, Washington, D.C., and Paris, just as much as Birmingham, Alabama, or Little Rock, Arkansas.
During a visit to Richard Spencer’s apartment in Alexandria, Virginia, I began to understand how the alt-right works. Evan McLaren, a lawyer, wrote master plans on a whiteboard. A band of college kids poured whiskey for Spencer, adjusted his gold-framed Napoleon painting, and discussed the coming “Identitarian” revolution. Spencer offered a sense of historical purpose to his bored, middle-class followers. In his telling, they weren’t just “white Americans,” but descendants of the Greeks and Romans. “Myths are more powerful than rationality,” Spencer told me. “We make life worth living.”
White Noise is about the seductive power of extremism. Hatred feels good. But the fix is fleeting. As the film progresses, the subjects reveal the contradictions at the heart of their world. Southern advocates for traditional gender roles, but resents the misogyny and sexism of her peers. Cernovich warns that “diversity is code for white genocide,” but has an Iranian wife and biracial kids. Spencer swears he’ll lead the white-nationalist revolution — until it’s more comfortable for him to move home to live with his wealthy mother in Montana. For so many who feel lost or alone, these avatars of hate offer a promise: Follow us, and life will be better.
I mean, I’d roll my eyes if these assholes weren’t so effective and dangerous.
The film is premiering online at AFI on June 20. There doesn’t seem to be a trailer or any clips available (which seems odd) but I’ll update this post if one materializes.
And probably last? The Atlantic laid off their entire video staff in mid-May, including the director and producer of this film.↩
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