“The Art Of Self-Defense” Wants You To Think About Toxic Masculinity

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“The Art Of Self-Defense” Wants You To Think About Toxic Masculinity
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Safe to say 'The Art Of Self-Defense' pulls no punches.

The best one-sentence description of The Art of Self-Defense I have managed to conjure up is “Fight Club, but directed by Yorgos Lanthimos.” It takes place in a completely generic 1990s-era town, where the dog food in the grocery store is literally labeled a brandless “Dog Food,” where the protagonist’s home answering machine informs him that he has “only” one new message, while a news anchor blithely recommends protecting oneself with a gun or large knife while out in public.

ADVERTISEMENT Jesse Eisenberg, perfectly cast here, plays the ultimate distillation of pretty much every previous Jesse Eisenberg role, but taken up to eleven. His character, Casey Davies, is introduced at the beginning of The Art of Self-Defense as completely passive and non-confrontational, to a degree that even a pacifist would likely think is overkill.

When Casey is mugged by a gang of motorcycle riders, he wanders into Sensei’s dojo hoping to learn to defend himself, and is seduced, bit by bit, into Sensei’s personality cult of karate and strictly-proscribed masculinity. Sensei is swaggering, confident, and just encouraging enough to draw Casey into his orbit, which begins with the donning of a white belt and ends with induction into the ultra-violent night class and all of the unquestioning loyalty it requires.

Most importantly, as we see played out literally in The Art of Self-Defense, this rigid and destructive interpretation of masculinity must be perpetuated through ritual violence in order to survive. It’s essentially the physical version of becoming “redpilled” . His life becomes governed by rules, and by violence, from the ceremonial bowing before you step onto the mat to the bloody night class and its unnerving, mostly-naked cool-down session.

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