Intellectual athleticism, extreme elastic environmental ecstasies, raising the fam in the wilderness like a self-sufficient acrobatic critically inclined motility, hunting game and gathering edible plants, roots, berries, vigorously debating political and ethical thought while fighting as if atavistic Thoreau went forth and meritocratically multiplied, thickets and thespians, excavated escalades, plundered idyllic trial-by-fire equanimity, willing free spirits, stereoscopic centigrade.
Off to the city.
To pay last respects.
Confrontation.
Introspecs.
Competing rationalities flourish in Matt Ross's Captain Fantastic as the traditional is multidimensionally deconstructed, the stark opposition culturally communalized entre the devout and the dedicated aptly displaying reasonable idiosyncrasies, alternative acclimatizations, to frenetically fluid shushed postmodern democracies.
The religious tradition, obediently abiding by the structures that be with respect for law and authority contra the inquisitive argumentative life that debates to understand dynamic sociopolitical distillations.
Both approaches formidable in their fragility.
They clash at a funeral for one of the clan's matriarchs, her father disgusted by his son-in-law's way of life.
The film, a wild playful illustration of familial fervency that is a definite must see, practically every scene generating active thought, a rowdy critical examination of critical examination, as mischievous as it is shrewd, as carefree as it is uptight, questions as it answers to inculcate critical discourse, an interrogative humorous vista, envisioning variety with causal robust gaze.
As Ben (Viggo Mortensen) accepts that he has to respect even if he disagrees while engaging with others, his humanity conscientiously expands, even if it irks him considerably.
Top-down and bottom-up, his children catalyze this transformation.
Balance you know.
Liberty.
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