Container is, basically, the fractured VO monologue of a confused young actress. Consumed and disassembled by the dazzlingly obscene superficiality of celebrity, the actress' voice glides along, in a monotonal drone, through the plastic, throwaway detritus of her life, a mess of fascination with catastrophe, mutilation, sexual ambiguity; senseless, lost and deluded ("Brad Pitt's going to move to Sweden just for me"). Accompanying the VO is a fat man and the actress wandering listlessly through a random panorama of like detritus, occasionally coincidental with the voice of narration, more often not.
The subject itself (a point which could also be made of Moodysson's Lilya 4 Ever) is not a difficult one to skewer. One can hardly extend accolades of extraordinary insight to Moodysson for making a film about the vacuous absence of this actress's world- plastic, throwaway pop-culture, misinformed faux-philosophising, pornography, cosmetics, processed food, processed everything else- these are pretty easy targets. This said, the VO is by turns grotesque, witty and bizarrely compelling, while the images which partner it are captivatingly strange enough not to be boring. There are particular moments when the images on screen and the oblique voiceover seem to coalesce in an attempt at the fusion of people and things, a Burroughsian attempt at something weirdly organic, edaphic. Taken out of the context of the rest his work, Container is little more than an enjoyably disquieting oddity. But it's intriguing when looking, particularly, at Hole in My Heart- the issues in that film were similar- where does one go when one becomes so inextricably lost to a world and a lifestyle of self-hatred and superficiality? Hole put it's people vigorously through this question- it's a violent and emotionally demanding film which gives resolution to the effort, a fractured mess which finds something like catharsis after purge. The characters literally exhaust their own depravity and find a final, human, connection. Container, with its wearily somnolent `narrator', lost in much the same realm, is reduced to merely staring at the pieces. There is no attempt to reassemble sense, but just a beyond-fatigue collapse in the face of such mess. One wonders where Moodysson goes from here.