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Movie Info A group of young travelers discover that sometimes man is the greatest monster of all after getting lost in the desert on their way to the Burning Man festival and coming face to face with an unstoppable creature. It was supposed to be a wild weekend of casual sex and drug-fueled revelry. That is, until five students stopped into a remote gas station in search of directions.
When the owner of the gas station inexplicably accuses the teens of stealing his dog, a Park Ranger kindly steps in to clear up the confusion. Back on the road later that night, the driver opts to try and make up for lost time by taking a shortcut. By the time the rest of the group realizes what's happened, they're all hopelessly lost.
But someone is out there, and when the group spots a dilapidated shack in the distance, they decide to check it out.
Unfortunately for the weary students, the sole occupant of the shanty is a violent hermit who doesn't take kindly to strangers. A struggle ensues, leaving the mystery man mortally wounded and the travelers with little choice but to pitch a tent for the night. As the man lies dying, he uses his last breath to utter a cryptic warning: "You are so screwed. But who is the real monster, the creature that simply acts according to its nature or the man willing to sacrifice all of his closest friends in a selfish bid to cheat death?
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A clip from video installation Me. Credit: Yole Quintero. Look at me.
Thus, Quintero effectively conjures the universal hallmarks of addiction: reward giving way to a gradual loss of self, as want transitions to need. Placing this in a familiar setting is a powerful way to take viewers on that journey. HOOKED glosses over the nitty-gritty science of addiction: viewers will not find discussions of neurotransmitters or opiate receptors. But it is strong on social contributors to addiction. Three videos by British artist Richard Billingham, whose father had an alcohol problem, explore the relationship between boredom and dependency.
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Is he even playing a game, I wondered in horror, or just tap-tap-tapping away? Several pieces examine consumerism and the intentional obsolescence that fuels that cycle. A coffee table made of sugar by design studio Atelier is a case in point. On certain occasions, lucky visitors might get to see the artist pour a cup of tea on it until it collapses, as a reminder of how our society prizes products that are designed to fail. Going from room to room, I move from the causes of addiction to its consequences.
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But the exhibition strangely fails to place this in the context of ongoing addiction crises, such as the epidemic use of the drug spice in Britain, or the opioid crisis that is tearing millions of US lives apart, and kills people in the country each day from overdoses alone. Instead, the exhibits are more general. For example, a curtain made from wedding rings, some discarded or pawned, is a reminder of how addiction can contribute to failed marriages.
Credit: Dryden Goodwin. One of the strongest features of HOOKED is its emphasis on involving people who have lived with addiction and its consequences. Many of them are there for offences related to illegal substances, and spoken-word artist Mr Gee asked them to write poems personifying drugs.