The Vision of Dubai Through the Lens of Josh Appignanesi
Director and environmental campaigner Josh Appignanesi delivers a compelling report from the edge of what’s modern and postmodern, right from what many consider the capital of the 21st century: Dubai. This city is often described as a place where petroleum wealth is transformed into structures of concrete and glass, embossed with a sheen of unwarranted optimism. Dubai has become a hot topic of discussion, frequently mentioned as a symbol of ruthless capitalism and regressive politics, a city that seems to exist beyond the reach of irony or ethical criticism. Despite its frequent mentions, it’s rare to see a portrayal that truly captures the essence of Dubai, with its enchanting yet surreal visuals that evoke a dream-like, almost hallucinatory quality reminiscent of a Ballardian desert metropolis.
Reflections and Revelations in “Colossal Wreck”
“Colossal Wreck” references Percy Shelley, a connection made clear towards its conclusion, and represents Appignanesi’s introspective reflection during his 2023 visit to Dubai. He was there to showcase his earlier film “My Extinction” at the 28th UN Climate Change Conference, or Cop28, an event audaciously hosted by a major oil-producing country. The irony of oil negotiations happening discreetly at the conference itself did not escape notice. The film is beautifully scripted and hypnotically scored by composer Vik Sharma, with narration provided off-camera by what appears to be an AI clone of Appignanesi’s voice—a literal use of AI technology, not just a metaphorical one. Appignanesi’s usual somewhat unkempt appearance is notably absent, lending the film a more solemn and serious tone.
During his stay, Dubai was hit by severe flash floods just before and after the conference, yet everything appeared eerily perfect while he was there. It was a surreal experience of affluent, consumerist calm. Though Appignanesi maintains a respectful tone, it’s clear that Dubai and its Expo City offer a treasure trove of visual spectacles for any filmmaker. The city is portrayed as a blend of a vast airport duty-free area and a scene from a Stanley Kubrick space odyssey. Appignanesi introduces and discusses “My Extinction” to a relatively small audience, humorously noting his envy of the larger crowd drawn by fellow filmmaker Josh Tickell. The film also captures a poignant moment featuring Valdelice Veron, an indigenous speaker from Brazil’s Guarani community, passionately discussing the dire situation facing her people, offering a raw burst of genuine emotion amidst the otherwise numbed atmosphere.
Contemplating the Absurdity of the Situation
The documentary prompts viewers to consider a bizarre reality: what exactly is everyone doing here? Activists are vastly outnumbered by bankers and lobbyists for the fossil fuel industry, who are ostensibly there to obscure their true purposes. The overarching feeling is akin to floating in outer space, a surreal hint of something profoundly odd: a message from what could be the future. Appignanesi captures views of Dubai’s towering skyscrapers, which he describes as “monoliths of triviality,” from the pinnacle of the world’s tallest building, all set to the haunting sounds of whale songs. The film leaves us wondering whether, despite the surrounding spectacle, something genuinely positive could inadvertently arise from this bizarre convergence, or if humanity is, in some ways, enamored with the idea of its own demise, addicted to consuming and depleting resources. Personally, I remain hopeful that this is not the case. Yet, through Appignanesi’s eyes, this documentary stands as his most compelling work to date.
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Fatima Clarke is a seasoned health reporter who bridges medical science with human stories. She writes with compassion, precision, and a drive to inform.
