Can satire still shock us? ‘Digger’ takes an ambitious shot

The characters mirror the caricatured world leaders of Kubrick’s Dr. Strangelove. Riz Ahmed effectively plays environmental scientist and chief advisor Dr Ganesh. Ahmed’s portrayal of Dr Ganesh’s nervous energy complements Digger’s brash and narcissistic demeanour. Jesse Plemons is reliably excellent. Emma D’Arcy and Sandra Hüller, who could have been given much more screen time, make their presence count.

The show-stealer for me, however, is John Goodman. Goodman plays US President Compson, who exudes so much comic energy that you know you are in for a good laugh every time he appears on screen. His over-the-top delivery further emphasises the Strangelovian humour Iñárritu is clearly pursuing.

Digger also marks Iñárritu’s reunion with longtime collaborator, cinematographer Emmanuel Lubezki. For those familiar with Lubezki’s work, his signature long takes and frequent use of wide-angle lenses are very much present here. The camera does its job of presenting the film’s chaotic, often absurd world. The visuals and score alone warrant the theatrical experience.

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As mentioned earlier, Iñárritu, being the auteur that he is, makes plenty of bold creative decisions in Digger. One of the most conspicuous is the film’s pale, desaturated colour grade. Some may find it lifeless and dull; others may see it as a deliberate choice that gives the film a distinct visual identity.

One aspect that deserves particular praise, however, is the production design, led by Dennis Gassner and Richard L Johnson. Every environment feels deliberate. The sets do more than establish the world of the film. They help create its eccentric, quirky and surreal atmosphere. There is a strange artificiality to many of the environments in a good way. It complements the film’s absurd tone and makes the production design an important part of Iñárritu’s larger vision.

To be honest, it’s tough to review this film without giving away its surprises. What I would say is that the film presents itself as a black comedy satire on the surface, but it’s an entirely different genre underneath: a satire of satire itself.

The huge swerve is a make-or-break moment for the film. I myself got a bit worried, thinking that it had probably ruined everything. It didn’t. If anything, the film reveals its true intentions as the story unfolds. The plot reinvents itself repeatedly throughout the film. What initially feels like a destructive creative decision gradually becomes integral to what Iñárritu is trying to convey.

For that reason, Digger requires patience and openness to new ideas from its viewers.

Understandably, unusual risks like this will divide audiences. Some may find it an overwhelming mess and may struggle to finish the movie. Not every idea lands equally, but was it necessary? In my opinion, yes. Will it work for everyone? No. And if it does work for you, you can also argue that movies do not need to resort to this simply for shock value. But Iñárritu’s Digger gives you something increasingly rare: a brave film worth talking about. Simply put, people should see it and decide for themselves.

And by the way, spoiler alert: it is not a musical.

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