Beyond the glitter of upscale consumerism, the billions of dollars lost and found in the fog of war, the complex struggles for advantage between American, Chinese, Russian, and Eurozone operatives, the texture of life is sinister.
It is especially so in Gerard Cappa’s Black Boat Dancing. Cappa produces noir pictures of people, their motivations, their fates in the grip of a vast machine. The results are expressions of a world turned upside down, a movement from nation and its people to an international golden hand, invisible and lethal.
Cappa is very good at setting forth the intricate games the agents of the American, Chinese, and Russian militant states play with each other, and the ordinary people who pay for their weird symbiosis.