Recently we invited film maker Sean Grattan and academic Manuel Shvartzberg Carrió to revisit Sean's 2012 film HADHAD, whose depiction of an unwelcome visitor now seems oddly prescient of a world dealing with Covid019 and authoritarian politics. Ostensibly a horror movie, HADHAD depicts a group of American suburbanites whose lives are upended by a mysterious visitor. Neither human nor animal, the HADHAD crouches silently, offering no clues to its purpose or origin. Much like HADHAD, the coronavirus and anti-democratic leadership has brought panic, disruption and disbelief: Where did these events come from? Are they real or imaginary? What do they tell us about the sustainability of our political and economic systems?
Here we present part 2 of this conversation, in which Sean and Manuel discuss language, technology and post-humanism in HADHAD, and the relationship between white supremacy and technology in the USA in 2020.