亚美尼亚美人音乐家Serj Tankian.庆祝自己在“真相”中，一个关于一个新的怒金属乐队系统的新纪录片，作曲家和抒情者转向活动家，作曲家和画家。To be fair, there’s a fair bit to celebrate, especially when it comes to Tankian’s successful attempts at fundraising and generally raising global awareness for the Armenian genocide of 1915. But “Truth to Power” often focuses so much on Tankian’s perspective that crucial, or maybe just convincing musical performances are omitted in favor of self-aggrandizing talking heads interview footage, most of it with Tankian, who produced “Truth to Power” with his Serjical Strike production company. This, unfortunately, also makes sense given that Serjical Strike has released only five albums in the last 11+ years, and all of them are composed and/or performed by Serj Tankian.
Still, Tankian has faced a lot of criticism from headbanging fans since System of a Down hasn’t produced a new LP-length record after winning a Grammy in 2006. So it stands to reason that a documentary like “Truth to Power” should focus on what Tankian has been up to in the intervening years, since he seems convinced that System of a Down is only as good as their ability to raise fans’ political consciousness.
坦克的可能是正确的，建议下降2015年亚美尼亚音乐会的系统是乐队的象征性巅峰。But it’s hard to tell, based on the evidence presented in “Truth to Power,” if he and writer/director Gavin Hovannisian (“1915”) are right to suggest that that concert was a major influence on Armenian Prime Minister Nikol Pashinyan’s election during the historic 2018 elections. Mostly because we don’t hear Pashinyan elaborate on that theory: Tankian paraphrases him, and Hovannisian supports his star’s testimony with a brief clip of Pashinyan acknowledging that he attended and felt inspired by System of a Down’s concert. Great, but what if Pashinyan’s just being nice to a rock star for an on-camera interview, and why is Tankian the only System of a Down band member whose contributions are celebrated?
“Truth to Power” is often irritating because only Tankian’s perspective seems to matter, and it’s often expressed through interview footage of him, presented in profile, talking into negative space about little things like the “commercially motivated” concept of “bands staying together” or about "moving the goal posts" of what could "be discussed in popular music.” "I don't want to come across that I know everything,” Tankian says, his head surrounded by stock footage of exploding mushroom clouds. But: “whatever statement I make is based on an injustice occurring somewhere that I want to rectify.” I wonder if this hyperbolic generalization can be applied to the scene where Tankian reads a bunch of random internet posts from alienated fanboys, like this one guy who claims to represent “the entire metal community.” What injustice did that guy commit, beyond mouthing off online?
如果他选择了不坦克的活动或撰写或人格 - 并更详细地考虑了，霍瓦尼尼亚的纪录片将更加令人信服。即使是2015年亚美尼亚音乐会的系统也是如此发生了追求的兴趣，即使它作为一个携带型号的问题的答案，Hovannisian在接受面试中询问了电影的面试：“音乐可以改变世界？”我的意思是，当然，但你可以从2015年音乐会上显示更多的说明性镜头吗？或者在这个80分钟的纪录片50分钟的50分钟前再次带来它？
Never mind the fact that neither Malakian nor Tankian have made an across-the-board good album with their respective post-System of a Down bands (Malakian has come closest with Scars On Broadway, but even that band can’t touch System’s lesser efforts). If Tankian wants viewers to take seriously the notion that “as you grow as an artist, you have more to give,” then it would probably help to get into the details of what makes his post-System of a Down activities an essential step forward for him, let alone his art/work. I don’t see that in “Truth to Power,” and it’s not for want of trying.