Based on a video installation by Rosefeldt that's been making its way across the globe, Manifesto adapts the original concept of Blanchett playing 13 different characters simultaneously, to a more cinematic and easy to digest structure. Opening on an almost post apocalyptic landscape with a disheveled Blanchett portraying a hobo, the striking visual style, brought to life by cinematographer Christoph Krauss, sets the tone almost immediately. This isn't a particularly exciting picture visually, but it's steady and headstrong in its intent. Manifesto is above all a showcase for Blanchett’s talents in front of the camera. She's otherworldly here, never repeating herself in regards to accents or delivery. As dull as some of the speeches can get, you're never not interested, thanks in great part to her performance.

Incorporating some of the most famous manifestos; from Karl Marx to Dadaism, and from Von Trier's Dogma 95 to Jim Jarmusch, each scene plays out in a way to accentuate not only the performance but the character's daily life. Whether it be the aforementioned hobo, or a punk, or even a housewife, Blanchett embodies these characters with a life all their own. Unfortunately, the entire affair has a dour tone that turns the film into a college dissertation. Rosefeldt’s screenplay has the effect of talking down to the audience, which was certainly not appreciated. It’s not necessary that a picture holds my hand, but when dealing with topics such as these, a subtitle here and there (perhaps announcing which manifesto is being performed) would’ve been more than helpful.