Kin-dza-dza! (1986)

Within the group of literary works that I've dubbed expositions, that is works that focus on the explicit communication of ideas, there is a subgroup that draws fun from all the situations that you've observed in your life that resemble the usually completely implausible plot of its member works.

In this way

• Alexandre le bienheureux draws fun from men's misguided ideas about women,
• Cactus Flower draws fun from older men's misguided ideas about women,
• Shaun of the Dead draws fun from younger couples' misguided ideas about their marital future and
• Hoří, má panenko! draws fun from peoples' misguided ideas about people.

The king of all these farcical fables, because I think that's a very nice name for this group, comes unsurprisingly right out of the heart of their fathering mentality, i.e. it comes from Georgia.

Kin-dza-dza! is like a mountain to a hill, when compared to the aforementioned films, because it does not focus on a thought as narrowly defined as theirs, but rather

• Kin-dza-dza! draws fun from peoples' ideas of happiness, misguided or not, for who wants to be the judge of that?

Since the retelling of the plot of expositions is generally incongruent to their nature, for instance, who wants the plot of The Life of Brian being retold?, I'll not waste any lines and come directly to the themes of Kin-dza-dza's analysis of human nature,

• the need for recognition by subordinates,
• the insensitivity that comes with age,
• the miserliness of pure reason.

Kin-dza-dza! succinctly makes the point that people, if left to their nature, quite easily settle in rather unsatisfying circumstances. It preaches the need for clerical guidance, not because people would be sheep, but rather because people are cantankerous.