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The opening is genius, simply consisting of Kendall Jenner’s protest movement-co-opting Pepsi commercial, presented in its original form. Hello Dankness reimagines Tom Hanks’s character in The Burbs as a Bernie Sanders supporter. Their approach is kind of reminiscent of those annual recap programs that overlay the year’s events with comedic commentary – except here using sometimes very old properties (like classic movies) to recall recent circumstances.

It depicts a recent historic period in which a series of unthinkables have happened from the election of Donald Trump, to the madness of a global pandemic. Hello Dankness uses remixing and reappropriation to jokily ponder the end of consensus reality – the idea that dramatic events of recent years have not just changed the course of human history but destroyed general agreement about what is real and what is not. Sign up for the fun stuff with our rundown of must-reads, pop culture and tips for the weekend, every Saturday morning Terror Nullius for instance includes a wild #MeToo moment, jamming together images from various Australian titles to depict a group of furious women – including Lucy Fry from the Wolf Creek TV show and Jacqueline McKenzie from Romper Stomper – destroying a car from Mad Max, with Essie Davis from The Babadook lighting it on fire and Toni Collette from Muriel’s Wedding laughing as it erupts. At about the same time, Wu Song (Wu Qing-Zhe), the brother of the murdered Wu Da-Lang, schemes to off Simon.I included their previous production, Terror Nullius, on my list of the best Australian films from the previous decade partly because it’s an amazing exercise in deconstruction, ripping classics apart from their seams and ideologically reconfiguring them to reflect contemporary cultural mores. As the story unfurls, he attempts to ravish many more women, including his friend Hua Xizu’s (Tam Kon-Chung) wife Pinky (Kaera Uehara), whose husband he plans to murder while he’s at it. This time around, Simon ostensibly still has relationships with both of the said women but has regressed into a sex addict with fetishistic leanings. In the prior installment, Qing had sex with a virginal nun, then bedded a concubine, Lotus (Serina Hayakawa) and conspired with her to rub out her dwarf husband, Wu Da-Lang (Ng Chi-Hung). Lam Wai-Kin reprises his role as Simon Qing. Like its predecessor, this no-holds-barred sequel from Hong Kong – a piece of ultra-exploitation adapted from the famed 17th-century Chinese novel The Plum in the Golden Vase – attained instant notoriety for layering on graphic violence and sex in copious quantities.