Mads Brügger’s feature directorial debut, The Red Chapel, took a Tom Green-via-Sacha Baron-Cohen approach to infiltrating North Korea, with the director finagling himself and two comics — both adopted from North Korea, one with spastic paralysis — into the country. Given that it’s not hard to make an actual absurd environment appear absurd on screen, he emerged with fairly pointless cringe comedy: plenty of awkwardness all round but no real surprises. So it’s interesting to hear Brügger admit at the start of The Mole (initially a three-part series, shown at DOC NYC in its presumably final two-episode form) that The Red Chapel, while an […]