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Robert Pattinson

Colony of Bats: Toronto’s Eaton Centre goes Batty

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The CF Toronto Eaton Centre has officially gone batty.

In partnership with Warner Bros. Canada, the Eaton Centre is celebrating the release of Matt Reeves’ The Batman with a stunning exhibit in the central concourse that will surely draw attention. From now until March 8th, The Batman’s Colony of Bats invites viewers to stop by to untangle a mystery of their own. 

Created by Rooftop Agency, Colony of Bats is a striking piece that uses forced perspective to move seamlessly between a flock of more than 10 000 bats mid-flight and the logo for The Batman. In celebration of its unveiling, David Videka, the president of Rooftop Agency, notes that the exhibit’s massive size makes it a particularly unique experience in the famed shopping centre.

“It’s certainly large,” muses Videka. “It’s 32 feet long by 12 feet high by about 9 or 10 feet wide. It’s one of the largest things ever to go into the Eaton Centre. They usually cap build at about 10 feet. So, I think only their Christmas tree has us beat at this point for the height.”

Inspired by The Batman’s noir aesthetic, Videka wanted his installation to offer the same sorts of surprises that Matt Reeves’ film gives audiences. As such, the most important question in the development of Colony was how they could turn the piece into a ‘riddle’ of its own for viewers to unravel.

“Without a doubt, the movie inspired us the most,” Videka recalls. “To start with all these things, you have to take it back to the very beginning and try to really get a good grasp of what are the writers, the directors (and) the talent are all trying to say. What’s trying to come across in the movie, right? It’s one thing to sit around and say, ‘Oh, this would be cool to do.’ And, you know, sure, that’s a fantastic way to come about things, but this is art. This is a movie, this is cinema. The idea that we need to use that as the starting point is kind of the most important thing. We work alongside with Warner Bros. [and ask] how do we do these movies, especially something like Batman, justice.”

“What we really wanted to reflect [from] the movie is that things aren’t always as they seem, especially when we have a character like the Riddler involved. That was a really key component for us. So, by playing off of all the different twists and turns and the edge-of-your-seat sort of moments of the movie where there’s always something different happening and you’re never quite sure if you gotten to the right answer or not, we took these twists and turns and [wondered] what if we used a forced perspective art installation piece? It provides a multitude of different ways to look at a problem before you realize that, if you get it just right, everything would be revealed the way it was meant to be. We feel that this really comes to life when we look at the installation from all angles. When you’re looking at it from pretty much every perspective, it just looks like a flock or a colony of more than 10,000 bats mid-flight. But, if you stand in just the right place and figure out the riddle in just the right way, it reveals the logo, which is really striking and visually attractive… You know, so it’s been really fun to kind of mess with people’s minds in the same way that the movie does to the viewer.” 

While any art installation of this size would be a massive undertaking, Videka recognizes that Colony of Bats was particularly intricate in its detail. Even so, he and his team were excited to take on the challenge.

Says Videka, “There’s over 10 000 bats, all digitally cut through 3D rendering. [It was a challenge] to establish the individual bat sizes, how many bats per layer, and the amount of layers required to make it the most effective illusion. Again, it’s when you get up close and you look at it, there’s a lot going on. That’s sort of the fun. When you step way back and you take those 10-15 feet back and you look at it, it looks so simplistic. It says The Batman, but when you get in on it, you realize that we have to take into consideration how many bats to hang, but also there’s 56 different… opaque, hanging apparatuses that the bats sit on. So again, 10 000 divided by 56 equals how many bats and what direction do they go? Which way do they hit the light so that it reflects properly and spells the proper letters in the name and then the name itself? What vantage point do we need? Again, you’re going into a mall with a pre-conceived walkway so people are coming a certain way and you want to make sure that they see The Batman when they’re coming in.”

“So, there’s a lot of technical sort of things that go into the idea and the mathematics behind it. But, I think that’s what the challenge and fun is, right? Hey, look at it like this. Batman, he’s the best. He is badass. He’s got these gadgets. He’s all these things. And he uses technology to his advantage. And again, like as nerdy as that might seem, that’s really how deep we get. [We say,] ‘Hey, this is so difficult to do. Only maybe one person could do it and that’s probably Batman. So, you know, let’s give it a shot.’” 

In addition to the technical challenges of Colony, Videka also points out that he had to consider the different types of people that will see his work. From casual passersby to avid fans, his goal was to create something that was meaningful for everyone. 

“When you’re building something like this, you have to think of what are the different levels of consumers or fans that are going to come by and how do you relate to all of them?,” he identifies. “You’re going to have someone that’s going to come by and just be like, ‘Wow, this is really cool. I like the Batman. I know the Batman, and I’m really intrigued with this’ or you’re going to have people that come by and [think they] know everything about Batman and want to pick it apart to find out what’s wrong with what’s going on. The idea is you have to cater to all of those people. That’s sort of the fun of it because, if you can connect with all of them in a very unique way yet all within the same sort of structure installation, then you’ve accomplished your goal.” 

“Batman’s an 18-49, very mainstream movie. It has a lot of different audiences. It has a lot of different communities and sub-communities of people that love it for different reasons. It’s a heritage franchise. So, there’s a lot of people that grew up with it, like myself with Michael Keaton and Kim Basinger. That’s where I fell in love with it… So, you have to cater to all those different sorts of perspectives and mindsets. Yesterday, [we had] little kids freaking out because they saw the Batman artwork, elderly people, people that were in art or just working in the malls coming out of the stores, saying, ‘This is crazy!’ I certainly think we’ve more than achieved that goal and that was only the first day.” 

When he considers how he wants his audience to respond to Colony of Bats, Videka hopes that they’ll recognize that there’s always a mystery to life. For him, Colony is an opportunity for them to take pause and look for something deeper. 

“Things aren’t always what they seem and don’t take them for face value,” states Videka. “Everything is deeper, if you take a longer look and try to get to the solution versus just taking it and walking by. That’s what we heard a lot yesterday… From our perspective, we have brand ambassadors on site and they spent more time talking to consumers yesterday that I’ve ever seen them in 14 years. People just had so many questions. And again, I think that’s what you’re looking to do with the movie like this. There’s a lot of layers and don’t just take everything for face value.” 

The Batman’s Colony of Bats is on display now in concourse of the CF Toronto Eaton Centre through until March 8th.

7.01 Running It Back in TENET

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We’re so excited to be back with the first episode of our 7th season (or is it the 7th episode of our 1st season?) as we talk about Christopher Nolan’s latest thriller, TENET which tells the story of The Protagonist (John David Washington), a time-bending secret agent charged with stopping a futuristic terrorist from destroying the universe.

With the theatrical system in shambles due to the pandemic, TENET was expected to ‘save the box office’ yet it hasn’t quite lived up to the hype financially. Is it really due to concerns over safety? Or was it merely the wrong film at the wrong time? In this 1on1, we’re thrilled to have back the host of Face2FaceLive.ca David Peck to talk about that issue as well as debate whether or not we think Nolan’s film believes in free will.

You can also stream the episode above on podomatic, Alexa (via Stitcher), Spotify or Soundcloud! Or, you can download the ep on Apple Podcasts or Google Play!

Want to continue to conversation at home?  Click the link below to download ‘Fishing for More’ — some small group questions for you to bring to those in your area.

7.01 TenetDownload

Note: For those interested in the link to Alissa Wilkinson’s Vox article regarding the Sator Square, click here.

Tenet: I am the [Protagonist] of My Fate

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It takes a lot for a director to become a brand unto themselves.

Having made some of the biggest blockbusters of the last two decades, writer/director Christopher Nolan continues to create ambitious worlds that also look to maintain depth to their stories. With the release of his latest epic adventure Tenet, Nolan offers all of the originality and spectacle that fans of his are looking for in their films. 

As the world [slowly] moves back to the multiplex after the global pandemic, the scope of Tenet alone earns the right to be the first major blockbuster to be seen in cinemas. Though the cast does a solid job embracing the script (especially villain Kenneth Branaugh, who positively snarls onscreen), what audiences will appreciate most are the film’s excellently orchestrated set pieces. Rumoured to have used less than 300 digital effects—most blockbusters today usually use thousands per film—Tenet is a visual treat that dazzles the eye. Through his use of inverted time, Nolan creates something so unique that it will demand repeat viewings. Though the narrative is incredibly high concept, it also moves and operates well within the rules for the world that it creates (which is vital for any film about time travel). While admittedly the dialogue can suffer at times due to muffled sound and an overpowering soundtrack (think Bane from Dark Knight Rises), the film always demands your attention and is an entertaining ride from start to finish (and back to start again).

Tenet follows an unnamed secret agent (John David Washington) who is literally referred to as ‘the Protagonist’. After thwarting a terrorist bombing, The Protagonist is enlisted by the Tenet organization, a covert government group committed to stopping World War III. During his training, he learns that fragments from the future have been discovered by terrorists in the present, allowing them to create inverted time loops which threaten to unravel the fabric of all reality. Teaming up with his new partner, Neil (Robert Pattinson), The Protagonist sets off on a mission to retrieve the fragments in order to save the both the present world and time itself.

Though Tenet is drawing comparisons to Nolan’s other mind-bending original, Inception, in truth the film is a natural progression for him over the course of his career. From Memento to Interstellar, Nolan has always been interested in the way that we perceive time and its impact on how we understand the world. (In fact, through its fractured narrative and varying portrayals of time, even his historical WWI epic Dunkirk played with this notion as well.) In Tenet though, Nolan really dives into the concept of time looping and its effect on the fate of mankind. Though he tells his story in a linear manner, there is enough interplay backwards and forwards to bend minds (and, yes, cause some confusion at times).

Like Nolan’s boldest projects, Tenet is also rooted deeply in philosophy. Echoing projects like Interstellar and Batman Begins, he uses this film as an opportunity to explore man’s role in the universe. Initially locked in his own perceptions of reality, Tenet’s Protagonist is a man who realizes that he needs to change the way he understands the world in order to have an impact upon it. His experience with the Tenet Organization not only loosens the underpinnings of his knowledge of reality but forces him to re-examine what can ultimately be changed, even when it has ‘already happened’. [Warning: Minor Spoilers ahead] In this regard, it’s interesting that the film attempts to bring the element of faith as The Protagonist moves forward within his timeline. Despite the fact that what ‘is’ remains ultimately unchangeable, there’s a certain element of hope in the future that Nolan clings to in this film. However, instead of having confidence in some greater power, The Protagonist is challenged to put his faith in the physical realm. (“Have faith in the natural order,” Pattinson’s Neil reminds.) [Minor Spoilers End] 

Interestingly, Nolan appears to have a sense of hope in the linear nature of time. Whereas Memento spoke of clinging to the past, Tenet leans into the idea that new perspectives help provide light in the future. Though the fate of the world may be predetermined, Nolan emphasizes the importance of the individual and their actions in what is to be. (In this way, while never quoted directly, the film almost feels like an homage to Henley’s famed poem Invictus which says, “It matters not how straight the gate… I am the captain of my fate. I am the master of my soul.”) As a result, Tenet argues that, while unchangeable, the role of The Protagonist continues to matter due to the fact that it remains unknown to them.

In the end, Tenet serves as a suitable next chapter in Nolan’s ever-growing catalogue of complex puzzles that both satisfy the eyes and challenge the mind. Through his use of linear time looping, the famed writer/director wants desperately to explore not just the nature of the universe but man’s place and responsibilities within it. More importantly though, even if one has no interest in exploring the complex philosophy that holds the film together, Tenet’s stunning visuals and action-heavy story should also thoroughly entertain audiences as well.

Especially when it’s seen in a theatre.

Tenet is in Canadian theatres now and premieres in US markets on September 4th, 2020. 

Tenet: Christopher Nolan is Back (and Backwards)

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The [only?] blockbuster of the summer is finally here. 

In Christopher Nolan’s next hit film, Tenet, the director brings us another trippy, mind-blowing Inception-style movie. Tenet stars John David Washington as “The Protagonist” (which is not subtle at all), a special agent recruited into the mysterious Tenet organization. Tenet’s goal is to prevent World War III through a time-disrupting apocalypse that would end all life (and all time). Featuring mind-blowing special effects, Tenet uses time travel in a way that has never been explored on the big screen before. (In fact, it’s not time travel at all… It’s inversion!)

[Caution: Spoilers] Let’s breakdown Tenet‘s method of “time travel”, easily Nolan’s most confusing plot device within the movie (like Inception‘s wild dream sequences). In Tenet, time travel is actually the ability to move something (or someone) through time inversely. By doing so, one is able to move backwards and reverse time, while the entire world is moving forward around them. By doing so, the film explores time uniquely through the theory of determinism, a philosophy that all events all actions are set already. For Nolan, time is non-linear. It’s a circle that exists in a loop. In Tenet, the past, present and future all exist at the same time and interact with each other. This idea once again interacts with determination theory, by arguing that events are set and the idea of freewill both is [and isn’t] real. As Neil says multiple times in the film, “It happened.” Tenet believes that time is fixed and unchangeable. (Incidentally, this idea should have been fairly obvious in hindsight considering that the film is called Tenet, which means a belief or philosophy, referencing the determinism. What’s more, the title is also a palindrome, symbolic of time’s never-ending loop within the film.) [Spoilers End] 

Personally, I loved Tenet’s use of “time travel” in this movie. Nolan is able to cleverly tell a story that was non-linear, able to loop and connect the story with the forward timeline with its inverse as well. Without question, this is no easy task to do as a story. Very rarely do you see paradox-free time travel, and it’s amazing how the story interacts with the other fragments in time. Fans of Nolan’s Inception will appreciate that the action was incredible. Watching people fight in normal time against someone going in the inverse is trippy and mesmerising, featuring bullets that fly into guns, people that seem to fly and even coming back from the dead. Incredibly exciting from start to finish, the film really keeps you on the edge of your seat.

Overall, Tenet is a must-see movie. Not only is Christopher Nolan back, but this is also a strong film to return us to theatres. As bizarre as it is beautiful, this action film is backed by one of the cleverest time travel stories that you’ll ever see.

Tenet is available in Canadian theatres now and opens in the US on September 4th, 2020.

The Lighthouse: The [Self]Destruction of Darkness

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Starring Robert Pattinson and Willem Dafoe, The Lighthouse follows the journey of Winslow (Pattinson) and Wake (Dafoe), two lighthouse keepers, who try to maintain their sanity while living in isolation on a remote island off the coast of Maine. Tightly written and directed by Robert Eggers (The Witch), The Lighthouse is a fascinating piece that feels like a throwback to classic post-War noir films. Unlike most modern horror films that insist on bombarding the senses, the film is a slow descent into madness highlighted by strong performances from its cast and a striking visual style. Shot on black and white 35mm film, Lighthouse echoes classic Hitchcock films like Psycho and Rear Window by allowing its characters to slowly lose themselves to their circumstances. What’s more, by shooting in a 1:19 : 1 ratio, the film visually reinforces the claustrophobic atmosphere between the two leads as they battle for screen presence. 

Due to the intensity of the relationship between them, the performances of the two leads become even more pivotal to the film and, thankfully, both men are up to the task. While Dafoe has remained a gifted actor for decades now, Pattison continues to mature into a fine performer as well. As the sea rages around them, both actors thunder away at each other onscreen with a rising fury as secrets are revealed and both characters become increasingly unhinged.

Through its visuals and narrative, Lighthouse is most intent on exploring whether one can ever truly escape their own darkness. Taking the position at the lighthouse to start over, Winslow is a man who is determined to prove his worth. He works hard, keeps to himself and simply wants to reset his life on the mainland. (This serves as a direct contrast to Wake who, despite his past, has simply given in to his role on the island.) However, after a questionable decision appears to set the spiritual realm against them, Winslow and Wake find themselves at the mercy of the ever-raging sea. Despite Winslow’s desire to return home and start over, the evil around (and within) them continues to grow, giving failure a sense of inevitability. In this world, the realities of grace and mercy become elusive myths and the sins of our past dictate who we are in the present. For Winslow, hope becomes a boat that may never reach him as the sea grows angrier. In the midst of a furious storm, Winslow finds himself torn as he desperately seeks the secret of the light yet remains trapped within the darkness. 

Filled with psychological terror and bold imagery, The Lighthouse shines brightly. Caught in the grip of a pseudo spiritual enemy, Winslow and Wake fight and claw for supremacy against elements and each other. 

The Lighthouse dives into madness in theatres beginning October 18th, 2019

Creating Historical Horror: 1on1 with Robert Eggers (THE LIGHTHOUSE)

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Starring Robert Pattinson and Willem Dafoe, The Lighthouse follows the journey of Winslow (Pattinson) and Wake (Dafoe), two lighthouse keepers, who try to maintain their sanity while living in isolation on a remote island off the coast of Maine. The Lighthouse is a fascinating piece that feels like a throwback to classic post-War noir films. Echoing classic Hitchcock films like Psycho and Rear Window, Eggers states that it was the film’s unique setting that first drew him to the project. 

“It was the atmosphere and the idea of these two guys in a lighthouse in black and white that made me interested. Then, it was about finding the things that are scary about this setting and indulging in them. Certainly, every little kid knows the first time they get like sucked under a wave that she wins every time. Mother nature is for real.” 

While he was developing his vision for the film, Eggers knew that he needed two men who could handle the material and bring the intensity in their conflicts with one another. Using these criteria, it was an easy decision for him to pursue both Willem Dafoe and Robert Pattinson for the key roles. 

“I had wanted to do something with Willem and he had shockingly wanted to do something with me. Same with Rob,” he explains. “I [once] offered Robert role in one of the movies that didn’t get made as sort of a posh, cigar-smoking Victorian dandy and he said ‘no thanks. I like something that’s actually challenging and strange.’ So, when The Lighthouse became something that looked like was actually going to get made, who else are you going to call? There’s no question that they’re the appropriate people for these roles… I find it funny that people still kind of say, ‘Oh, after Twilight, Rob’s finally doing some stuff.’ Man, have you been paying attention? He’s a great actor.” 

Shooting in a 1:19:1 aspect ratio on black and white film, The Lighthouse visually reinforces the claustrophobic atmosphere between the two leads as they battle for screen presence. Asked when he decided to shoot the film in such a unique and unsettling format, Eggers claims that those cinematic choices were always a part of his vision for the film.

“From the beginning, it was black and white, [with a] 35 millimeter negative,” he expounds. “It was seven years from the first time I started talking about this until it got made, [so] we thought about different things. There were versions that would have been really more self-consciously degraded looking but it was a process of us pitching different ideas back and forth and then finding out what was actually feasible and affordable. This film is so heavy handed. We made a lot of strong choices and we’re sticking to them even if they’re over the top.”

Interestingly, with The Witch and now The Lighthouse, Eggers’ first two features have been ‘period pieces’. When he thinks about what it is about history that makes it so scary, Eggers contends that the true horror of human nature stems from our inability to learn from our past“History is terrifying because human beings do bad things all the time and the further we are away from different epox, they either look romantic or more horrifying. [Then,] we don’t tend to learn from the past. So, it’s nice for me to understand where we are and where we’re going by looking at where we came from.” 

As these characters slowly descend into madness, Eggers’ film explores the nature and origins of power and hyper-masculinity when two titans are pitted against one another.

“My ‘go-to’ quote is ‘Nothing good happens when two men are trapped in a giant phallus.’ [laughs] But there is a lot of truth in that. There is all of this heteronormative masculine energy and erotic energy that is bubbling up with nowhere to go so it’s going to explode and come out somehow.” 

Ironically, given the film’s intense vibes and madness, one of the more underrated qualities of the film is its underlying humour. In the midst of a heightened environment with wild situations, The Lighthouse also brings an unexpected amount of levity to its script.

“Tarkovsky has almost no humor in his movies, but one of his idols is Dostoyevsky is hilarious,” Eggers illuminates. “Being miserable is hilarious. So, as my brother and I were writing the script, we really wanted to embrace that. Rob and Willem are incredible comedians. In fact, when we were shooting it, I kept saying to the editor like, ‘I think this is too funny.’”

Of course, due to the film’s emphasis on the otherworldly nature of the elements, one would expect that shooting would come with its challenges. 

“Really, there was never really an easy scene,” Eggers recalls. “Even when we moved into this stage, the producers, financiers and the bond company came in we said ‘we’re going to pick it up’ and we had to say no because actually these are all extremely long-oners with elaborate choreographies. There was nothing easy.” 

“One thing that I haven’t talked about was when the mermaid appears on the beach, the tides move really quickly and Valeriia [Karaman], as a mermaid in a prosthetic, can’t walk. So, we have all these guys walking her out to the rocks to place her and we had the rain machine going. We can just see, minute after minute, that these huge crashing waves are getting closer and closer and we’re just trying to shoot this thing before the waves come and wash our mermaid into the Atlantic Ocean. That was incredibly stressful.” 

With this in mind, one of the film’s more interesting (and unique) characters comes in the form of a seagull that plagues Winslow. While working with animals is never easy, Eggers says that he was shocked at how well the birds performed.

“The seagulls were amazing,” he remembers. “There were three birds that played ‘One Eye’… [and] they were incredibly smart and well trained. The trainer was always giving us low expectations of what the birds could do and saying that they are very sensitive. But then the first thing we did was the bird landing on the window sill, pecking three times and flying away. Amazingly, it just… did it… with no CG and, and we thought ‘wow.’ It’s never easy shooting with animals [but] they were cool. “

Willem Dafor, Robert Pattinson The Lighthouse A24

Since the film takes place in a lonely lighthouse, it should come as no surprise that one of the key themes of the film is the tension between light and darkness. For Eggers, much of the mystery surrounding the mystical light grew out of his appreciation for the physical lens itself.

“I wanted the lighthouse and the cottage in the lighthouse station to be a total [dump],” he illuminates. “In truth, in the 1890s, it would have been really difficult to have a lighthouse station in such disrepair because, in the United States, lighthouse establishment was like run like a military organization. They constantly had inspectors checking in on things. We invented the idea that this was so remote that the inspectors [just ignored it]. I didn’t set it earlier when the lighthouse would be in such disrepair because I wanted the foghorn with that sound and I wanted the Fresnal lens, which is the lens in the beacon.”

“It’s hard to believe that those were invented in the 1860s (I believe) because they look like art deco, jewel spaceships. I felt that that object is so romantic and mysterious and hypnotic that, if we had that, there would be a secret in the light, whatever it may be. In fact, our DP, Jared, and I went to one of the few lighthouses in North America that has a working Fresnal lens. I truly believe it was not just because we were working on this movie, but we could have stared at the thing all night. It’s so stunning, you know?” 

While much of modern horror opts to focus itself on gore or ‘jump scares’, The Lighthouse‘s emphasis on its characters’ descent into madness feels far more similar to classic sci-fi horror films of the post-War era. Nevertheless, Eggers also believes that this film allowed him to establish more of his own style, rather than rely exclusively on the greats that came before.

“Hitchcock was not a deliberate influence though he was certainly one of our teachers… I was also pleased to see this movie that put David Lynch’s oeuvre into [this] context… I think the cinematic influences, even the ones that I’ve never seen, are fairly clear. I do think that The Witch wears its influences on its sleeve in a way that feels much more like a first feature. I feel like, for me personally, I’ve integrated my influences a little more [in The Lighthouse] and it feels like you can see what they are, but I feel like I’m doing a better job becoming myself in this one, which I’ll hopefully get better at.” 

For full audio of our interview with Robert Eggers, click here.

The Lighthouse dives into madness in theatres beginning October 25th, 2019

TIFF ’19: The Lighthouse

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Starring Robert Pattinson and Willem Dafoe, The Lighthousevfollows the journey of Winslow (Pattinson) and Wake (Dafoe), two lighthouse keepers, who try to maintain their sanity while living in isolation on a remote island off the coast of Maine. Tightly written and directed by Robert Eggers (The Witch), The Lighthousevis a fascinating piece that feels like a throwback to classic post-War noir films. Unlike most modern horror films that insist on bombarding the senses, the film is a slow descent into madness highlighted by strong performances from its cast and a striking visual style. Shot on black and white 35mm film, Lighthouse echoes classic Hitchcock films like Psycho and Rear Window by allowing its characters to slowly lose themselves to their circumstances. What’s more, by shooting in a 1:19 : 1 ratio, the film visually reinforces the claustrophobic atmosphere between the two leads as they battle for screen presence. 

Through its visuals and narrative, Lighthouse is most intent on exploring whether one can ever truly escape their own darkness. Despite Winslow’s desire to return home and start over, the evil around (and within) them continues to grow, giving failure a sense of inevitability. For Winslow, hope becomes a boat that may never reach him as the sea grows angrier.

Filled with psychological terror and bold imagery, The Lighthouse shines brightly. Caught in the grip of a pseudo spiritual enemy, Winslow and Wake fight and claw for supremacy against elements and each other. 

The Lighthouse is currently playing at the Toronto International Film Festival. Upcoming screenings can be viewed here.

High Life: [Star] Trek of the Damned

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Told mostly in flashback, High Lifefocuses on the journey of prisoners who have been told that they would be sent into space for the betterment of mankind, only to discover that they were misled. Supervised by the vicious Dr. Dibs (Juliette Binoche), the convicts are left to their own depravity as they struggle to find meaning in their mission to the stars.

Directed by Claire Denis, High Lifereveals an existence that runs counter to the seemingly-positive tone of its title. As truly one of our great directors, Denis often does not shy away from the darkness in her films, exploring our modern pain and sorrows. With this in mind, High Lifeis no different as Denis focuses her attention on humanity in its worst possible context. As the maniacal Dibs, Binoche tackles what is arguably one of her darkest roles in years, creating a character reminiscent of Nurse Ratched in One Flew Over the Cuckoo’s Nest. Broken from her own criminal past, Dibs treats her subjects as sexual lab rats, attempting to create life at their expense. In fact, only through Pattison’s silent monk, Monte, is any particular hope allowed to enter the room. Pattison, who continues to mature as an actor, has very little to say in this role, yet his expressions demonstrate his desire to live a life of meaning in the midst of tragedy.

Denis’ intent in this film appears to be to explore the nature of what it means to truly live and, for her, sexuality is key to this conversation. By forcing the men to submit their semen for the purpose of inseminating the women, Dibs’ passion to ‘create perfection’ portrays sexuality as a cold (and, at times, terrifying) process. Here, intimacy is largely non-existent as sexuality become a clinical procedure. As a result, the prisoners, who have been essentially jettisoned from earth for the purpose of sexual experimentation, have been all but abandoned by society. Having been lied to about the purpose of their mission (they were informed that it was for the purpose of scientific research and, potentially, their own redemption), the crew has become disillusioned and broken. Though some (like Andre Benjamin’s faithful farmer, Tcherny) hold on to the belief that their journey still matters, most have unravelled living lives of depression, anger and angst. 

In stern contrast to this, however, stands Monte, the self-proclaimed monk. Opting to remain celibate, Monte seeks redemption by living a life of service to others. He is dutiful, hard-working and determined not to fall into the chaos that surrounds him. Despite his criminal past, Monte is determined to be a better man, setting him up as a model of integrity against Dibs’ darkness. (“I’ll get you,” she warns him ominously.) For Monte, intimacy trumps sexuality, modelled through the way he cares for the other women, including a mysterious child. As a result, there is a beauty to Monte’s character that stems out of a desire to ‘do better’, not only for himself but for others as well.

Though the film is dark and disturbing, there is a light to be found within it. Though many of the characters have lost all sense of humanity, allowing themselves to be debased, there is still a sense that life matters. While Denis does not fear delving into the darkness (especially regarding the meaning of sexuality), there is a sense that there is something greater to live for, especially if we allow ourselves to stand up against those that seek to drag us down.

High Life treks into theatres on April 18th, 2019.   

Damsel – A Comedy (sort of) of Pessimism

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“Love and survival are all I want.”

“You’re not exclusive in that notion.”

In Damsel, the Zellner Brothers play with some typical movie genres. As a result, viewers are asked to wrap their minds around things that seem to not quite fit together, but in reality make for a quirky, yet enjoyable experience.

As an example of how things don’t quite fit, we see scenes in desert, in forests, and a seashore, that all seem to exist in the same vicinity. It doesn’t really matter how odd this is, it provides a bit of discontinuity meant to keep us slightly off balance. The same is true with some of the language used in the film. It seems too modern for the setting of a western probably sometime in the 1800s.

As the film opens, two men are waiting for a stagecoach in the middle of a red rock wilderness. One (David Zellner) is heading west in search of a new start after catastrophe in his life. The other, a minister (Robert Forster), is headed east after failing to bring salvation to Indians. The wisdom the minister provided the other man is that “Things are going to be shitty in new and fascinating ways.” He then takes off his clothes, giving them to the other man and heads out into the desert to die. The other man takes the clothes and partial Bible and assumes the persona of Parson Henry.

Then, there is the main story as Samuel Alabaster (Robert Pattinson) comes ashore with a crate in which there is a miniature horse. He comes into a typical western town where he enlists Parson Henry to accompany him to marry his fiancée Penelope (Mia Wasikowska), who has been kidnapped. The plan is to rescue her, propose, give her the miniature horse as a gift, and have Parson Henry do the ceremony. But this hero/damsel-in-distress trope is quickly turned on its head. The story has so taken us in that we can’t help but follow it through even more twists along the way of this odd odyssey. It is hard even to classify this as a comedy or tragedy because the humor and pathos are so intertwined.

But the thread that runs through all the characters and their journeys is a desire to find happiness in a world filled with disappointment. But instead of happiness, the words of the old preacher about “new and fascinating ways” for things to go bad play out over and over. But while pessimism pervades the story, the characters seem to rely on a thin hope of optimism to survive. They may never have any evidence that things will get better, but they never give up on that possibility. Just as many of the laments within the Psalms may think that God does not see or care, the psalmists persist in calling on God to restore and renew them. While these characters do not operate with the idea that God will give them happiness, that hope of newness leads them on.

Phots courtesy of Magnolia Pictures