Surely the best British film of the 21st Century. I saw this at the London Film Festival and waited six months for it to hit cinema's so I could start discussing it with everyone!! Then no one really went to see it. And I'm not surprised. It's too dark, too slow, too opaque, to remote, too personal and too haunting to gain a big audience. There is nothing like it to compare to - before or since.
light on plot/exposition, so it's fueled mostly by ambiance, which it has in loads, thanks to some singular imagery and a great musical score...will have to check out the book it's based on, as I begin to divide my time between MUBI and Goodreads...3 1/2 *'s
Elongated scenes lead up to a reason in their climax, others are just purely repetitive. And all of them get to that point after much banal small talk. This BS conversation is thematically purposeful (showing interaction between strangers is often soulless, alien even) but this is why pure realism isn't a product of art. A conversation about road directions or the weather is just shit, no matter the context.
(Vu sur Arte) 3,5/5 Je ne suis qu'à demi convaincu: si le film est globalemt (hormis un masque en latex totalement raté qui fait tâche) une réussite sur le plan formel (la "chambre noire"!!!), il m'a semblé bien moins convaincant sur le plan narratif: outre un synopsis assez absurde, le film ne semble pas toujours savoir très bien où aller (la scène avec l'enfant...) et connaît un gros creux après sa première heure.
Scarlett Johansson: like you've never seen her before. Erotic, mysterious, dark, beautiful, and perfect - if only the great filmmakers (like Kubrick) could have made a sci-fi fever dream like this & that amazing. I've never felt that quiet (like what could I say about it so far) or stunned in years during my first viewing (last year), by the way.
Seems I'm in the minority, but I really didn't like it. Scotland is pretty and I like that Johansson's body isn't retouched ad absurdum. But there's a certain type of film - Upstream Colour; Tree of Life; this... that break the mould, sure, but maintain the mediocrity. The innovation feels more formal, more apparent than conceptual. And it all seems suspiciously steeped in the overinflated identities of average men.