tabuno
02-18-2012, 12:06 AM
I never believed it possible that Picnic At Hanging Rock (1975) could be replaced as my favorite movie of all time. But it finally, actually occurred with the belated viewing of Another Earth. From the beginning of this movie about a young, naive female student named Rhoda who experiences a traumatic tragedy and who suffers its consequences and later seeks to find redemption, I felt something was special about this movie from the very beginning. Even though its science fiction-themed undercurrent is made apparent at the start of the movie, it never seems to predominate nor overwhelm the basic psychological drama that the movie is primary written around. With the same intimate intensity of Black Swan (2010), Another Earth is even more vibrant and internalized in a way that resonates with universal empathy and the audience is allowed to actually co-exist with Rhoda as she lives her life and agonizes over her next steps in living through what has occurred to her.
Another Earth consistent with excellent cinematography, pacing and timing, this slow, methodical independent, gritty looking movie never veers off course into the saccharine world of stereotypes, predictable storylines, the usual by now twists and turns of dramatic movie scripts. There are breath-taking photographic, artistic views reminiscent of The Tree of Life (2011) and yet in a way has more resemblance to Koyaanisqatsi (1983) in its visual aesthetics while also providing a rich and interalized narrative that the audience can also in a voyeuristic way participate in. The simple, yet meaningful voice-over is spot on in its incorporation into Another Earth unlike the unnecessary and overly excessive use in The Descendants (2011). Seamlessly, the director has brought together an amazing synthesis of drama, documentary-like commentary, and existentialism in a way that the ground-breaking but nevertheless strongly polarizing movie What the Bleep Do We Know? (2004) could not.
This both haunting, yet surprisingly authentic and passionate movie courses through the senses with its own rhythm and recurrent eddies of past and future visions much like real life, never becoming muddy or slowing to the point of brittle boredom. In short, those who can experience this movie's penetrating the veils of identity or genuine morality at its harshest and most penetrating, will be able to fully appreciate this movie which encompasses the whole of humanity and its heart in the form of a singular holistic, theatrical art form.
Another Earth consistent with excellent cinematography, pacing and timing, this slow, methodical independent, gritty looking movie never veers off course into the saccharine world of stereotypes, predictable storylines, the usual by now twists and turns of dramatic movie scripts. There are breath-taking photographic, artistic views reminiscent of The Tree of Life (2011) and yet in a way has more resemblance to Koyaanisqatsi (1983) in its visual aesthetics while also providing a rich and interalized narrative that the audience can also in a voyeuristic way participate in. The simple, yet meaningful voice-over is spot on in its incorporation into Another Earth unlike the unnecessary and overly excessive use in The Descendants (2011). Seamlessly, the director has brought together an amazing synthesis of drama, documentary-like commentary, and existentialism in a way that the ground-breaking but nevertheless strongly polarizing movie What the Bleep Do We Know? (2004) could not.
This both haunting, yet surprisingly authentic and passionate movie courses through the senses with its own rhythm and recurrent eddies of past and future visions much like real life, never becoming muddy or slowing to the point of brittle boredom. In short, those who can experience this movie's penetrating the veils of identity or genuine morality at its harshest and most penetrating, will be able to fully appreciate this movie which encompasses the whole of humanity and its heart in the form of a singular holistic, theatrical art form.