Category Archives: Drama

There’s a new era coming in the world of film. It hasn’t been officially stated yet, so let me be the first person to do so. Films are changing and they are changing for better.

After years and years of crap films during which the filmmakers focused more on the development of special effects (3D, a lot of frames per second, etc) rather than portraying an interesting and thought-provoking story, year 2013 came. In my opinion, one of the best cinematic year in a very long time. The Oscars line-up was amazing. Every film presented a completely new approach to the topic or/and proven the directors’ technical skills. They were ambitious, provoking and beautifully made. Picking a film out of the bunch which deserved the award seemed simply impossible. I don’t even remember what actually won (don’t take me there), but I know that apart from Gravity, I was happy with every single film there was. But there is another set of films that haven’t been noticed in the mainstream world (how pretentious it sounds, I don’t even want to know) and these films are the ones I want to talk to you about. Actually, one in particular. The Double.

The Double is officially a 2013 film and yet, it only came out last week in the UK. Instead of dwelling on its plot (which is complex and rewarding), I will move straight to the reason why I am writing this post. The Double is perfect.

Just look at it!

Dimmed, depressing colours, frowned foreheads, metallic edges. It is David Lynch meets Berberian Sound Studio. Or better! It is as if Franz Kafka wrote an interpretation of Fyodor Dostoyevski novella and then David Lynch directed it.

Jesse Eisenberg, whom I love no matter what they say, is casted perfectly as Kafkesque individual against the system. The world in the Double is the world of dark absurd. People don’t listen, they just do things they’ve been doing their whole lives simply because…they’ve been doing them their whole lives. Nobody questions anything and nobody seems to notice the absurdity of their situation. When James Simon, Simon James’ double, appears at the Colonel’s factory (I’m not sure how to better describe the place the characters are working at- it is a pointless factory relying on a circular paradox- the film explains it through a short commercial which Simon shows his mother), sooo…when Simon James’ double appears at the Colonel’s human factory (or the factory of humans) nobody notices the similarities between the both. Or rather, everyone notices but nobody cares. Simon is confused, lost and terrified but he is simply told that ‘he is a kind of non person’ and instead of protesting further, he decides to…deal with it. Surprising choice of the main hero isn’t that surprising when we get into the depths of his motives. Simon’s individuality is under threat and the more he fights with it, the more of a non-person he becomes. By attempting to copy his double’s actions and personality, he loses himself, disappears, turns into a ghost.

The Double is a difficult and ambitious film, but how much is worth sitting through with a frowned forehead and boiling brain cells, I can’t express enough. It is provoking and challenging, but also extremely rewarding. Most importantly, it makes Dostoyevski’s story once again alive, and relevant to our modern days. It is a masterpiece.

If my review hasn’t been persuasive, here is a trailer for the Double, which is honey to eyes itself. Bon Apetit!

By Amelie

Terry Gilliam has established his reputation as Hollywood’s dreamer. His films rely on the mixture of the abstraction of the subconsciousness and the seriousness of the reality surrounding its character. Quite a treat for the audience willing to have its mind subjected to Gilliam’s marvelous treatment. Am I a fan? I’ve seen a lot of Gilliam and I’m still not sure. Yes, there are wonderful moments in his career but I must say, there are as many of those which tend to fall under ‘form over content’ category. Brazil is ingenious whereas The Brothers Grimm isn’t. Overall though, Gilliam brings the message most of the filmmakers avoid. Life is messed up- simple as that.

The Zero Theorem is a love product of Gilliam and Christoph Waltz (at this point I have to mention that no matter where this review will go, I am in love with Waltz’ cinematic choices- way to go, sir! way to go). It tells a story….well, no, I can’t reveal that and not because it would spoil everything for you, but because some films have to be seen in order to be processed. My version of the story will be weak and irrelevant. I might unfortunately focus on the points IMDb has already covered. So instead of reading this review for the sake of finding out its plot, how about we move to the point of its realisation?
I am not persuaded. I didn’t like the Zero Theorem. It gave me headache. But then again, it is not the first time Gilliam’s film got me a headache. One of his best known features, Fear and Loathing in Las Vegas is all about one, big headache. So why do I even complain?

I think I do because what gave me a headache is the vision of the future Gilliam suggests. It is ugly. And not ugly in a metaphorical way. The colours are shit. It looks as if a 90s low-budget director made this film. Everything is pointless and neon looking. Nothing is practical and people cherish the plastic for the sake of it. I understand that in some way this is explained through the story and ultimately, through the message of the film, but I think the imagery could have been handled better. There was this Polish cartoon I always avoided as a child. I don’t remember the name and I’ve been trying to find it for a while now. Two people dressed as aliens/robots…wait…

I’m going to throw up…

This is exactly what the Zero Theorem looks like. Apart from Christop Waltz. He looks really cool.
The film drags on, the world gets weirder and there are moments when all of this doesn’t seem to go anywhere and instead, be strange for the sake of strangeness. There were moments when boredom hit me right in the eyes and I thought hard not to close them. But then came the ending…
It’s good, very good. The ending is worth it (unfortunately, apart from how amazing Christoph Waltz looks, it was the only thing worth it). It gives you the answer to all the strangeness and ugliness in the film and even though, Gilliam might not be making a statement noone has ever made, it is still delivered in a fresh, unmoralising way. And it is beautiful…

P.S. And Matt Damon. He steals this film

By Amelie


ask someone else to tell you why…