HIGH LIFE – What Happens After the White Light?

The vertical line is blinking and the only thought running around the room, exterior from any kind of mind space is that the black hole created by god is a sex joke.  Or instead a point of insertion into the discovery of planetary desire or the foundation of human drive, rather than an example of any kind of creation humour.  Perhaps even assigning this idea shows the sickness of the society that physics, chemistry, and biology created, and not the divine one himself.  He only dreams of being that funny.  Science is the canvas and art is the paintbrush, someone must have said – what if the English language was the canvas and Robert Pattinson was the paintbrush, a tool held onto softly by the warm hands of Claire Denis.  That is a simple imagination hovering above a tangible and ultimately pointless object and still, we are dying to know what happened beyond the white light.  Prose guessing your way through digital celluloid has about as much meaning as peeling an orange and eating it, only to digest the fruit and then defecate its remains.  Actually, it’s closer to peeling an orange, throwing it at someone who does not acknowledge its existence then eating it, before vomiting it all back up over the same person who will continue to ignore your cries for attention.  The conclusion to HIGH LIFE has inspired something however, and now staring at the orange, you can only wonder its sugar content and what pesticides cover its skin.

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There is a sweetness to the red-carpet photos of Robert Pattinson holding the baby that played his daughter in the film, a sweetness that is doubled when you discover the child belongs to one of his close friends.  That sweetness is present in the film but seldom in that imagination hanging over it.  It’s not a radical take to note the danger of R Pats in HIGH LIFE, his character Monte is a celibate and a part-time pacifist, which is a much scarier version than the killer he may have once been.  The later scenes with his grown-up daughter are like one setting plays where there is a gun in the top drawer, except the upper-class characters haven’t been adulterous, they’ve been floating through space alone for more than a decade.  And they’ve been off-camera too, away from prying eyes and a judgemental western audience whose only experience of incestuous stories have been on fantasy television shows and porn websites.  It is certainly a twisted thought, and an animalistic brazen view of Monte, who is our unfortunate hero.  Denis’ intentions may have been accidentally cruel on this new platform for her output, and yet they are honest and true in Pattinson.  She cast him based on his intelligence, the kind of intelligence where Pattinson can deliver with clarity whatever is thrust upon him.  This is a total contradiction of course, it is not about clarity, because Denis does not show us the future once they have passed the white light.  Under final assessment, the predicted denouement would not indicate an evil, lustful Monte due to the brightness of Denis’ final shot.  It is far too heavenly.

Death for Monte would be a release, whilst death for his daughter would be a strange beginning.  With this explanation her journey into the world would be a short one, shorter than those flies that are born, mate and perish in a single day.  The drifting space shuttle is hardly anything more than a womb, a holding cell before heading into general population.  Take solace in the peace and dread the incoming small talk.  Monte can keep his daughter’s innocence by guiding her into the sub-molecular hole he’s been avoiding, and it seems she wants it as much as he does.  The step of the pier is a peculiar notion and they must know something we do not, Denis pressing down on the naivety of consciousness.  Our ego and our need for our feet to touch the ground is questioned when all you can hear is the running of a depleting water supply.  This is when the sick jokes and the sick epiphanies about ejaculation and restraint are thrown out of the window.  The chances of there being a fuck room in the next level of reality are slim, and it won’t really matter when sexual organs disintegrate as you do.  Pessimism, with the white light turning into an infinite black one, is an easy road to go down here.  It’s a clear answer and a dull one which is not Denis’ style.

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Optimism is misjudged, the poetic potential of a happy ending is rarely visited.  Denis’ masterpiece BEAU TRAVAIL enjoys a credits scene that rides the line, bobbing up and down in the middle.  Here, she slaps R Pats on the back and tells him to start walking.  It is all sensory and emotional.  Writing like this only occurs because of the success of the film, and the proverbial pasta is being thrown incredibly hard at the wall here.  The orange has become dilute, drowning in a tap water of paradoxical inferences that have a longer reach than what the text is potentially offering.  And this is an offer from Denis, and Pattinson and Juliette Binoche, edging her blouse further down one failed attempt at an American accent at a time, trying to collect sperm cells as the writer, director throws them all onto the table, not carelessly but with an accuracy that could cut through an eight inch wall with a side of A4.  Plotting is a nuisance and cinema is a distraction, the white light theories shattered when the income peaks at one point two mil, leaving the discourse in disarray, colliding against familiar enclosed walls.  Would it be cliché to say that none of it matters when the maker cuts to credits?

 

‘I think you’re foxy and you know it.’

‘I think the painful doom that is meandering towards Earth is really killing my hard-on.’

My Top 10 Films of 2017

In July I posted a mid-year list, and you can read it here to compare how much it has changed in the last 6 months or so: https://robsfocuspull.blog/2017/07/26/my-mid-year-top-10-films-2017/.  This is a list for UK 2017 releases, so there may be one or two that were up for awards last year, but us Brits didn’t get to see them till a couple of months later.  It has been a good year for film, and I have managed to see 46 movies, whether in the cinema or on a smaller screen.  This list is my own personal choices – the films that I connected with the most.  It’s not necessarily a ‘best movies’ list, but an opinion piece, that should give you a sense of my own particular film tastes.  There are also films that I have sadly missed this year, which could have made the list (such as Film Stars Don’t Die In Liverpool).

 

  1. Good Time (November)

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This is like a contemporary New York set Shakespearian tragedy, with neon.  Nothing goes right for Robert Pattinson’s Connie Nikas as he races through a series of criminal mishaps.  This film is brilliantly paced and strikingly shot.  It moves fast, and a slight twist in the middle kicks it up a gear.  The frantic nature of the plot makes supremely watchable and Pattinson at the centre is really engaging.  His colourful performance matches the colourful film, though there’s no shortage of harsh or violent scenes.  Would recommend for anyone looking for a good, though ultimately wrenched, time.

 

  1. The Disaster Artist (December)

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The ‘so bad they’re good’ kinds of films have never been my thing, and so The Room has never pulled me in.  Perhaps this is why the film worked for me, because I saw it as wacky insight into a strange man and his strange film.  James Franco’s direction has been criticised by some, though I think he does an okay job at pulling this film together.  His performance is very comprehensive, and his brother Dave plays against him quite well.  More than anything, I found it warm, and comforting.  Overall it’s a pleasant film that can be universally enjoyed.

 

  1. Wind River (September)

Wind River - 70th Cannes Film Festival, France - 19 May 2017

When I saw this film in the cinema it utterly blew me away.  I found it so suspenseful and well directed.  It’s quite a tough movie with tough themes and director Taylor Sheridan handles them well.  There’s nothing remarkable about the film other than the way it’s told.  It’s a master-class in the pacing of a simple narrative and a strong American tale.  And has a twist that works to perfection.  Full review: https://robsfocuspull.blog/2017/09/20/wind-river-film-review/

 

  1. 20th Century Women (February)

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This film is gorgeous in every way.  It is purely acted, with some of the best chemistry between characters this year.  The cinematography is as simple as it is artistic, with every shot carefully put together.  All of the emotional beats land, resulting in a really honest picture.  It’s almost like a catalogue of a few different lives, something I’m interested by.  Like the Disaster Artist I can universally recommend it, and safely say the world is better because of its existence.

 

  1. Baby Driver (June)

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Edgar Wright is a curious director.  The Cornetto trilogy is fun, but really just remakes of lots of different films.  With this film he delves almost completely into originality with a gimmick that is joyous.  A soundtrack backing the entire film gives it’s a natural beat and flow.  The scenes inter-connect like a dance, and create an escapist feeling.  It’s exciting, and loveable – with believable performances at the centre.  In the cinema it was a visual and audio journey that yanked you along with it.  Full review: https://robsfocuspull.blog/2017/07/03/baby-driver-film-review/

 

  1. Call Me By Your Name (October)

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When this film came out it passed me by, and I’ve only seen it just recently.  Within the first few minutes I had instant connection to the films style, and setting.  It’s a nuanced tale – more interesting than a simple gay romance with deep touches on friendship and desire.  Armie Hammer does well in what can be seen as a brave performance (31 playing a 24 year old having sexual relations with a 17 year old who’s played by a 21 year old), and his chemistry with the young actor Timothee Chalmet is acutely present.  The film is gushingly watchable because of what surrounds them – intellect, history, a picturesque small Italian town, sun, open conversations and pretty people.  Its surroundings I’d like to visit.

 

  1. Manchester by the Sea (January)

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Almost perfect, this has become one of my most beloved films of the last few years.  I adore the subtleties of it, and the patience Kenneth Lonergan takes with the story.  Casey Affleck (despite possible personal issues) deserved the Oscar, as he’s desperately compelling in the film.  His character is real, and troubled with a past weighing him down.  Next to him is the young Lucas Hedges who is also a standout of the year.  The film deals with its themes with caution and is never crass about them.  It’s a movie that will age well, and be stuck in my mind for a good while longer.  Full review: https://robsfocuspull.blog/2017/07/03/manchester-by-the-sea-film-review/

 

  1. Free Fire (March)

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Definitely the most underrated film of the year, this is a messy film, but my kind of film.  It’s sharp and dirty, with a series of events that is heavy metal film-making.  The cast is brilliant, ranging from a democratic Brie Larson, a romantic Cillian Murphy, and an impossibly cool Armie Hammer.  These and the rest of the billing (including a hilarious Sharlto Copley) gel together in this small environment to give visceral action.  It’s transparent with its audience right up until the end, and has some of the most memorable moments of the year.  Often jarring, though always appealing this is a must watch for film fans.  Full review: https://robsfocuspull.blog/2017/07/03/free-fire-film-review/

 

  1. Blade Runner 2049 (October)

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Another pretty much perfect movie that is a breathtaking experience, with my favourite scene of the year in it (the sex scene).  Denis Villeneuve is probably the best director on the planet right now, and so I had high hopes going into this.  The original is a film that I equally love and hate – this sequel I just love.  On a visual level it’s a masterpiece, shot by the lighting genius Roger Deakins.  In terms of story it’s beautifully slow, and misdirecting.  There are some moments in this film that absolutely floored me, and I was left incredibly moved by the experience.  Piece on Blade Runner 2049 and death: https://robsfocuspull.blog/2017/10/08/blade-runner-2049-i-dont-want-to-die/

 

  1. Dunkirk (July)

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This film is a spectacle, and when I saw it in iMAX it was a cinema practice like no other.  Christopher Nolan is one of the greats of our time, and this is by far his best film.  He narrows his focus in to tell a story that needed telling.  It has emotional draw because of its subject matter, and he balances that well in the runtime.  The structure he uses really is an accomplishment in film-making and gives the film an arresting pace.  Coupled with a Hans Zimmer ticking soundtrack and you have a thriller of the highest form.  It’s a film that must be seen by everyone due to its importance to history, but mostly because it’s astonishing cinema.

 

Here’s 11-20 with points reviews based upon Presentation (P – look of the film), Performance (PA – the acting), Narrative (N – the story) and Effect (E – Did the film have an impact on me?)…

  1. T2: Trainspotting – P: 2.5/3, PA: 2.5/3, N: 2/3, E: 1/1 – Final Score: 8/10
  2. Logan – P: 2.5/3, PA: 3/3, N: 1.5/3, E: 1/1 – Final Score: 8/10
  3. The Death of Stalin – P: 2/3, PA: 3/3, N: 2.5/3, E: 0/1 – Final Score: 7.5/10
  4. John Wick: Chapter 2 – P: 3/3, PA: 2/3, N: 2/3, E: 1/1 – Final Score: 8/10
  5. Star Wars: The Last Jedi – P: 2.5/3, PA: 2.5/3, N: 1.5/3, E: 1/1 – Final Score: 7.5/10
  6. The Florida Project – P: 2/3, PA: 3/3, N: 2/3, E: 1/1 – Final Score: 8/10
  7. Silence – P: 3/3, PA: 2/3, N: 2/3, E: 1/1 – Final Score: 8/10
  8. Okja – P: 2.5/3, PA: 2/3, N: 3/3, E: 1/1 – Final Score: 8.5/10
  9. La La Land – P: 3/3, PA: 2.5/3, N: 2/3, E: 1/1 – Final Score: 8.5/10
  10. Nobody Speak: The Trials of the Free Press (Documentary) – Final Score: 8/10

 

I’m always open to hearing what other peoples top 10’s are!