George Miller’s “Three Thousand Years of Desire” stars Tilda Swinton as Dr. Alithea Binnie, a distinguished scholar and public speaker who, in a conference speech, came to awareness. supernatural presence.
Back in her hotel room, she accidentally rubs a glass box and summons a genie, aka Djinn, played by Idris Elba. Much of the film takes place in a hotel room, where Binnie and the genie share stories, examine the dangers of granting three wishes, and ponder the shared isolation of their lives.
It probably won’t be considered one of Miller’s best films, but it’s easily his most personal, as the dialogue examines the power and value of storytelling as well as the quirky nature of the film. oddity and sadness of existence. There is also meditation on how love, in all its mess, is a choice and that genius and insanity are closely related.
“Three Thousand Years of Longing” has an image that reminds me of Terry Gilliam’s “The Adventures of Baron Munchausen” (1989) and Tarsem Singh’s “The Fall” (2008), although it’s not as abrasive as before nor as the strategy in its visual presentation is as follows.
Miller includes great dissolving and some aggressive CGI, but this is unlike anything he’s done before. While ostensibly an existentialist fantasy and at the same time a genre-less work (which may be why MGM is clearly having a hard time marketing it), the real tone is everything.
George Miller, the Oscar-winning director of Mad Max: Fury Road and Three Thousand Years of Longing, talks about inspiration, storytelling, and magic. https://t.co/rB7IOiGMwh
– Rotten Tomatoes (@RottenTomatoes) August 25, 2022
Miller’s film is fearless and heartfelt, using the relationship between Swinton’s mind scholar and Elba’s considered all genie as the starting point for the in-story story. Here’s the rarity that almost never happens: a major filmmaker (almost 80 years old) was somehow able to pull off an unclassifiable pet project with huge budgets and stars. movie star.
Miller clearly doesn’t care if his audience gets it, only knows that they’re emotionally connected and committed to a dialogue-heavy, character-driven epic about the contradictions of humanity. .
To fix the exact nature of the Elba and Swinton characters, especially the sexual relationship and how one can age with genie, is flawed. The love story, for example, resembles the angelic desire to touch humans in Wim Wenders’ “Wings of Desire” (1987) than the cynical sexual test between a superhero and an artificial god. by Zac Snyder “The Watchman” (2009).
The two main characters give such a feeling to characters that are extremely difficult to act.
FAST TRUTH: Director George Miller worked as a doctor before embarking on a film career produced various films such as “The Road Warrior”, “Babe: Pig in the City” and “Lorenzo’s Oil”.
Instead of coming across like a smug project or a chaotic vanity project, the production process focuses on energy and class that mirror the likes of David Lean and John Ford. The cinematography of John Seale and especially the staging of Tom Holkenborg is classic and sophisticated.
While Elba’s Djinn ears remind me a bit of Channing Tatum’s appearance in the movie “Jupiter Ascending” (2015) being confused, Miller manages to somehow avoid the camp, even if the premise is and seriousness always threatened to mess up this act of tightening the ropes, but that never happened. Instead, its grotesque nature is countered by how sincere it is overall.
It’s not as poignant as it sounds – an airport scene that’s out of place and short-sighted (if you have a genie, would you be flying a commercial airline, and following its rules, even a consideration?).
It feels very long for a 108-minute film, though I feel that Miller has tightened up a story that easily could have been three hours (and, at some point, probably is).
Miller’s movie is being made by a trailer that lacks tone, advertises it as a comedy (it’s not) and inadvertently reminds us that the director is the “Crazy Genius” behind. one of the best movies of the past 20 years, “Mad Max: Fury Road” (2015).
In fact, Miller has done other unexpected, unbranded works, like “Babe: Pig in the City” (1998) and “The Witches of Eastwick” (1987). This is another one of his unexpected, unexpected projects, a creative stop between two new “Mad Max” epics and everything that is essential to his work as a whole.
There are so many scenes here that make me grateful that I got to see this scene on the big screen, where it’s likely it will only be for a short while. Poor MGM even released this one week after Elba DOA”Beast“And was probably expected to take the lead after the big opening, which never happened.
Even if Elba didn’t beat the CGI lions, “Three Thousand Years of Solitude” would never have been a huge hit at the box office. It’s just too weird and defies the “halt” description. However, if any 2022 movie is guaranteed to be famous, it’s this one.
Not every scene succeeds, but in its most dazzling moments, the film reminds me that the cinema can be a place where we see things we’ve never seen before, glasses made by Artists can share their dreams with us.
Miller, whose movie dreams are bigger than most, is indeed still a “crazy genius”. Before we head back to the sandy chaos of his upcoming “Furiosa” (coming out in 2024), here’s another one-of-a-kind, adventurous creation, one that’s worth it. love like it’s so wild.