Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
The Loneliest Planet
A local guide takes a young couple through a twisted backpacking trip across the Georgian wilderness.
Nothing happens for an hour. Then one thing happens and someone makes a knee jerk reaction. Then one no one talks about either the thing that happened or the the reaction to what happened. Hard to say since no one's talking. Then nothing happens for another hour until there's an awkward moment. Then nothing happens at the end. I was riveted.
[reviewed from AFI 2011]
Second go. Feared I might find the first half a little get-to-the-Incident enervating this time, but Loktev has an uncanny knack—also on display in Day Night Day Night—for making the eventless eventful, mostly via attention to arresting details that are unusual without being "quirky." (I was about to note that the "chimpanzee" headstand arguably crosses that line, but then suddenly suspected that that's an actual alternative to e.g. "Mississippi" somewhere or other, and sure enough. Headstand itself's still a bit cute, though.) And I remain in awe of the high-wire act that constitutes the aftermath, in which any and all discussion of what happened gets postponed until after the credits roll—a stunt that only works…
The Loneliest Planet is a film I really want to love. It's slow, and takes its time, and wants to reel you into the relationship between the main couple. However, The Loneliest Planet is also slow and takes too much time.
I really love when films take their time to show you things instead of rushing, but there is a difference between taking your time and meandering around in a vain attempt to stretch out the running time.
There's a real subtle beauty to the main theme of The Loneliest Planet, but it really doesn't need to be a 2 hour film. This would be fine at 80 minutes, and actually manage to make a harder impact. Gael Garcia Bernal…
I've been battling myself about this one since I saw it. The fact that it's stayed with me is a good thing, and speaks to how well-crafted it is. Literally nothing happens but some mostly silent walking in the countryside for most of the film. There are some relationship-building and characterizations in the first 45 mins or so that serve to make the three things that actually happen in this film jaw-droppingly brilliant. I can't think of another time a moment in a film has been so pivotal and shocking that I literally had to pause it because I was freaking out so much. If you've seen this, you know exactly what I'm talking…
Even fans of minimalism are likely to find themselves tested by Julia Loktev's (Day Night Day Night) sophomore feature. Much like her first effort, it's painstakingly paced and indulges in needlessly long takes which don't so much set the atmosphere as invite feelings of total ennui.
Gael Garcia Bernal and Hani Furstenberg make for a compelling pair, though little of interest happens for the first half of the movie, and even when the central dramatic moment takes place, we're back to airy nothingness. There are at least 4 times in this film where Loktev cuts to a minute-long wide shot of a landscape with the pair and their guide walking along while ominous orchestral music plays. It's repetitive and, honestly,…
I can understand why a lot of people find this film tedious, boring, and/or completely don’t get it. But it’s kind of subtly brilliant. It’s more like looking at a painting for a long time than watching a film. I know that does nothing to make this movie sound more intriguing, but as a film experience it's wonderful. From the point of gender studies there is also much to talk about here.
Slow moving and often uncomfortable to watch. The film builds tension brilliantly and the acting is superb. Each character feels real and the film conveys their emotions so well, yet subtle and realistically. Ultimately though a bit of a forgettable film, but not one I regret watching. Interesting exploration of relationships, instincts and gender roles, too.
It starts off like some mediocre outtakes from the Before trilogy. But then they start hiking.
I don't know, maybe I just enjoy hiking. The film is definitely quietly paced but also agonizingly suspenseful in the way Meek's Cutoff may have been for some people. The director Julia Loktev and her team do a great job keeping a slow but ominous momentum by cutting between louder and quieter scenes in an often jarring way. There are some nice landscapes here - but standout scenes are lit by a flickering campfire or even just a flashlight.
All that suspense and then something happens. And although characters don't often say exactly how they feel, you can tell by Bernal and Furstenberg's…
The Loneliest Planet shows how we never really are finished finding ourselves and getting to know who we are. And sometimes the things we discover make us feel like we're living on the loneliest planet.
It doesn't need fancy visuals, melancholy pop songs and forced dialogue to describe the relationship of a couple, but attention to detail.
"The Loneliest Planet" is a fascinating sleeper that I'm very glad I took a chance on. This is a haunting film about an American couple who go on a picturesque hike in the country of Georgia. Along way, something happens which I will not reveal. It happens in the blink of an eye (it's so fast you might miss it if you turn away), and it completely changes the dynamic of the film, the characters, and their relationships to one another. It's at this point that "The Loneliest Planet" turns from a pleasant but somewhat uneventful indie something quite interesting and ultimately pretty unforgettable. Masculinity, guilt, gender, and many other subtextual themes play out here in a very unconventional and…
De voettocht van dertigers Alex (Bernal) en Nica (Hani Furstenberg) door het woeste weidse Georgische landschap wordt door regisseuse Julia Loktev met geduldige kalmte gevolgd. Ze geeft de acteurs de gelegenheid hun relatie op te bouwen, geleid door het script en vermoedelijk door veel improvisatie. Begeleid door lokale gids Dato (Bidzina Gujabidze) betreedt het verloofde paar de wildernis zonder na te denken over mogelijke risico’s. Ze geloven net zo naïef in de onschuld van de natuur als solitaire backpacker Chris (Emile Hirsch) in Into The Wild (Sean Penn, 2007) en berenliefhebber Timothy Treadwell in Grizzly Man (Werner Herzog, ).
De cello van componist Richard Skelton doet denken aan de filmmuziek die Ernst Reijseger heeft gemaakt voor Herzogs documentaires. Skelton benadrukt in zijn spel zowel de schoonheid als het potentiële gevaar van het bergachtige landschap. Wat ontbreekt, is Herzogs voice-over.
Volledige recensie: gert01.home.xs4all.nl/theloneliestplanet.html
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