From visionary director Jonathan Glazer comes a stunning career transformation, a masterpiece of existential science fiction that journeys to the heart of what it means to be human, extraterrestrial—or something in between.
Well I don’t have a PhD in film, so I’m not sure about all that. What I can tell you is that with 2001: A Space Odyssey level weirdness and at times incomprehensible Scottish dialect, it’s not surprising that this movie was burnt off in a limited release rather than being properly promoted (Becoming an example of the film critics lament: decent movies being strangled in the cradle.) Besides, who would want to see international superstar and 2013 Sexiest Woman Alive Scarlett Johansson naked? She’s not even underweight—gross.
The actual story
The gimmick of this film is that most of the men in it aren’t actors and don’t even know that they’re in a film. They’re just guys walking by Ms. Johansson’s van that she stops to ask directions and then chats them up. A few she picks up, seduces and murders, though presumably at some point in between they were told they were in a movie (And these guys appear naked in the film—what a weird day that must have been). Dialogue is sparse and explanations are never given for anything—it’s almost as if director Jonathan Glazer has assumed everyone has already read the novel.
Though Johansson has several scenes with men, she’s at her most eye-catching when alone, examining her human body’s contours in the mirror.
A nude Johansson taking the clothes off her dead doppelgänger
Beyond the film
Score fanatic Tom Shone said “[Composer] Levi’s music is half the story: a bendy, Ligeti-like vortex of stretched synths and ambient drones that somehow suggests beehives, black holes and the fleshy warp-factor of Francis Bacon paintings.”
I made a survey about this movie that you can take here.