These rapturous touches are presented in earnest. One gets the impression that Miller — who has found great success as a storyteller himself — is completely serious when he argues that myths and fables are the glue that hold the entirety of human culture, history and psychology together. And he’s not wrong. There’s a reason that
. But it’s amusingly ironic that a film so passionate about character and structure is so lukewarm in both of those areas.About ‘Three Thousand Years of Longing’: Idris in a bottle Tilda Swinton in director George Miller’s film THREE THOUSAND YEARS OF LONGING A Metro Goldwyn Mayer Pictures film Photo credit: Courtesy of Metro Goldwyn Mayer Pictures Inc. © 2022 Metro-Goldwyn-Mayer Pictures Inc. All Rights Reserved
Much of the film takes place in a luxury hotel suite in Istanbul, where Alithea is holed up after a disastrous presentation at an academic conference the day before. She’s considering going out for one more day of sightseeing — alone, of course, because Alithea is always alone. She claims to prefer it that way, mostly because she’s had lots of practice.
The djinn’s initial appearance sets the stage for magic: So huge he fills up Alithea’s spacious room, the djinn waves one electromagnetic finger and instantly absorbs the last 150 years of human history through a chattering television screen. After Alithea’s initial attempts to communicate with the spirit in ancient Greek, he then does her the favor of shrinking to a more manageable size and changing his communication mode to boring old English.
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