I have to admit I am still haunted by director James Gray’s 2016 film The Lost City of Z, which centered on an explorer on a mission to find evidence of an advanced civilization that lived in…
which centered on an explorer on a mission to find evidence of an advanced civilization that lived in a remote and uncharted corner of the earth. I thought of it a lot as I watched Gray’s latest film,, which takes the idea of a risky journey to even greater heights. The latest film is every bit as fascinating, gripping, jaw-dropping and ethereal as I foundto be, but it’s also one where Gray and co-writer Ethan Gross are pushing new boundaries.
Communication had been limited to taped messages previously, but Roy has his own very personal reasons for embarking on such a dangerous assignment, in addition to one that can affect the future of mankind — really, ultimately coming to learn about himself and his own lost relationship with the father whose footsteps he is now following in order to get answers for his own life. It becomes a journey at once on the largest scale and the most intimate.
Don’t get me wrong, it is all not some metaphysical trip with the low-key Roy. Along the way there isstyle action on the moon , and on Mars for a brief period. There is also some frightening horror along the way involving viciousstyle violence and bloodletting. But the bulk of this journey is mostly in the head.
Gorgeously shot by cinematographer Hoyte van Hoytema, with spectacular effects and production design and a great moody score by Max Richter, this is a movie made to be seen in Imax, or the widest screen possible, to engulf you in its own cerebral world — more reminiscent ofjust to give you a clue.
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