The indie critics' darlings play a Midwest farm couple in a sci-fi film that intrigues until it confounds.
as a Midwestern farm couple in 2065 . When you hear the film’s premise, which makes it sound like a cross between “Interstellar” and “Blade Runner,” you may think it’s going to be one of those movies in which a pair of critical darlings from the indie world leave their low-budget poetic movies behind to plug themselves into the blockbuster machine. But “Foe” isn’t a visual-effects-laden, box-office-fixated lollapalooza.
Moments later, Mescal’s character, Junior, with a jocular attitude and jaw-thrusting grin that suggests Mark Ruffalo’s puppy-cute kid brother, enters the picture, and for a while we sink into the lives of this couple, registering their quiet distance from each other — the Antonioni-ness of it all. Yet that perception is entangled, for the audience, with some rather prosaic questions.
An opening title sets up “Foe” as a standard cautionary future-as-doomsday parable. The climate has been destroyed, the cities are ravaged, and the human race is experimenting with colonies in space that the residents of earth could move to. There is also an AI factor: replicants are being dispatched as laborers. The landscape the movie unveils is certainly forbidding, with the farmland razed and divided into giant circular plots of industry.
There are dramatic possibilities to that situation, and up until this point we’re more with “Foe” than not, flowing to its languid rhythms, giving the set-up the benefit of the doubt. But what happens after Terrance makes his big announcement is…strange.
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