Review: ‘Bliss’ Is the Worst Kind of Open-Ended Sci-Fi Movie

Is Mike Cahill seen? The 41-year-old science fiction writer-director has now made three films about ways of seeing, each higher profile than the last. This is literally expressed in the second of these efforts, literally, I OriginsThis is also, irrelevant, titled worst. Released in 2014, the subject is about vision scientists looking for the origin of the human eye – look, a pun – if you don’t know it, it’s the “window” as a character literally calls “soul”. They find it in the genes of an invisible worm, but Brit Marling’s Karen warns her lab partner that she doesn’t want to be famous at least: “Recognition makes me sick.” says.

For Cahill, recognition meant two things: more money and less Marling. He played both in Cahill’s first science fiction movie and in the lead role. Another worldIt came out in 2011 and was reportedly made for a meager 100 thousand. I Origins It costed 10 times more, and Marling just played. In Cahill’s last movie, HappinessThe budget is unknown, but now on Amazon Prime, starring Owen Wilson and Salma Hayek, has nowhere to be found. (In recent years, you may have seen Marling on the Netflix show. OAHe’s not saying he was his inspiration, but the money / Marling concessions seem to blur Cahill’s cinematic vision.

Another world It was the best sci-fi genre, conceptual but inclusive. The Cahill trilogy is also, irrelevant, titled best. All science fiction is metaphorical, but often out of proportion. (Or it explodes in space at the last act.) Here the scale is human. One night, Marling’s character Rhonda gets drunk at a college party and decides to go home. On the way, something suddenly appears in the sky. A planet that looks like ours. When he looks at him, he crashes into another car, putting out two lives in an instant. So the question posed by the title is: Is there another world where this doesn’t happen? One that Rhonda didn’t ruin his life? The movie points to an answer, but does not commit, instead it takes a surprising breath of possibility.

This would be Cahill’s signature – uncertainty as the answer to his overwhelming ambitions. Like all science fiction creators, he is determined to investigate the wonders and troubles of existence, who, who are souls and causes. It cannot be blamed for this. Most mainstream cinemas don’t ask half as demanding questions. But Another world It worked because the uncertainty was not absolute. The viewer identifies a way to see a possible solution, thanks to Cahill and Marling’s gentle guiding hands. Even I OriginsDespite their visual literatures and condescending slow motion, the burst of sunlight coming to an end, it manages to enrich and complicate the old-seeing-believing stereotype. Then Cahill did Happinesswhich no sight of you can make you believe.

Wilson plays Greg, a no-nonsense person who spends his days imagining other worlds and other lives. Then a witch woman (Hayek, unbridled) named Isabel appears and claims she has power over reality. He says it’s not really real, but a computer simulation, and Greg can see it himself if he takes these sparkling crystal pills. In other words – you’ve been here before. You are Greg, but you are also the audience who remembers this. Matrix. Look, the Wachowskis don’t have a monopoly on simulation theory. Thirteenth Floor, eXistenZnew documentary A glitch in the matrix– There is a lot of space in the virtual virtual space. But in the red pill / blue pill world, Cahill’s pharmaceutically mediated reality reads a second-rate simulation of the real thing.

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