Savaged by film critics at its recent premiere in Locarno, Michel Houellebecq’s film
is far from being without interest. Imagining where the marriage of technology, pan-globalism, global warming and the desire for eternal youth might lead, the film jettisons the caustic, scabrous characteristics of his novels in favour of an odd mix of stillness, mystery, parody and tenderness. This is philosophical sci-fi in aspic, knowingly positioned somewhere between
2001: A Space Odyssey,
Solaris,
Stalker and
The Man Who Fell to Earth.
Years after separating from his father’s sect, Daniel decides to return to the commune where he grew up. Daniel realizes that the promise of immortality made to the sect’s followers, has in fact, become a reality through modern cloning techniques. His father volunteers to be the first clone and Daniel replaces him. Twenty-five generations later, Daniel25 has survived the cataclysms that have devastated the human race. He lives like a hermit in a high-tech, subterranean bunker protected from contamination. His sole companion is a dog. He doesn’t look too pleased at the prospect at having to save humanity.
To challenge the critical dog-pile, Houellebecq evidently has a better eye for sculptural form (“Megalopole” by Rem Koolhaas; sculptures by Rosemarie Trockell) and the significance of a location than all too many filmmakers these days. He also should be given credit for tackling philosophical territory that many others seem incurious about. Some will even agree that his film--like his books--can be quite wryly funny. “At times the film has an austere beauty; at others, it is reminiscent of an old episode of
Star Trek…. a curious film.”--Geoffrey Macnab,
The Irish Times
VIFF acknowledges the support of the Consulate General of France in Vancouver in presenting the Spotlight on France.
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