Director: Alex Garland
Writer: Alex Garland and Jeff VanderMeer (based on the novel by)
Release Date: 13th March 2018
Hot Rating: 💥💥💥💥
After his acclaimed directorial debut, 'Ex-Machina' (2014), Alex Garland returns with an adaptation of Jeff VanderMeer's 2014 novel 'Annihilation'. The narrative has been compared to Andrei Tarkovsky's 'Stalker' (1979), as both feature a collective entering a mysterious land in search of an explanation. Unlike Tarkovsky's expedition, which follows the journey of three male characters, the journey into the whimsical 'shimmer' of 'Annihilation' is orchestrated by an all-female team, partly lead by our central protagonist Lena (Natalie Portman). The consequent gender dialogues take an interesting focus on the supposed reliance of women upon a male counterpart, a feature which becomes doubly topical in the switchbacks of Lena's relationship with husband, Kane (Oliver Isaac). Beyond these sociological commentaries, the film voices an ecological concern unmatched by recent sci-fi films. The thematic concerns of pollution, interbreeding and self-destruction make for a film which is intellectually switched-on, albeit at the expense of consistent drama.
Writer: Alex Garland and Jeff VanderMeer (based on the novel by)
Release Date: 13th March 2018
Hot Rating: 💥💥💥💥
After his acclaimed directorial debut, 'Ex-Machina' (2014), Alex Garland returns with an adaptation of Jeff VanderMeer's 2014 novel 'Annihilation'. The narrative has been compared to Andrei Tarkovsky's 'Stalker' (1979), as both feature a collective entering a mysterious land in search of an explanation. Unlike Tarkovsky's expedition, which follows the journey of three male characters, the journey into the whimsical 'shimmer' of 'Annihilation' is orchestrated by an all-female team, partly lead by our central protagonist Lena (Natalie Portman). The consequent gender dialogues take an interesting focus on the supposed reliance of women upon a male counterpart, a feature which becomes doubly topical in the switchbacks of Lena's relationship with husband, Kane (Oliver Isaac). Beyond these sociological commentaries, the film voices an ecological concern unmatched by recent sci-fi films. The thematic concerns of pollution, interbreeding and self-destruction make for a film which is intellectually switched-on, albeit at the expense of consistent drama.
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