Skip to main content

MOVIE REVIEW: High Life (2019)

High Life (MA15+)

Director: Claire Denis

Starring: Robert Pattinson, Juliette Binoche, André Benjamin

Duration: 113 minutes

High Life comes from French filmmaker Clair Denis as her first English language film, and stars Robert Pattinson in yet another role that cements him as one of the most important actors of our generation. The film is almost impossible to describe effectively beyond the bare bones of its mechanics - the IMDb plot description simply reads "a father and his daughter struggle to survive in deep space where they live in isolation", and to be fair that is probably the most that you'd want to give away about High Life. It is not your typically Hollywood space adventure. It is slow, ethereal, surreal and at times frustrating. It is aggressively experimental and will no doubt leave casual viewers baffled, likely bored. By the time the plot begins to unravel in its meandering way with no regard for linear structure (perhaps something to do with black holes?), it reveals itself to be dealing directly with taboos of incest, sexuality, the human form, black holes and bodily fluids. It does not spoon feed, it does not flinch in the face of graphic violence or sexuality, and it does not baulk on approach to some heady science fiction ideas. One potential issue with the film is the way that it will often take its time moving the narrative forward, instead deciding to revel in the atmosphere that it so expertly crafts. It can sometimes drag, but I never found it to be an issue when there is so much to marvel about its technical aspects. Probably my favourite science fiction film of the year, High Life is a film of great ambition and unflinching candour that is incredibly memorable. Just don't go in expecting a thrill-a-minute sci-fi adventure, because you will be sorely disappointed.

Rating: A

Comments

Popular posts from this blog

1 YEAR LATER: "22, A Million" by Bon Iver

   Bon Iver's third studio album turns 1 in about a week (where did that year go?), so I thought it would be interesting to talk a bit about how my impressions of the album have changed - or how they haven't - over the last 12 months. When this album was released I was more excited than I think I ever have been to hear a new album. For Emma, Forever Ago is one of my all time favourites, and I love his self-titled second album too, so I had huge expectations for this album, but was also wary that expectations might ruin my experience of the music. This was particularly the case for 22, A Million , because it is unlike anything else Justin Vernon has released. There have been hints at this more processed, electronic direction previously, like the song "Woods" on the Blood Bank EP and occasional flourishes on Bon Iver , but 22, A Million is a drastic departure from the Bon Iver sound we had grown accustomed to at this point in time. Or at least, that's what I thought...

ALBUM REVIEW: "Mesmer" by Northlane

   On Friday Northlane released their fourth studio album Mesmer without any warning, and it's pretty awesome. Fans that were keeping up had been getting hints for a while, with cryptic announcements and a seriously cool chatbot, but Mesmer was a complete surprise for everyone, and one that has brought with it a more cohesive and complete sound for the band.    2015's  Node was a great way to open up the second chapter in the band's trajectory and featured a fantastic performance from new singer Marcus Bridge, but definitely felt like a transition album for a band that had forged such a signature sound and was in the middle of great change. Mesmer immediately feels a lot more comfortable than Node  for a bunch of reasons, which is to be expected now the band has been touring with Bridge almost non-stop for more than two years. While the production on Node didn't quite fit the sound they were going for and seemed a little flat across the board, David Bend...