Blogs and Other Things

Released: 2016

Director: Denis Villeneuve

Starring: Amy Adams, Jeremy Renner, Forest Whitaker

Parfait.

‘Arrival’ is a work of art, and it doesn’t get talked about enough. Films of this calibre do not come around often, and they deserve to be celebrated for their influence and imprint on the industry.

‘Arrival’ has established itself as one of the most intellectually sound science fiction films of the last century. In great irony, one of its greatest strengths is through its limited focus on the sci-fi component, basing its analysis on the nature of humanity as we currently understand it. Delicately crafted, the film is an indulgent self-reflection of the human species, revealing our harrowing attributes that contrast our underlying human nature. Depicted in a complex – but not convoluted – manner, ‘Arrival’ inherently encompasses our greatest virtues intertwined with our most colossal flaws. The film’s existential tone and benevolent motifs will make you weep, eliciting a new meaning of sanctity we will never fully understand.

Equally layered with masterful commentary, ‘Arrival’ is deeply introspective. Addressing matters of masculinity, aggression, tyranny, and chaos, the film subtly exemplifies the dangers stemming from these topics and the circumstances in which they are exposed. On a smaller scale, the film advocates ideas of patience and level-headed philosophy, as well as the balancing act of momentary living while embracing what is still to come.

It is a film about a lot of things, but at its core, it is about grief. As the audience grieves its faith in humanity, Louise Banks (Amy Adams) grieves her daughter.

‘Arrival’ tells us that these extraterrestrial creatures have knowledge we can only dream of, but when these dreams become a projection of a future reality, they stop feeling like dreams. And there’s nothing we can do about it.

It could not be a clearer metaphor for the inevitable demise of human civilization through climate change and insecure nationalists.

But, like Banks, we can only watch.

The film is subtle in its humble assertions about humanity, but as we have seen in the past decade of global politics, it certainly has a leg to stand on.

On a final note, Johann Johannsson’s riveting score blended with Villeneuve’s mind-bending scenery play integral characters in the film’s presentation. Though Max Richter steals the spotlight with his introductory and concluding instrumental, Johannsson produces a compelling momentum on which the film thrives.

‘Arrival’ may be one of the most beautiful films that we will ever have the privilege of watching. If given the opportunity, view it on the largest screen available.

You won’t regret it.