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High Life: A Review

***THIS IS A SPOILER FREE REVIEW!! THIS REVIEW CONTAINS ZERO SPOILERS!!***

My Rating: 3.8 out of 5 stars

My Recommendation: SEE IT. But be forewarned, even though it is in English, it is a very “French” film and is definitely at home in the arthouse. If you have conventional tastes in movies, this one is not for you, but if you are a cinephile defintely check it out in the theatre.

High Life, written and directed by French auteur Claire Denis, tells the story of Monte, a young man who is caring for a baby on a mysterious voyage into deep space. The film stars Robert Pattinson as Monte with supporting turns from Julliette Binoche, Andre Benjamin and Mia Goth.

Claire Denis, the writer/director of High Life, is the critical darling of French cinema and the American arthouse. Denis has a distinctive film making style that appeals greatly to film critics but that the general public often finds impenetrable. A good example of this is that her last film, Let the Sunshine In (2018), which starred Juliette Binoche and could sort of be described as a French/arthouse romantic comedy, has an 86 % critical score and a 29% audience score at the review aggregate website Rotten Tomatoes.

Part of the problem with Denis work, at least for American audiences, is that if you market a film as a romantic comedy, Americans will expect a rather simple Tom Hanks-Meg Ryan cute fest and not the verbose philosophizing, existential thesis that is Let the Sunshine In. Expectations play a big part in audience perceptions and thus in the ultimate success or failure of a film.

High Life may face the same marketing struggle as Denis’ other films, at least in terms of the general public. High Life is being sold as a sort of action-thriller, science fiction, space movie…in the vein of Ridley Scott’s Alien. High Life is a lot of things, but action-thriller is not one of them, and if audiences are aware of that and understand how to digest the film, they may come away with a greater appreciation for it…because there is a great deal to appreciate.

High Life is not Alien meets 2001, but rather is a beguiling, at times bewildering, dark, moody, existential and philosophical meditation on the meaning of life and what it means to be a human. The film is Claire Denis at her very best, using her signature style to create a deliberately paced, deliriously claustrophobic, non-linear dream/nightmare that is intentionally disorienting.

The film opens with Pattinson’s character Monte caring for baby all by himself on a space craft. The film then unwinds and reveals the who, what, when, where, why and how this strange combination of Monte, a baby, and deep space, came to be.

Being a parent is hard. Being a single parent is a Herculean task. Being a single parent in deep space is a circle of hell that Dante could never have dreamed up. Monte’s struggle to care for this baby is palpable, and as the child’s cries pierce through Monte’s space suit to his core, they also cut viewers to the bone. This scenario of the deep space single parent and the vulnerability of an infant, intensifies the suffocating sense of claustrophobia and heightens the ominous sense of foreboding that permeates the entire film.

Pattinson’s work as Monte is extraordinary. Monte is a psuedo-monk, struggling to control his human desires in order to, ironically enough, stay connected to his humanity. Pattinson gives Monte a very specific internal intentionality that illuminates his every action and drives him through every scene. Pattinson is an actor I never would have given a second thought to after those dreadful Twilight movies, but his fine work in the not so good The Lost City of Z (2017) made me take notice. Here in High Life he commands the screen without ever demanding attention, in fact, it is Pattinson’s use of introversion bordering on camera shyness that make him so intriguing and compelling in this role.

The rest of the cast do solid work as well. Juilette Binoche as the witchy Dr. Dibs chews the scenery like a starving women hurtling through the universe looking for her final meal. Mia Goth also does notable work as Boyse, a destructive and self-destructive anima figure, the polar opposite of Monte.

Claire Denis knows what she is doing when it comes to making movies, and High Life is a testament to that. The film is technically first-rate, as the cinematography, particularly the framing and lighting, as well as the editing, are superb but never overwhelm the tone and theme of the movie.

High Life is deliberately paced, and may be too slow for more conventional tastes, but I found the film to be captivating to the point of hypnotic. Denis’ ability to disorient the viewer’s perception of space and time was a master stroke that simulates for the audience the psychological, emotional and philosophical vertigo that Monte must struggle with and through as he goes along his hero/anti-hero’s journey.

High Life asks a lot of questions but gives no clear answers, which is maybe why I liked it. There were no easy escapes from the void of space or the existential issues raised. Ideas as varied as human value, spirituality, morality, physical purity, incest, humanity, witchcraft v. science, and even cats v. dogs, all come up in the movie and propel the philosophical narrative forward, backward, up, down and all around.

At the end of the day, High Life, like most space movies, is really an homage to, and imitation of, Kubrick’s masterpiece 2001: A Space Odyssey. High Life is no 2001, but to Claire Denis’ credit it is a very distant, but worthy enough, cinematic step-cousin, as it wrestles with the same question of human evolution and being born into, and cast out of, the Garden of Eden with nothing but our humanity to guide and protect us.

Space is cold and forbidding, and the struggle to maintain life amidst that black void is colossal, but not nearly as gargantuan (or heroic) as the struggle to maintain humanity. Monte’s evolution…which may result in being reborn the Starchild from 2001 or left to an eternity in the empty void of nothingness, lies on the other side of a black hole. He isn’t sure he is ready to make the trip…are you?

If you have the courage, and the open mind, I recommend you set aside your expectations and conventions and make that journey with Monte. Yes, there are some bumps along the way, the most noteworthy being a rather odd scene with Juliette Binoche (you’ll know it when you see it - it was the catalyst for two sixty-something women in my screening to make a hasty exit) that serves a certain and minor purpose but which goes on for a distractingly and interminably long time. But if you can simply get into the rhythm of the film, and not try and figure it out as it washes over you but rather experience it and all of the good and bad that comes along with it, I think you may find it as satisfying a cinematic experience as I did.

Again, this movie is not for everyone…even though it is in English, it is a very, very French film, and it reeks of the art house, so if you simply cannot or will not overcome your cinematic conditioning for clear narratives and resolutions, then you should skip this one. But if you are feeling adventurous and in the mood to contemplate the meaning of life and humanity amidst the unrelenting sea of darkness that is space, then gear up, strap in and take the plunge. You may find you enjoy the high life.

©2019