The Loneliest Planet
Julia Loktev’s narrative debut “Day night Day night time” became a sharp revisionist approach to the sluggish-burn mystery that observed a suicide bomber wandering the streets of new York city. “The Loneliest Planet” transplanted the filmmaker’s specific storytelling instincts to a quieter putting, as a wayward couple (Gael Garcia Bernal and Hani Furstenberg) on holiday within the desert of Georgia stumble upon a unexpected attack at gunpoint that changes the character in their relationship. The come upon lasts mere seconds, however its unspoken impact lingers because the campers roam from one location to the following, unsure about their future collectively and how to cope with it.
Some years later, Ruben Östlund would enter similar terrain with the masterful darkish comedy “force Majeure,” but Loktev probes her conundrum in natural cinematic phrases: Her film offers with the assumptions approximately agree with and companionship that so frequently go unquestioned till they’re pressured into the open, but it in no way states its issues outright. The anxiety bursts into the story after which sits there, like an open wound, at the same time as its incredible performances deal with the wealthy thematic depths of each disquieting scene. Loktev hasn’t made a film considering then, but her functions together speak to the particular anxieties of this gift second — what it approach to experience a unexpected surprise to the system, after which linger inside the fallout, uncertain what to do subsequent.