Whenever I first watched Blade Runner, one of the biggest problems I had with the film was the fact that it removed most of the subtlety found in its source material.
This seems to be a problem with many science-fiction movies as well as the medium in general, so any new example leaves me skeptical. Thankfully, however, The Zero Theorem, the newest offering from Monty Python alumni Terry Gilliam, manages to present a smart and complex tapestry of satire and optimism that puts other filmmakers’ efforts to shame.
This is a movie that adeptly criticizes our current obsession with technology, while also embracing it. The Zero Theorem refuses to be tied down, allowing it to be one of the most unique and challenging films to be released this year.
The narrative follows Qohen Leth, a social outcast and programmer, living in an unspecified dystopian future where pop-culture, commercialism and social networking have all blended into an overwhelming and harsh looking glass reflection, presenting what may be in store for our own, not-so-distant future. While many critiques, of these various aspects of our society, in other films, often undercut their own meaning by presenting a solely negative view, The Zero Theorem succeeds by remaining open for interpretation. One audience member may leave the theater filled with woe over the way trendy technologies have consumed us while others contemplate how such products allow people, with crippling anxiety to connect more intimately with others. It never tells you which opinion is the correct one, and I wouldn’t have it any other way.
Sadly, however, The Zero Theorem is supposedly is the final installment of Terry Gilliam’s satirical dystopian trilogy, but I desperately hope this proves untrue. Each film has managed to capture the most maddening aspects of contemporary society, through a kaleidoscope lens while managing to assert many thought-provoking ideas and The Zero Theorem is no different. The color scheme humiliates directors like Tim Burton and Wes Anderson, while the chaotic and whimsical set pieces juxtapose Qohen Leth’s social fears, allowing audiences to perceive how, truly vulgar most other characters are.
This is a film that may have its flaws, but they all pale in comparison to the beautiful work viewers are presented on screen. In other words, see it.
