One or two things are all you need
to travel over the blue pond, over the deep
roughage of the trees and through the stiff
flowers of lightning–––some deep
memory of pleasure, some cutting
knowledge of pain.
For years and years I struggled
just to love my life. And then
the butterfly
rose weightless, in the wind,
“Don’t love your life
too much,” it said,
and vanished
into the world.
––– Mary Oliver, lines from “One or Two Things”
***
Don’t judge a movie by its title. The seemingly uninspiring title packs a lot of story and ideas. Based on a true event and the novel of the same name by John Preston, the dig refers to the historic excavation of an Anglo-Saxon ship and the treasures inside its burial chamber, the medieval grave of possibly a warrior king dating back to 600’s AD. The archaeological event took place at the start of WWII in 1939 on Edith Pretty’s Sutton Hoo property in Suffolk, England. For a historical reference point, just seventeen years earlier, English archaeologist Howard Carter discovered the tomb of Tutankhamun.
Director Simon Stone has chosen to turn a spectacular archeological find into a lyrical, visual narrative that is elegiac and ponderous in tone. His focus isn’t so much on the unearthed treasures but the process of the dig, and the human stories adhere to it. A valuable asset Stone holds in his helm is an excellent cast.
Carey Mulligan plays Edith Pretty, the widow of a Colonel whom she still mourns at his grave while raising their young son Robert (Archie Barnes). As an amateur archeology enthusiast, she has a feeling the mounds on her grounds have something significant buried. Hiring a local excavator, Basil Brown (Ralph Fiennes), she watches her hunch realized.
However, Edith’s deteriorating heart condition is a constant reminder of her own mortality, a tug at her soul, brewing a deep concern for her son Robert after she’s gone. Mulligan acts not just with her facial expressions; her whole body speaks to the fragility of life. While treasures are unearthed, her fears and sentiments are buried deep within.
To interplay with Mulligan’s delicate demeanor, Fiennes delivers an understated performance with the unglamorous character Basil Brown. A country excavator, stooped in posture, quiet yet determined, apparently knowing much more than he shows. It is gratifying to see the two of them interact in a naturalistic way, their expressions equally sensitive and nuanced.
Reading about Carter’s discovery of the tomb of Tuktankamun, Edith is apprehensive about finding human remains in the dig, as that’s like disinterring the dead. Brown answers with his view of the philosophy of the discipline: “… that’s life what’s revealed. And that’s why we dig.” And, as his wife May (Monica Dolan) points out, it’s about continuity for the next generations, so they know where they come from.
The ‘untrained’ Brown––with no academic credentials but learned the skill from his father passed down from his grandfather––has to yield to the authority of the famous archaeologist from the British Museum, Charles Phillips (Ken Stott). Phillips takes over the dig as soon as he arrives on the site with his team of specialists.
Among them are the archaeologist couple Stuart Piggott (Ben Chaplin) and his young wife Peggy (Lily James). Their incompatibility is obvious; Stuart is happier with fellow team member John Brailsford (Eamon Farren) than with his wife. Later, the arrival of Edith’s cousin Rory Lomax (Johnny Flynn, Mr. Knightley of Emma, 2020) further alters the relational dynamics. While at the dig, Rory is called up by the RAF, a worrisome commission as war with Germany breaks out.
There’s interesting play with sound, or the lack of. For some short moments in certain scenes, there’s just silence. All sound and music halt. Most other times, the score is meditative, quiet piano playing. There are often juxtapositions of scenes linked by voice-overs, offering a fresh way of storytelling. This is effective not just to show what’s happening at different places or time, but that the dialogues can be relevant for different people in other situations as well.
Cinematographer Mike Eley captures on screen some exquisite sights of the English open country, wide shots shrouded with a hazy light, sometimes teal, sometimes golden. Terence Davies’s Sunset Song comes to mind, albeit The Dig is a much quieter film.
Young Robert’s fantasy with the cosmos and his imaginary tales cannot be brushed away as just spice to animate the mood. Kudos to Moira Buffini’s screenplay, the film wraps up with mother and son laying close together in the dug-up ship under a starry sky at night, as Robert tells his mother and Brown observing nearby, his woven tale of the ship taking the queen home to the stars to meet the king, leaving everyone behind, a poignant metaphor and a fable-like send off. Mulligan and Barnes are treasures here. That aerial shot is magical.
The Dig begins streaming January 29, 2021 on Netflix. I’ve watched it twice so far, once isn’t enough to capture all that need to be noted to appreciate.
~ ~ ~ ½ Ripples
Fall is migration season. The Pond is a stopover for avian migrants enroute to coastal NW United States, or further south to the Gulf Coast and even Mexico. This year, for some reasons, the traffic at the Pond and the adjacent lake is particularly busy, all to a birder’s delight.
October came in like a lion and out like a lamb. We had heavy snow by the middle of the month when the leaves had not all fallen off from the trees and the grass was still green. The lowest temperature reached was -18°C, that, my friend to the south, is 1°F. The water at the Pond was frozen by the third week. But after that premature winter, we were blessed with warmer days towards the end of the month, and even breaking a one day record high on Nov. 2, reaching 23°C, or 73°F.
But it’s not the temperature that interests me. What I find amazing is the variety of waterfowl converging here on their way to the south and the way they come together.
Here are some photos in the past couple of weeks. Mallards, Mergansers, and Ring-billed Gulls side by side. I think I heard Lady Merganser say: so what if my Lucille Ball hairstyle or its colour is different from yours, just let me be and swim to my heart’s delight. Whether you dip or dive for your food, these diverse avian species know how to get along and enjoy the warm sun, fresh air, and clear water:
What does it matter that a female Goldeneye is leading a flock of Buffleheads:
From the front of the line: Female Goldeneye, Male Buffleheads (wearing white hoodies), followed by two Female Buffleheads (white patch on cheek).
At a lake nearby, more migrants converged. It was a pool party of diversity: Canada Geese, Goldeneyes, Mallards, Coots, Gulls… those were just the ones I could see from afar. Only when there’s peaceful coexistence can they conserve energy for the long haul, and leisurely soak up the sun, preen their plumage, do yoga stretch, and of course, fuel up on nature’s buffet.
Thanks to other birders alerting me, that’s the first time I saw Swans here. From a far distance, I sighted several of them on the half frozen lake (or, half melting lake):
I can’t decide even after researching online whether they were Trumpeters or Tundra Swans as I was unable to see their bills from so far away, not even from the enlarged photo later. The two on the right in the picture above are juveniles as they’re greyish in colour. The one in the middle in the foreground standing on one leg is a Canada goose. Note the difference in size.
That day, I had my fill of avian sightings, albeit just watching from the shore far from the activity. The swans stood out in their sheer physical impression among all the ducks and geese, yet they were gentle and not bullies.
Maybe the migratory birds know that they’re only here temporarily, as they’re all in transit. As time is short and their presence ephemeral, might as well be at peace with each other and indulge in what they are given: Nature’s bounty, and enjoy their fill of common grace.
***
Whenever I photograph birds, I try to avoid any human structures in the frame, even houses from a far distance, but that’s not possible all the time. Sometimes, the juxtaposition of human society and nature can be seen aesthetically, and not as a clash.
These pelicans are like dancing musical notes flying into the sky.
A steel and concrete bridge could be a major obstruction to natural beauty, but it’s there because a river runs through it:
A sunset is still a sunset, even from the parking lot of a Costco. This is the first Costco opened on First Nation land in North America. Located in the Tsuu T’ina Nation bordering the southwest boundary of Calgary, Alberta, not too far from the Pond. A sunset is still a sunset no matter where you see it.
That voice from 1992 LA still rings true: we need to get along, human and nature, human and human. Signage in that Costco is bilingual, English and the Dene language (Northern Athabaskan) of the Tsuu T’ina Nation. We’re used to bilingualism in Canada, but this is the first time I see an Indigenous language posted together with English.
A needed directional pointer for things to come, not to stop but to press forward to accommodate multiplicity and live in harmony. That too, is a form of beauty.
***
I went to the Inglewood Bird Scanctuary last weekend. The famous migratory visitors there are the Wood Ducks. They come every spring to breed, stay for the summer, and fly away in the fall. But strangely, you can’t always see them there. So it’s a delight just to catch one or two hanging out.
Last weekend, I was excited to find not just a couple but a flock of Wood Ducks there. That could well be my last glimpse of them before they take leave. How we need something beautiful to look at this fall. Like canning your summer harvest for winter enjoyment, the photos I take will be my winter treats.
See the fallen tree trunks in the centre of the water in the above photo? That’s their hub. See them? Here’s a closer look:
Some might just walk by and not give them a second look, just some ducks they might think. But in my limited birding experience, the Wood Duck is probably the most beautiful ducks I’ve seen.
Beauty in a tangled mess of broken trunks and decaying wood makes me think of the Japanese notion of Wabi-sabi:
They like to gather on the branches, often just sleeping, preening, or sunbathing. So, it’s a real treat to see them swim out so I can take these photos. I can see how Monet would paint the scene if he were here:
Check out this slide show below:
Don’t know if I have the chance to see them again this fall, so I’ll just bid them adieu until next year. Don’t know much about anything these days, but I’ll take one duck at a time, and be glad to count my blessings, bird by bird.
***
What I find walking in the woods can be redundant and mundane, that goes for my photos too. But looking up into the trees can be therapeutic psychologically, especially these days, not to mention beneficial for the neck muscles.
Mundane or unusual, here are some sightings during my walks in the past weeks.
You see them everywhere, their by-products littering your grounds. But the Canada Geese in my neck of the woods don’t gather at the Pond or on the ground, but high up on trees. I think they nest there too:
Here’s one taking the abode of a previous tenant, the owl family. How do their young come down from so high up? They’ll have to learn to fly first, just like other birds, another birder said when I asked. Or, the mother could carry them on their wings, my imagination added.
A Robin, never too common for me, especially when I capture a handsome one:
One time, I saw this ball from afar:
Walked closer and found this. Do porcupines nest on trees too, or just for naps? Or, is it something else? The next day I went back to look for it and it was gone.
Mundane or unusual, my curiosity is piqued walking the same paths year after year. This curious Yellow Warbler well represents my feelings:
Here’s another curious one:
In a previous post about the Yellow-rumped Warblers, I’d noted that the white-throated one is called the Myrtle Warbler of the East and far north, and the yellow-throated one the Audubon’s Warbler from the West. Just curious, what do you call this one with both white and yellow on the throat:
Curiosity in the mundane. Maybe that could get me out of bed on those days when I get too used to that stay home mandate.
.
***
This is not merely wishful thinking.
I read Annie Dillard’s Pilgrim at Tinker Creek years ago. At this moment in time, with the pandemic and disruptions, it seems like what she describes in her book is a piece of Arcadia, a setting in a totally bygone era, idyllic, clean and pristine, and also something I’ve long swept to the back of my mind. Just this week, I’ve the chance to listen to the audio version of the book, read by the marvellous Tavia Gilbert, a very ‘Dillardy’ voice. Her narration prompted me to dig out my copy of Tinker Creek.
This time, Dillard’s nature writing meant much more to me. When I first read it years ago, I wasn’t a birder, couldn’t even ID a chickadee. Now, though still with minimal knowledge, at least I know what bird it is she’s describing.
It’s her chapter entitled “Seeing” that grabs me most. Her words I must quote directly:
Unfortunately, nature is very much a now-you-see-it, now-you-don’t affair… the brightest oriole fades into leaves. These disappearances stun me into stillness and concentration; they say of nature that it conceals with a grand nonchalance, and they say of vision that it is a deliberate gift…
I know how hard it is to capture an oriole before it ‘fades into leaves’:
For nature does reveal as well as conceal: Now-you-don’t-see-it, now-you-do. For a week last September migrating red-winged blackbirds were feeding heavily down by the creek at the back of the house. One day I went out to investigate the racket; I walked up to a tree, an Osage orange, and a hundred birds flew away. They simply materialized out of the tree. I saw a tree, then a whisk of color, then a tree again. I walked closer and another hundred blackbirds took flight. Not a branch, not a twig budged…
Even though I haven’t seen an Osage orange before, I know exactly what Dillard means by hundreds of blackbirds taking flight from one single tree. I’ve seen not blackbirds, but waxwings or starlings like that. As for our blackbirds, they usually gather at the Pond, solitary among cattails, seldom in flocks of hundreds:
How I get what she means by nature reveals as well as conceals. Just a few days ago, I had both of these experiences.
I saw a pelican swimming peacefully on the Pond:
Just as I went closer, she flew away. It happens a lot of times when I try to take bird photos:
And conversely, I also have a now-you-don’t-see-it, now-you-do moment. Walking in the woods, I suddenly caught sight of something in a distance, a ghostlike appearance:
As I waded around fallen trunks and leaves to get closer to investigate, hopefully to get to the front to take a picture, I lost sight of it. Then suddenly, something huge close by me flew away. It was right beside me!
It was a Great Blue Heron. I’d never seen it in the woods perching on a tree, only by the water. Just as I didn’t expect it, I saw it, and just as I realized what it was, it disappeared.
Now-you-don’t-see-it, now-you-do, now-you-don’t again. “These disappearances stun me into stillness and concentration,” Dillard writes. Too mundane to even mention? Far from it. “The grand nonchalance” of nature keeps us in a place of humility and evokes our need for sharper senses.
Yes, a better camera.
***
Light rising out of total darkness makes the most stark contrast.
I took this photo at sunrise two days ago. It wasn’t that dark in the environs but my camera pointing at the light source darkens everything else.
Let me learn by paradox
that the way down is the way up,
that to be low is to be high,
that the broken heart is the healed heart,
that the contrite spirit is the rejoicing spirit,
that the repenting soul is the victorious soul,
that to have nothing is to possess all,
that to bear the cross is to wear the crown,
that to give is to receive,
that the valley is the place of vision.
Let me find Thy light in my darkness,
Thy life in my death,
Thy joy in my sorrow,
Thy grace in my sin,
Thy riches in my poverty
Thy glory in my valley.
–– excerpt from The Valley of Vision
On that first Easter Sunday, the ultimate paradox came to pass, for without a willing death, there would not have been a resurrection.
He is risen!
***
HAPPY EASTER!
Thanks to the Quarantine Resource List from Alison Chino, I followed the link to her Trinity Aberdeen Pastor’s message from which the above prayer is quoted.
When an elderly, beloved family member is diagnosed with stage four lung cancer and has only three months to live, will you let her know the prognosis or hide it and spare her of fear and burden? Chinese-American director Lulu Wang has turned her real-life family experience into first, a radio program on “This American Life” (aptly entitled ‘In Defense of Ignorance’), and subsequently adapted it into a movie, The Farewell. The Chinese title is more direct: 別告訴她, “Don’t tell her.”
In the film, the family decides not to tell their beloved matriarch grandmother, Nai Nai, (Shuzhen Zhao), about her health status. She’s living contentedly, doing her morning exercise with gusto, relatively independent, with her younger sister Little Nai Nai (Lu Hong) keeping a watchful eye on her.
To arrange for everyone to say farewell and see Grandma Nai Nai one last time, older son Haibin (Yongbo Jiang) and his family will return from Japan, staging a hasty wedding of their son Hao Hao (Han Chen) to his Japanese girlfriend of just three months, Aiko (Aoi Mizuhara). Their plan is to have the celebration in the city where Nai Nai lives, Changchun.
Nai Nai’s younger son Haiyan (Tzi Ma) and his wife Jian (Diana Lin) will go back from New York for the wedding. Such a ruse is not received well by their daughter Billi (Awkwafina), born in China but raised in America, who upholds the values of individual rights and transparency.
Easy, her parents tell her she doesn’t need to go as they are afraid her Americanized expressiveness will give it away the moment Nai Nai sees her face. Billi won’t stand for that either, for she loves her grandma, with whom she’d had a close bond as a child until she left for the U.S. at the age of six. She still keeps in touch with Nai Nai by phone with her passable Mandarin. So Billi goes to China on her own, a surprise for the whole family––a pleasant one for Nai Nai, but a precarious risk for everyone else.
Since its debut at Sundance early this year, The Farewell has been winning audience’s hearts. Wang’s film is greeted as another strong voice in the diversity movement within the movie industry, following the flagship crowd-pleaser Crazy Rich Asians last summer. With a mostly Chinese main cast, shot in Changchun and New York City, Wang’s feature aptly depicts the cultural clashes immigrants face when leaving their home and settling in the West, or the older, first generation with their America born or raised children.
The wide reception the movie has been garnering is a reflection that this kind of dilemmas or conflicts are not limited to one cultural group. The issues families face, illness and death, parenting our own elderly parents, resolving disagreements and maintaining relationships are but some universal experiences joining us all.
The Farewell is Wang’s second directorial work after her 2014 debut feature Posthumous. In this her sophomore film, looks like she has established a personal style of her own. The slow pacing depicts effectively the internal world of the characters. While the middle section feels a little bogged down, the ensemble performance of the whole cast soon lifts us up and lands us on a higher plane.
Awkwafina’s (a.k.a. Nora Lum) performance is spot-on in depicting the conflicting emotions Billi is riding through. It’s obvious she has found her niche and developed into a full-fledged actor who can carry a story soundly on her own. She has morphed from rapper to actor, from being just a sidekick in Ocean’s Eight and Crazy Rich Asians to a dramatic lead. Thanks to Wang’s script, Awkwafina has several cathartic, moving moments showcasing her skills. For this role, she won a Golden Globe for Best Actress, Motion Picture – Musical or Comedy, and became the first actor of Asian descent to capture that top prize.
Humor is the key to the heartstrings of the audience, and Wang has splashed it throughout readily, however deadpan it may come in. While the subject matter is somber, the comedic elements are ubiquitous. Some may require discernment from the audience to laugh where it’s meant to laugh, and refrain from it when it’s meant to be serious; that’s an interesting observation I got as I sat in the theatre. Dramedy? Dark comedy? Light drama? Genre fusing no doubt.
The music of the film particularly stands out. The selections could well be influenced by Wang’s own classical music training before her filmmaking career. During the pivotal scene of the wedding banquet, the operatic aria “Caro Mio Ben” is performed (soundtrack sung by South Korean soprano Hyesang Park with piano accompaniment by Wang herself.) The longing tune alone captivates, but knowing the lyrics will add credit to the mindfulness of Wang’s selection: “Dearest, my beloved, believe me at least this much, without you, my heart languishes.”
Composer Alex Weston’s original score augments the emotional power of the story by weaving a soulful voice motif across the scenes, stirring up a reflective and poignant tone throughout. Indeed, the fusion of Western music in an Eastern culture is all realistic in our contemporary world, its purpose could well be drawing out the universal, uniting us all in our humanity.
Overall, the ingenuity of Wang’s feature has effectively bridged two seemingly dichotomized cultural views, the East and the West, regarding the serious issue of to tell, or not to tell when a beloved, elderly family member is diagnosed with terminal illness. In just 100 minutes of screen time, Wang has brought a contentious, ethical issue to a human level and wrapped it with heart. The Farewell is a worthy addition to a hopefully sustaining trend of diversity and representation in the film industry.
***
Many contemporary films from China showcased at Film Festivals in recent years tend to use the country’s fast-paced urban development as backdrop. This new wave of filmmakers situate their characters and tell their stories amidst dilapidated buildings marked for demolition, sometimes the whole community torn down to make way for new projects. In the name of progress, many are uprooted and displaced.
In Life After Life (2017), we see a village abandoned as its former residents have all moved to the city. In Dead Pigs (2018) we see the feisty owner of the last house in an urban community standing alone, refusing to sell to the developer. The acclaimed auteur Jia Zhangke’s Cannes winning A Touch of Sin (2013) follows desperate individuals wrestled down by the strong arms of economic progress and capitalistic greed. His latest “Ash is Purest White” (2018) may be of a crime genre but we see the protagonist being swept along the tumultuous torrents of technological change and urban development, seeking whatever humanness that remains.
The most haunting has to be the 2018 film by the talented, young director Hu Bo, An Elephant Sitting Still. Hu parallels the desolation of the urban environs with the inner world of his characters: Despondent youths in a school bound for demolition, not that they have bright futures even if the school remains; aimless adults desperately seeking connection but ending in betrayal and loss; a grandfather facing gloomy days ahead as he’s cut off from his son’s family… Hu’s accusation of his society was astute and unsparing.
At one point in the film, The Wasteland is alluded to, certainly not only referring to the physical environs. That it is mentioned as a deadpan jest to make fun only exposes the indifference of the speaker to its meaning. Tragically life imitates art, Hu took his own life during the film’s post-production. He was 29.
Eliot wrote The Wasteland in the aftermath of WWI, lamenting the desolation and that dry, cracked piece of soil deep in the human soul, derelict and barren in the midst of post-war development and the loss of spirituality.
“What are the roots that clutch, what branches grow
Out of this stony rubbish? Son of man,
You cannot say, or guess, for you know only
A heap of broken images, where the sun beats,
And the dead tree gives no shelter, the cricket no relief,
And the dry stone no sound of water. Only
There is shadow under this red rock,
(Come in under the shadow of this red rock),
And I will show you something different from either
Your shadow at morning striding behind you
Or your shadow at evening rising to meet you;
I will show you fear in a handful of dust.”
….
Cut to Easter. I’ve been pondering these seemingly unrelated ripples from films during this Easter weekend, at a place thousands of miles from home. Then came this Easter thought. When that stone was rolled away at the grave, the Son of God reversed the trajectory of the human race. With that ultimate miracle of the resurrection, He’d blown life into the dry stone that is the human heart, turned wasteland into fertile soil, opening up the way to save us from ourselves.
Herein lies hope.
***
Ripple Effects has reached a new milestone. After almost twelve years in the blogosphere, Arti has finally fought off procrastination and taken up an upgraded version. From now on, there will be no ads even if you’re not a WordPress blogger visiting (let me know if you still see them). What more, there’s a new URL address to the Pond, aptly:
But if you type in the old, longer one it will redirect you to the right place here at the Pond as well.
While birding is still my passion, I’ll be posting mostly film and book reviews on Ripple Effects. My avian friends will probably fly by during intermission.
Your two pebbles are welcome as before. Throw them in, stir up some ripples. As always, I hope you’ll find here a respite for quiet thoughts and prompting to some interesting viewing and reading. I await your visits.
***
Have you ever seen so many people lining up to go into a public library? It happened right here in my city, Calgary, Alberta, on November 1, 2018, when our New Central Library opened. 50,000 visitors in the first four days. Yes, there will be talks of books and movies here on Ripple Effects.
The Calgary Central Library was one of Architectural Digest’s 12 most anticipated buildings opening in 2018. Check it out here.
***
July’s gone, but we’ll always have Paris.
There are many words I can use to describe the Paris born, veteran (here’s one of them) French actress Isabelle Huppert. Prolific, versatile, and age-defying. In 2016, two of her works came to prominence in the awards circuit, two features that show her in distinctly different roles that won her acclaims across the Atlantic. Playing a vigilant woman who schemingly fight back a rapist in her neighborhood in Elle, Huppert garnered a Best Actress Golden Globe and an Oscar nomination.
The other feature is Things to Come. Huppert is Nathalie Chazeaux, a philosophy professor, a published academic writer and editor, a mother of two almost grown children, a wife, a daughter, and a woman at the crossroads in her life.
On the career and academic front, Nathalie’s just been told by her publisher that her textbook would no longer be needed. On the home front, her husband of 25 years, Heinz (André Macron), has just confessed to her that he’s seeing another woman and will be leaving Nathalie to live with his younger love. Even though on good terms with their parents, her two children have grown enough to move away from home. As a daughter, Nathalie has to deal with a dementia-afflicted mother (Edith Scob) who calls her cell phone even while she’s teaching, delusional and threatening suicide. What is Nathalie to do?
Here, I must mention another crucial figure in the production, and that’s director Mia Hansen-Løve, who won Best Director with this feature at the Berlin International Film Festival in 2016. At eighteen, Hansen-Løve was cast by French director Olivier Assayas and later starred in another of his works. Partnered with him for a while, she’d chosen her own path, studying philosophy, writing for the prestigious French film magazine Cahiers Du Cinema, and later, directing.
Daughter of two philosophy professors, Hansen-Løve’s preoccupation with intellectual discourse is apparent in Things to Come. In an interview, she’d said, “… for me, cinema is nothing but another way to practice philosophy… cinema is a search for wisdom, a search for good and for beauty, like philosophy could have been a search for my parents.” The intellectual exploration of what’s good and Utopian predominates in Things to Come. The film is worth a second, or third viewing just to capture the dialogues.
While she may be tossed like a floating weed in the torrents of life, Nathalie enjoys the fruit of her labor in her former star pupil Fabien (Roman Kolinka), now a writer and activist. However, as she’d influenced Fabien in his pursuit of philosophy and writing, he’d also chosen his own path by living with a few anarchists in a remote cabin in the French countryside. His outlook diverges from hers and which she can’t agree, ironically, that’s the reward of her teaching: training one to think for oneself and to choose one’s own path independently.
Upon his invitation, Nathalie had spent a few days there, an idyllic ,rural setting for her to recuperate from a life unhinged. She’s got her mother’s cat with her, Pandora, a cat that’s not used to the wild but takes off the instant Nathalie takes her out of the cabin. Lost for hours but Pandora finally finds her way back to the country abode in the middle of the night. ‘Instinct’, Fabien says. And that just might be what Nathalie needs to hang on to at this moment of her life.
Surely, Things to Come is a ‘thinking’ film, but viewers will also enjoy the nuanced performance of the cast, and what the camera reveals in the form of natural beauty and serenity for one to search things out. What more, Hansen-Løve lets us see both the larger scale of a flaw-ridden society and the trivial foibles in the interactions between Nathalie and Heinz.
Female viewers would likely find affiliation with Huppert’s role of an urban, professional woman who has to juggle many hats to fulfill her duties. Nathalie’s search for direction at the crossroads may not necessarily lead to obvious answers, but she manages to find comfort and joy in the birth of her grandchild, an endearing scene to end the film.
More importantly, Nathalie seems to have carved out a quiet solitude. an independence to mull on the unfathomable in life. Still searching, but in the meantime, she seems to have found a respite, a new solace to face what things may come.
***
