Denis Villeneuve’s Arrival

There are so many layers to Denis Villeneuve’s Arrival. The film encompasses the story of beginnings and ends. Imaginably, the arrival of a beginning and the arrival of an end. Among all of the consuming and scathing qualities of this film, what stupifies is the dissection of language. A mode of expression, since the dawn of time, that remains innocent and yet so misunderstood.

The scope of science fiction films is so vast that it expands knowledge to a point where you’re in awe of its elegance and accuracy. While such films confine themselves to a thematic structure, a prescribed set of values, it’s overflowing with philanthropic ideas. Arrival is a legend among them. Denis Villeneuve’s other films – Incendies, Enemy, Prisoners – share a common denominator: knowledge and knowing.

Arrival’s chilling alien-invasion parable tells time in a frantic and apprehensive narrative. Even if I wanted to, I couldn’t spoil the film. It’s how the film sets the tone right from the start. You anticipate the emptiness, the silence, and the obscurity of the atmosphere. This is the perfect portrayal of the director’s conception of the film. Due to its vague intellectual strides in language interpretation, the film is artistically-fenced. It muddles past, present, and future and, as a result, perceives time as being deceitful and apathetic.

The film ostracizes the ‘forwardness’ of existence. Why you do what you do? And “if you could see your life from start to finish, would you change things?” Amy Adams transcends the role of Dr. Louise Banks, she’s enigmatic in the way she encapsulates her character’s loneliness, angst, and memories. The director’s vision – revealed in profound sound and vision – defies the linear storytelling experience of any sci-fi film. It’s so immersive and restless that you feel it in vibrations.