ARRIVAL

While the dogs stand with tiny paws at the window barking at the humans who dare cross the church parking lot on the other side of the driveway, a moment to share my thoughts between “hushes” while still fresh-ish…

From its opening moments soundtracked by Max Richter’s stirring “On the Nature of Daylight” (an artistic masterstroke that unfairly precluded Jóhann Jóhannsson’s score from Oscar eligibility) to its final denouement, again bookended by Richter, ARRIVAL — anchored by career-best performances from Amy Adams and Jeremy Renner — projects a composed assurance as it reveals its beautiful secrets layer by layer, its message of unity in the face of the unknown permeating each frame. It is a rare film, one that made me say, “This is the best film I’ve seen in a long time,” without hesitation.

I’m still processing it.

I’m sure I will have more thoughts to share on ARRIVAL as processing continues but these blurb-y notions are the first; post-percolation thoughts might show up either in future installments of these first draft ramblings or in next Sunday’s email dispatch, though who knows.

Currently reading: Chang-rae Lee’s ON SUCH A FULL SEA.

(TW)