Before you engage in the sequel to Blade Runner due out this fall, the Canadian director Denis Villeneuve has presented at Venice Film Festival his most recent work, Arrival, just come out in theaters.
Sci-fi films from the Plot, apotheosis of’ “Omnia vincit amor"As a regeneration of a lost communicative humanity, It came to collect eight Oscar nominations.

But first things first, the plot is inspired by the award-winning short story by Ted Chiang “Story of your life” and it rather faithfully reproduces the dynamics. The film does not come out much from the history of science fiction clichés typically Hollywood, in which the usual contemporary world is suddenly thrown into crisis by the unmistakable alien incursion, in this case the landing of twelve monoliths that penetrate our planet peaking silently in geopolitically strategic points, between the excitement of the various world powers are scrambling with pyrotechnic actions – well amplified by the ubiquitous presence of the media – the scrape as soon as possible a group of experienced translators to accomplish the exploratory mission of strange objects suspended dominate our civilization, looking for a incommunicability contact with enigmatic beings that lie within them.
Monoliths that link to 2001 Space Odyssey, an arcane plot that connects the innermost instincts, the meaning of our life and unsatisfied curiosity of a closed box with unknown contents. The excitement and the thrill of the unknown unleashed, obscure object of desire as in Beautiful Buñuel day.
What surely occupies most of all the space in this film is definitely the soundtrack composed by enveloping sounds, almost synaesthetic that recall the dreamlike world of dreams and deepest human interiority, as they seem to embody the dark alien entity characterized in the film by the two Eptapodi, protagonists of their race and only communicating with our. And probably not sound so well adjusted, the film would have lost all semblance of seriousness. The scenes are still long, perhaps too protracted in some cases, as small advertising ploy to keep the suspense in the viewer, but that ultimately leave too much time for reflection risking to lose the rhythm. The only disbelief remains almost at the end, when you begin to realize that for once the aliens do not come to destroy but to share that mortgage rescue communication that sets us free from the fixity of the Timeline diachronic that characterizes our thinking and in the future will save both civilizations, alien and human.

The linguist Louise (Amy Adams), Main heroine with the reins of the whole affair finally explains the true meaning of what is happening and turning to his colleague, asks: “Ian, if you could see your life from beginning to end, you would understand something?”

simona Noera