It’s hard not to give up, with life I think. I felt that, as Jared Leto delivered a couple of lines about how the universe extends through entropy and the atoms of the world continue on a trend of disorder and disappation. Growing through time means more experiences, more ups and more downs. More edges to fall off, dead ends to get stuck in, whirlpools of life which you had not prepared for. The metaphor in Mr. Nobody (2009, Dir. Jaco Van Dormael) is life on tracks, different paths. Their intersections, their parallels, their different destination and journeys along the way. Life dances with increasing complexity each day, and it’s design pushes you into spaces and times that unravel around you dizzyingly. If you can hold on, you can. So you do.
But is that really it?
Sometimes we look up to the skies, and think. The reason we don’t do this all the time someone once told me, was so we could avoid being eaten by sabertooth tigers. There are no sabertooths now, but we still don’t stay in that state of contemplation today. Should we? Mr Nobody, concerns a man at the end of his life, in a future where death has been put on pause. Except for Nemo Nobody, a 118 year old man who is remembering his life. Except for the fact that he’s remembering possible versions of his life, experienced from the point of the present, when the human element of choice allows more than one outcome to happen. Which way does he go? Every way. Routes unfold along separate tracks simultaneously, and Nemo is along for every ride in a different form. His life is malleable, changed by the circumstances of chance.
Nemo has a lot of time to think, and several metaphorical sabertooth tigers to confront. It’s something of a cerebral house of mirrors, Leto’s performance reflected and transforming in the moment, across different lives and different experiences. Leto shifts like a true chameleon in a role which is akin to water, Nemo fills up whatever space and time contains him, taking on elements of their form. We’re asked to see Nemo in a perspective which cuts across our usual viewing senses, not to relate to him as a singular entity, but to relate to him in whatever adaptation his life has taken across multiple streams. Actions in childhood affect our older selves, which affect our oldest selves. The consequences are often unclear, distant, only revealed with time and reflection and even then maybe not. But the water of Nemo’s character fills the shape of the film itself, and we are asked to push beyond our normal understanding of time to see with greater clarity, the way life happens.
Nemo has big worlds to think in as well. The environments of the Earth (and beyond) fill up the screen, with VFX work which really blew me away. The visual aesthetic of the film is woven deep into the film in general. The cinematography is varied and dense, the codes of each world cinematically helping us to form understandings of different worlds. If “life is a playground or nothing”, then the artistic construction of the film lives up to it, as it plays effortlessly with different cinematographic styles. It’s music spills over at times, and gently accompanies at others. The stylistic expressions follow those possibilities, ebbing and flowing and evolving with where Nemo is, who Nemo is, when Nemo is. There is breadth and power in variety, and Van Dormael knew that when he stitched together the pieces of Mr. Nobody.
Is there a great resounding answer I need to write here, to prove to myself and you the reader about the worth of what the film has to say? Life is there to make of it what you will, and holding onto its dizzying turns is a complicated procedure. Mr. Nobody wants you to know what life could mean, and it pushes through the very fabric of our understanding of the world to do so. It splits open the human experience in a way only the imagination can do, to show us the possible fruits growing at its core. But it’s a film, 2 and a half hours of a day which turns into a week into a year etc. Life is communicated through art. But life isn’t lived through art, it’s reflected by it. Art is our hall of mirrors, our water to fill up the forms of our lives. The reflections you see, only you can make peace with them. Van Dormael offers a path, one that doesn’t have to be taken. To him, they are all meaningful, whichever one is taken.What is important is that paths can be taken, life can be lived.
Art is not going to be around forever, or maybe it is. We’re not going to be around forever, or maybe we are. The answers are what we seek, but we don’t live in answers. Most of our lives are spent searching for them, so that’s where we spend most of our perspectives. I know I’ve gone off on a tangent, but life can cope with that. Life copes with tangents, with edges and dead ends and whirlpools and whatever else is here in the playground. The variety of it all overwhelms any one particular answer, one particular life. Questions about life can only get you so far, answers can only get you so far. Thinking about life can only get you so far. What is meaningful is that life got us anywhere at all. And the sooner I can make peace with my reflection, the sooner I can get back to avoiding those sabertooth tigers. “If you never make a choice, anything is possible” goes the tagline for the film. Well, I’ll try make anything happen then.
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