Director: claire denis
high life starts with a moment of intense vulnerability, observed at once by way of a moment of monstrous power. First we glimpse a lawn, verdant and inviting, before we’re ushered to a sterile room. There we recognize there’s a infant alone whilst monte (robert pattinson), her father maybe, consoles her, speakme thru a headset established within his area helmet. “da da da,” he explains thru the intercom; the baby starts to lose her shit because he’s now not virtually there, he’s perched outdoor, at the surface of their fundamental lego-piece of a spaceship, simply slightly gripped on the threshold of darkness. They’re in area, one supposes, surrounded with the aid of darkish, oppressive nothingness, and he can’t attain her. They’re by myself.
Next, monte empties their cryogenic garage locker of all of the dead bodies of his once-fellow group participants, lifting their heavy limbs and torsos into space suits, no longer as it topics, however maybe simply because it’s something to do to bypass the time, as a whole lot a sign of admire as it is an emotional test of will. Monte appears healthy and capable, like he can resist all that loneliness, like he and his daughter might truly make it out of this good enough, anything that is. High lifestyles lives interior that juxtaposition, showing tenderness as graphically as violence and anger and incomprehensible worry, mining all that blackness surrounding its characters for as much terror as writer-director claire denis can manage to pay for with out getting obvious about it. Pattinson, flattened and lithe, performs monte remarkably, coiled within himself to the factor that he finishes every word deep in his throat, his sentences every now and then overall gibberish. He doesn’t permit plenty to break out his face, however behind his eyes beams something scary, as if he ought to all at once, and in all likelihood will, crack. He says as a great deal to willow, his child, whispering to her at the same time as she sleeps that he should without difficulty kill them each, never trying to hurt her but nevertheless polluting her goals. He can’t help it, and neither can denis, who, on her 14th film (first in english), can make an target audience consider, like few other administrators, that anything can manifest. Madness erupts from silence and sleep, bodily fluids dripping throughout and splattering all through and saturating the psyches of these criminal blue collar astronauts, the overpowering stickiness of the movie emphasizing simply how in detail close denis needs us to feel to these extraordinary, ill fleshbags hurtling closer to the brink of consciousness.