REVIEW: In director George Miller's follow-up to 'Mad Max: Fury Road,' Tilda Swinton and Idris Elba hang out in a hotel room debating the power of narrative while wearing matching white terry cloth robes.
Idris Elba and Tilda Swinton in director George Miller’s film"Three Thousand Years of Longing."
Dr. Alithea Binnie is a narratologist, which sounds like nice work if you can get it. A prim and proper Scottish spinster played by Tilda Swinton, Alithea has devoted her life to the study of stories, attempting to understand how we tell them and why. We meet her in the air, en route to yet another academic conference — this time in Istanbul, where she’ll once again be presenting her thesis. Dr.
At the airport, Alithea is already being greeted by unruly visions of ill-behaved, pointy-toothed gnomes, and her presentation is interrupted by some sort of heckling, totemic golem that only she can see. Our lady is a bit of an eccentric, prone to occasional visions of things that aren’t actually there. That’s probably how Alithea manages to stay so composed when a beat-up little tchotchke she bought at a local street bazaar abruptly unleashes a gigantic djinn in her hotel room.
He needs Alithea to make three wishes from her heart’s desire so that he can finally be free. Problem is, Dr. Binnie is a lot better read than most gals who go rubbing on exotic bottles they found at fairs. She can’t come up with a single story about making wishes that hasn’t turned into some kind of cautionary tale, and our djinn’s accounts of his romantic woes over multiple epochs do nothing to dispel that notion.
It’s a deeply weird flight of fancy, alternating heady discussions with the most miraculous images you’ll see all year. Legendary cinematographer John Seale came out of retirement just for “Fury Road,” and then un-retired again to re-team with Miller on this picture, bringing a searingly bright palette to these mystical Ottoman empires and undersea hijinks.
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