The Zero TheoremCultureCinemaMovie reviews
Set in a dystopian world, the most fertile soil for Terry Gilliam’s visionary stories, The Zero Theorem is a movie about the most fundamental of all questions: what is the meaning of life?
The answer – that no one has – is certainly not Gilliam’s aim, it’s the path and its different approaches to it. In a not-so-far future Qoehn (Christoph Waltz), an eccentric and reclusive computer genius plagued with existential angst, agrees with the Management (Matt Damon) to work from home, under the supervision of his line manager Joby (David Thewlis) and the support of an online psychologist (Tilda Swinton).
Traditional churches have been abandoned, Qoehn actually lives in a dilapidated one, and the 1984-style Management watches you with cameras: there’s even one in place of Jesus’ head on the crucifix. People interact through a virtual reality, even the beautiful sex worker Bainsley (Mélanie Thierry), sent to cheer him up as he works remotely, wants to have intercourse digitally.
Terry Gilliam believes this is already our world, he just describes it with sarcasm and irony. The production design is catchy and intentionally complicated, the cinematography unique: the director claims it to be a “world’s first”, a “one-size-fits-all full-screen semi-vinyl motion picture” (vinyl because it is shot on film, semi because it has CGI elements, full-screen because you see the full-frame with all the “dirtiness” of a film that is usually removed such as including the edge of the gate so those rounded corners are there, fits-all because it’s in 6 by 9 so any device/screen can show it the same way).
A very interesting movie that at the same time suffers and gains from a very tight budget. The all-shaven Christoph Waltz is fantastic in the bizarre role of Qohen.
Filippo L’Astorina, the Editor
The Zhero Theorem is released nationwide on 14th March 2014.
Watch the trailer for The Zero Theorem here: