Vivarium (2019)
97 min|Horror, Mystery, Sci-Fi|27 Mar 2020
5.9Rating: 5.9 / 10 from 78,372 usersMetascore: 64
A young couple looking for the perfect home find themselves trapped in a mysterious labyrinth-like neighborhood of identical houses.

Vivarium is a science fiction thriller filmed by Lorcan Finnegan, which debuted at the Cannes Film Festival last year. The film stars two young stars, Jesse Eisenberg and Imogen Poots. Whether by chance or not, this film again seems to offend our current situation, which forces us to spend a lot of time at home. This kind of story is no longer new, but Vivarium tried something a little different.

Once upon a time, Gemma and Tom were lovers who wanted to find a new home. They stopped by a real estate marketing office with a strange employee. Even he was willing to take them to the location of the house. When they got there, he took them inside to look around the house until he suddenly disappeared. Gemma and Tom rushed to leave the location, but strangely, they always rotated in the same place, there was no way out. They seemed trapped in limbo.

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Vivarium itself is a closed observation room that is conditioned according to the original habitat for animals or plants. The concept of “vivarium” itself in the medium of film is not a new thing. One perfect example is Dark City, where a race of alien creatures invades humans in a city container. Vivarium has more or less the same idea, but unfortunately, the motive and execution are too weak. The plot makes us as frustrated as Gemma and Tom. I don’t know, this is what the filmmaker wants, but I disagree. This kind of frustration must be covered by something firm and satisfying. Then what for the motive of struggling from the beginning? What’s the point? Dark City can execute very well.

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Vivarium has a unique concept and premise with two stars playing well, only let down by weak final execution. If the place is likened to hell, what makes the two characters worthy of entering the place? Lack of explanation at the beginning of the story. In The Matrix, humans are trapped in digital illusions by machines, but there is a strong motive behind it. Regardless of Vivarium‘s reasons and messages, cause-effect or action-consequence, everything is blurred. Humans, I think, are worthy of hope, even if it is only a small chance.

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Artikel SebelumnyaThe Platform
Artikel BerikutnyaVivarium
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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