Don’t Look Up adalah film komedi satir bencana rilisan Netflix yang digarap oleh Adam McKay. Istimewanya, film ini dibintangi sederetan pemain bintang papan atas, antara lain Leonardo DiCaprio, Jennifer Lawrence, Meryl Streep, Cate Blanchett, Rob Morgan, Jonah Hill, Mark Rylance, Tyler Perry, Timothee Chalamet, Ariana Grande, serta banyak lainnya. Film berdurasi 138 menit dan berbujet USD 75 juta ini meraih 4 nominasi Golden Globe yang akan dihelat tahun depan, termasuk film komedi/musikal terbaik.

Seorang astronomer, Kate (Lawrence) menemukan satu komet besar, yang setelah diperhitungkan mentornya, Dr. Randall (DiCaprio), ternyata komet tersebut bakal menabrak Bumi. Mereka segera melaporkan ini ke pihak berwenang (NASA) hingga kepresidenan. Namun, tidak ada tanggapan yang memadai padahal para astronomer lain sudah mengkonfirm keakuratan data tersebut. Ketika Kate dan Randall muncul dalam satu acara talk show populer, barulah pihak otoritas hingga media menanggapi sedikit serius dan mempolitisasi segalanya untuk kepentingan mereka.

Ya namanya satir, kadang logika agak sedikit diperlonggar. Jika memang kejadian sesungguhnya, nyaris mustahil bakal terjadi seperti ini. Sudah tampak jelas, komet yang akan menabrak bumi merupakan metafora dari global warming. Isu lingkungan yang tengah panas dalam beberapa dekade terakhir ini semakin dipertegas lagi dengan pandemi Covid-19 yang melanda umat manusia saat ini. Bukan solusi yang ditawarkan kisahnya, namun adalah respon dan sikap dari para pemangku kebijakan, pengambil keputusan, serta media dalam menghadapi masalah besar tersebut. Semua ini terangkum secara gamblang dalam film ini melalui permainan para bintangnya yang bermain mengesankan.

Sang mentor dan anak didiknya yang diperankan DiCaprio dan Lawrence adalah yang paling dominan. Chemistry keduanya adalah satu kekuatan terbesar filmnya, di mana Randall adalah seorang yang terlihat canggung sementara Kate justru percaya diri. Peran keduanya yang di luar kebiasaan ini menjadikan sebuah tontonan menggemaskan, melihat polah keduanya sepanjang film. Satu lagi yang paling mencuri perhatian tentu adalah Cate Blanchett sebagai Brie Evantee, host acara televisi Daily Rip yang bermain nakal dan agresif. Di luar isu dan kontennya, penampilan para pemain bintangnya sudah lebih dari cukup untuk membuat film ini sebuah tontonan yang menghibur.

Baca Juga  The Old Guard

Sebuah komedi satir yang bisa jadi sedikit berlebihan, namun Don’t Look Up dengan sederet kasting berkelasnya mampu menyajikan secara efektif isu lingkungan yang merepresentasikan umat manusia terkini. Saya tidak tahu, apakah naskah dan konsep film ini diubah setelah pandemi melanda. Sikap para politisi, ilmuwan, hingga media menghadapi pandemi, nyaris sama persis dengan apa yang disajikan dalam plotnya. Ya sudah tentu, isu lingkungan dan pandemi saling berkolerasi. Sebagian besar manusia baru merespon aktif jika sebuah ancaman tampak nyata di depan mata. Tak ada solusi yang ditawarkan terhadap masalah ini selain hanya menggambarkan betapa egois dan rakusnya manusia tanpa memedulikan efeknya bagi masa depan.

1
2
PENILAIAN KAMI
Overall
80 %
Artikel SebelumnyaResident Evil: Welcome to Raccoon City
Artikel BerikutnyaBackstage
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). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

BERIKAN TANGGAPANMU

Silahkan berikan tanggapan anda
Silahkan masukan nama anda disini

Situs ini menggunakan Akismet untuk mengurangi spam. Pelajari bagaimana data komentar Anda diproses