360

360 is the film that "Crash" wanted to be. Unlike the overt manipulations of "Crash", 360 is a slow burn with a deft sleight of hand.

Rather than leading you along with neon coloured sign-posts, lets your mind do a lot of the driving. Shot in a muted, bluish pallet, the gorgeous cinematography captures the attention, while your imagination is allowed to build up steam. It doesn't demand your attention, it flirts with it. I found that refreshing.

The first few plot twists put my brain was on alert, trying to predict where the stories would lead. All the while the tension built, waiting for the axe to fall or the excrement hit the fan.

A few people have complained that 360 was slow and boring and left story lines unfinished. But that is what made it such a good film for me, it took its time and avoided clichés. The characters were neither good nor bad, they simply struggled. Some triumph and some fall, but none are unchanged.

It isn't without faults, nothing with intertwined stories can avoid some contrivance. But it didn't fall prey to the imagined demand of the audience, that everything resolve neatly. Some plots twist and turn until the very end, some evaporate like mist in the light of hearts restored while others end badly.

I can understand how the film's pacing might annoy if you aren't in the mood but if you are prepared to be a bit patient and to do some of the work, 360 is a rare treat.

360 (2011)

** 1/2 (out of 4)

Director Fernando Meirelles' latest takes place in seven cities as a wide range of people with different backgrounds are thrown into difficult decisions due in some way to sex. A Russian (Gabriela Marcinkova) woman decides to turn to prostitution; an older man (Anthony Hopkins) searches for his daughter who is missing; a sex offender (Ben Foster) is released from prison and fears he's going to commit another crime; a married man (Jude Law) thinks about having an affair while a married woman (Rachel Weisz) tries to end her affair. 360 actually delivers what the title promises as the story really does go full circle but the entire ride through it isn't nearly as entertaining as I was hoping. There's no question that there are some good stories scattered throughout but by the time the end credits came I felt that there really wasn't a point to any of them. The funny thing is that while each character here gets several bits of development, all of the stories pretty much end without anything ever being solved so the viewer is left to wonder what will happen or if they'll be connected in some sort of way. I think one of the problems with a film like this is that the great stories don't get enough time while the more boring ones feel unfinished or you wish that they'd get to another story. The best one here is the sex offender as we get a terrific and very intense story as the man feels he's about to relapse and commit another crime. Foster's performance is right on the money and downright chilling. The Jude Law sequence really doesn't add up to much and the twist his character takes from a rival really isn't all that interesting. The stuff dealing with the prostitute was actually quite interesting as was the piece with Hopkins and his relationship with a young woman (Maria Flor). Both Hopkins and Flor deliver strong performances that help their stories. 360 is directed with style and there's no doubt that it's a well made film but there's still too many frustrating or weak things that keep it from being a good movie.

I ran across 360 by chance and really enjoyed it. Yet, when searching for more information in internet the generic title proved difficult to google. After some clicking things started to unfold: the same author directed City of God and the movie is a loose adaptation of one Arthur Schnitzler's play. Although i can't say much about the latter, the former impressed me even more since i've enjoyed that movie, as well.

The cast is brilliant with famous actors popping in and out of view and blending discreetly with otherwise great performance of less known colleagues. We effortlessly move with them across cities, countries and continents as it otherwise is the case in globally interconnected world at the start of the 21st century.

The more i think about 360 the more interesting details i discover in retrospect. Probably the strongest message is that there is a good seed even in the worst of us. The other is that we all eventually get what we want but some of us also get what they deserve.

What i particularly enjoyed is that a lot of things are either foreshadowed or left unsaid. This gives room for viewer's imagination to kick in, which, in turn, is rather uncommon in the era of realism and boredom in movies with artistic tendencies.

To sum it up, the only reason my vote is two stars shy of the best note is that i understand how this kind of movie might not be everyone's cup of tea.

This film is about a married couple, and the people linked to them through their respective infidelity.

"360" is an artistic film that tells the live stories of may different individuals, loosely linked with Jude Law and Rachel Weisz. Despite the plethora of characters, the story is easy to follow. However, the story itself is not that interesting. Basically, it's A meets B, B meets C, C meets D, D meets E, then A sees F walking past and then F does the same thing B was doing earlier. It is a nice circle, but I am unsure if it is entertaining or interesting to watch. One thing I would like the film to expand on is Blanca's fate after she found the suitcase. That would have been interesting. Overall, "360" is an OK film to watch, but don't expect much from it.

The idea of narrating different linked stories of characters is certainly not new and the material in this picture is quite abundant: a lot of complex characters, a lot of deep and tense backgrounds. The limit was that the director probably wanted to explore too many characters and too many situations, and the result is that no single story or character is sufficiently developed and seem to be more kept separate than interconnected. The idea that people's lives are connected comes out as banal and evident, as part of any person not living secluded at home, and the fact that in the picture the links go from Europe to the US to Brasil is simply because it deals with dynamic people who move across the world. Some story lines, such as Hopkins' search for his lost daughter could have been explored more deeply, on the contrary it remains faded like the other stories.

Nothing to say against shooting, the use of split scenes is effective and tries to underline the idea of interconnections, and the subtle use of camera tries to make the characters' personalities come out, but in the end do not make up for a general underdevelopment. Nothing to say against the talented, but a little wasted cast, who give depth to the characters, although in the end we cannot but miss some more insight and deepening of both characters and stories.