Die Theorie von Allem

A spontaneous decision to squeeze in one more film at Film Fest Gent made for one of my most enjoyable discoveries of the festival. After watching this B&W German film noir hommage, at a film festival, on a Tuesday afternoon, I jokingly said to my girlfriend (who I had been dragging along from film to film for three days) that she had now officially become a cinephile. Surprisingly however, I seem to be part of a rather small minority that absolutely loved this film, be it amongst those cinephiles or more casual movie go-ers.

In my opinion, Die Theorie von Allem wonderfully combines influences from many different genres to become something entirely new and exciting in its own right. The film most obviously borrows elements from film noir for most of its runtime (both in terms of plot and aesthetics), before giving way to a more surreal, almost Lynchian atmosphere in its final act. There was just so much to like for me in this film, from the many noir references to the gripping sequence where the protagonist literally goes through the rabbit hole, but the one thing that stood out to me was the absolutely gorgeous B&W cinematography. Filming this in black and white was an obvious stylistic choice to fit the typical noir material, but it also turned out to be surprisingly well suited to the decor of the film. The B&W shots of the stunning Alpine landscapes offer an original, mysterious and equally ravishing perspective on the imposing beauty of those high Swiss mountains. From the first shot of the film (after a short prologue in color), with a completely black background and more and more small flakes of snow slowly falling down the screen, I was completely hooked.

In short: Die Theorie von Allem starts off as a pitch perfect film noir hommage set in the Swiss Alps, gradually mixes in some classic Hitchcock thriller elements, before ultimately slipping out of our reach like an elusive Tarkovsky dream. By the end it's more Meshes of the Afternoon or The Mirror than The Third Man or Vertigo (it's certainly no coincidence that the film is preceded by a quote from avant-garde legend Maya Deren about myths, fact and fiction). Given that I love all of these influences, I guess I was the perfect target audience for this film, which did effectively make for an immensely satisfying experience watching it on the big screen at Film Fest Gent. The odds are pretty big that I'll be rewatching this on some dark and cold winter evening to soak in its dreamlike atmosphere and take in its beautiful imagery once more.

No pun intended - also not even close to the movie that swept many peoples minds and lives last year (or was it the year before? Time is a weird construct) ... also the movie is not connected with another movie that had a similar title and was about a genius mind ... some might argue that is also a bit the case here ... but that would be a stretch in my book,

So while the main character is quite the great mind (in many different things), the movie might not be able to do the same ... not saying this is a bad movie ... quite the opposite. Also the "black and white" flair - the movie has quality, though I am not sure how many will be swayed ... or are ok with the slow pace of the movie. Keep that in mind, try it out ... don't be too disappointed if this is not your cup of tea ... or Pi (kidding of course)

I was carried away with the impression that the film would be special, but although it is special, it is not unique. Why? Well, it has a mix of many styles. As I see now, some in here wrote in their reviews the same thing I think about this movie, that it is a mixture of some Hitchcock and Lynch style of story making and filming. The main factor of the story is the mystery. It starts you hoping to meet the unexpected, but then you come to a corner of boring and slow rhythm, when you lose that hope you had at the beginning. Nevertheless, the movie is not bad, but it could be better in some parts, like in those scenes in the snow where some facts are missing. I guess the author is a fan of quantum physics, astronomy and relativity and I appreciate that. :)

I loved this film. Beautifully shot in the Austrian Alps, with an ingenious script, excellent cast and absolutely superb score, the plot (taking place during a physicists' conference in Switzerland in 1962) plays with ideas about metaverses or alternative realities. The dominant, expressionist score (occasionally quoting Bernard Hermann's from Vertigo) reminds us that we are in a world of film, not reality. On the other hand, the opening scene tells us that the narrative is of real and not fictional events. This play on realities becomes overt towards the end, when we witness a 'film within a film'. A film has been made of the book on which our film is based - and it has changed key events in the story! This is a multi-layered film that intrigues without being confusing, delights and entertains while presenting profound ideas, and will live with you long after the closing credits have ended.

It's actually a pity, the initial idea is quite appealing and the title and the advertising strategy have aroused great expectations. However, the film gets lost in a long series of quotes, stylistic devices and plot patterns, which were borrowed or copied from the works of famous directors. Thus, despite many mysteries and twists, the story becomes more and more predictable, and thus more disappointing. Unfortunately, the film completely lacks its own cinematic language, which would be necessary to remember the film as an independent work. As it is, however, it remains only as a thoroughly successful homage to Aldrich, Polanski, Lynch, Hitchcock, Truffaut, and, and, ... in memory.

The film is most convincing in its image composition, the black and white photography is beautiful, followed by the excellent actors. What the film would certainly have scored with is almost not used at all: quantum mechanics is only briefly mentioned, and the main character's groundbreaking theory is never explained, although it seems to be the key to the story. Instead, the emphasis is entirely on confusing the emotions, leaving many interesting possibilities for interpretation. The story never builds up to the great mystery that the title implies and becomes more and more annoying and shallow towards the end. What remains is a visually splendidly made film that is strangely conservative in the end.