Memorable Cinematic Moments of 2011

It was a dark, misanthropic year at the movies, colored by the on-going economic crisis 2011 was full of movies about the end of the world, the ever-widening gap between the haves and have nots, and corruption. However, there was also a large number of funny, hopeful films that demonstrate a more progressive ideology than typically seen at the movies. While I still haven't seen too many of the most talked about films of last year (i.e. Tree of Life and Melancholia), my final tally was 95 movies watched this year in the theater. Not too shabby. And these are among my favorites:

1. Poetry (2010) Dir. Chang-dong Lee

I saw Poetry at the beginning of the year and it has taken months to fully digest its importance. Early in the film, Mija (Jeong-hie Yun) is diagnosed with Alzheimer's disease and she is acutely aware of forgetting the names of things, well of forgetting in general. She has enrolled in a poetry class and throughout is attempting to write a poem and to look at the world in a different way. But this is not a sweet or even sad tale of old age, but instead a powerful story about class. Her grandson, who lives with her, is in someway involved in a classmate's suicide, but her status and relationship with him prevents her from confronting him about it and the culture at large is expecting her to protect the boy. There are so many powerful scenes that it is a challenge to select one, but here, she attempt to provoke some sort of reaction from her grandson, by placing a photo of the dead girl on the breakfast table. Throughout, she appears to be searching for evidence of humanity in a world that appears selfish and corrupt.

2. Drive (2011) Dir. Nicolas Winding Refn

I'd been anticipating Drive all year, after being mesmerized with last year's Valhalla Rising. I've now seen most of Refn's filmography and am taken with his antiheroes and perfectly composed genre films that elevate the genre material to art films. Drive is a highly stylized film with a few perfectly choreographed, and smart car chases, but it is a noir tragedy at its core. In the much talked about elevator scene, the entire film plays out, showing the Driver's motivations, his skill and his nature. The driver spies a gun at the hip of the man in the elevator and as he moves to protect his neighbor, Irene, they share a brief, passionate kiss, then the driver turns to the other occupant of the elevator and kicks his head in. And this is the heart of the film, the Driver acknowledges a pure, passionate love that drives him to an act of extreme violence in order to protect this love that in turn, reveals his nature and brings an end to the romance before it began. Technically, looking at this scene is breathtaking and emotionally powerful, and delivers a shockingly brutal violent act that it almost a signature of Refn's work.

3. Warrior (2011) Dir. Gavin O'Connor

Not all genre pictures defy expectations or attempt to re-imagine the genre. The power of Gavin O'Conner's Warrior is in the way it uses genre to deliver a triumphant and emotionally powerful sports picture, in the tradition of Rocky. Warrior is among the 2011 films that directly addresses the current economic issues in America with Brendon fighting, literally, to prevent the bank from foreclosing on his home against his own brother. This film is easy to dismiss as being a bit manipulative and heavy handed, but it is solidly made and provides some great performances and a few awesome fight sequences. I fell in love with Warrior after the first fight, when Tommy (Tom Hardy) offers to spar a contender and instead quickly knocks him out. There are plenty of other memorable scenes that better show the care put into shot composition, character development, and acting chops, but as essentially a boxing movie, it is the fights that drive this picture.

4. The Artist (2011) Dir. Michel Hazanavicius

On the heels of announcements that 35mm projectors and motion picture cameras are no longer being made and thus 2011 may be the last year that 35mm film prints are widely enjoyed by audiences, the Artist emerges as a critical and audience favorite. A silent films, set in the late 20s / early 30s during the transition to talking pictures, the timing for this film couldn't be more perfect. I fell in love with the Artist as soon as the aspect ratio switched from the current standard wide-screen format to 4x3, which appeared to be digitally projected. What was most stunning about the Artist was that is really IS a silent film. When audiences applaud with in this silent world, that are silent and all that is audible is the musical score... Sure, since this modern silent film is playing with the genre, it does stop being a silent film during key scenes, but what really shines is just how powerful the human face can be for telling a story, especially a face as expressive that of French actor, Jean Dujardin.

And while the Artist may seem like a slight film in comparison to films like Poetry or Tinker Tailor Soldier Spy, it is a complete delight to watch. It captures the spectacle of early cinema and the melodramatic style of storytelling perfectly and is a crowd pleasing delight to behold. The audience I saw it with applauded the film as the credits rolled.

5. Tinker Tailor Soldier Spy (2011) Dir. Tomas Aldredson

Another new film that seems like a throw back to an earlier time. When is the last time that you saw a spy thriller without the requisite chase scenes and action set pieces. Tinker Tailor is completely plot and character driven and totally captivating in the subtle way that it reveals plot points and character. Actually, I lost a few of the twists and turns, because I kept being distracted by tiny moments in the film that were anything but. Early in the film, we watch Smiley (Gary Oldman) in the back seat of a car with two other cohorts from the circus and an additional passenger, a bee. As the others occasionally swat at the insect, Smiley sits quietly and opens the window. I was completely taken with this small moment of character development and slyly humorous. It isn't frequent that my first instinct upon exiting the theater is to want to watch the movie again, but Tinker Tailor Soldier Spy is composed of numerous perfect, but slight scenes.


6. Uncle Boonmee Who Can Recall His Past Lives (2010) Dir. Apichatpong Weerasethakul

I'm tempted to describe this film as without plot, but it is structured. Uncle Boonmee is dying and during his last hours he remembers past lives. The film as a whole is best enjoyed by simply experiencing it without trying to make sense of it. The imagery alone is enough to endlessly intrigue and seduce. The most lasting scene involves a captive water buffalo, running free through a field of tall grass. What probably delights me most about this Palme d'Or winner is the attention that it brings to Thai cinema. In recent years, I've fallen hard for the strange beauty of the cinema of Thailand and while I do not claim to understand the mythology behind Uncle Boomee and his past lives, it is beautiful to observe.

7. The Skin I Live In (2011) Dir. Pedro Almodovar

Pedro Almodovar has made a film unlike anything I've seen before. The Skin I Live In has certain parallels with les yeux san visage (Eyes Without a Face), but is far from a remake. The Skin I Live In is often funny, audacious, beautiful, surprising and horrifying and I completely loved every minute of it. The Skin I Live In begins toward the end of the film and uses flashback to reveal the identity of the women imprisoned by a surgeon and the events that led to her confinement. This is a fascinating film that never depends upon shallow stereotypes to drive the plot or character and ultimately works to explore the creation and alteration of identity.

8. Weekend (2011) Dir. Andrew Haigh

Weekend was probably the best romance of 2011. Easy to compare with Before Sunrise as it depicts a weekend of talking, connecting a love-making between two men who fall in love, but only have the weekend. This is a lovely film and among the movies that made me bust into tears. Actually, that could be another cinema of 2011 list, movies that kept me glued to my seat during the credits, hoping to regain some composure before leaving.

9. Tabloid (2011) Dir. Errol Morris

Errol Morris is my favorite documentary filmmaker although, usually his subject matter is a bit less outrageous than that of Joyce McKinney, the Miss Wyoming who was at the center of a sex scandal involving the abduction of a Mormon missionary. This is among the most entertaining films of the year and memorable for McKinney's defense; "it's like putting a marshmallow in a parking meter." Probably the funniest line of the year...

10. 3 (2011) Dir. Tom Tykwer

3 was my first favorite of 2011. I just love the audacity of 3 as one never sees a film about couples in the 40s and it doesn't play to the myth that adultery immediately means the end of the relationship. It also doesn't allow "deterministic ideas of biology" impose boundaries on sexual orientation.

And now for the list of movies that were bumped from the final list. Friends with Benefits, Heartbeats, Potiche, Perfect Sense, Our Idiot Brother, The Woman, I Saw the Devil, Super, The Stool Pigeon, Dogtooth, and The Double Hour.

Last days of celluloid

I've been wanting to say something about the sad news that motion picture film cameras are no longer being made which was quickly followed by the news that movie houses will no longer be able to project 35mm prints due to the switch to digital distribution. This change in medium has been readily apparent for quite some time. Since moving to Seattle and attending SIFF, it quickly became obvious just how many small, independent films were being shot and projected digitally. They were easy to spot due to the darker picture and lower resolution, but over time, film shot digitally became less obvious. Some of this might be due to improvements in digital technology, but I'm still skeptical. Mostly, because of my own experience with still photography.

I am the proud owner of an old, Nikon 35mm film camera. It has been years since I've studied photography, but took photography in high school and again in graduate school when I realized that the darkroom was open to anyone who paid a rather small user fee and I love playing in darkrooms. So while working on my degree in Immunology, I'd occasionally shoot a few rolls of film and was delighted by the quality of the prints I was creating. And completely fell head-over-heels in love with high contrast, high resolution black and white.

Like so many things, I seem to gravitate towards old fashioned, antiquated technologies and art forms. As an undergraduate, I signed up for an introductory tap dance class where I was exposed to vernacular Jazz tap from the 1930s, that was kept alive by a few dancers in the south and NYC, like Gregory Hines. The cool, relaxed quality of the movements appealed to me as well as the stark contrast to Russian Ballet, the dance form I was trained in. And as I studied Jazz Tap, I was told that it was a dead art form. This is no longer the case as Savion Glover has helped to re-popularize the modernize the form, but in the early 90s, popular opinion was that jazz and rhythm tap was a historical dance form and I cannot help but think that may have been some of the appeal. I also gravitate toward clothing of past eras. I think the clothing of the 30s and 40s is sexier and more flattering to women, than today's styles. I also have a thing for 1970s, UK glam rock and don't listen to current music. And while I have a kindle, I still prefer books on paper and even would like to learn calligraphy as I am also saddened by the loss of handwriting. But when it comes to my reaction toward digital images, I simply do not believe they are better then film.

When 35mm film became harder to find, I looked into transitioning to digital photography. It seemed so much cheaper and easier as one doesn't have to buy film, pay for developing, or need access to a darkroom. And it seems greener as all of those film processing chemicals must be a nightmare to dispose of properly. But when I actually looked at the cameras and at examples of impressive black and white photography, I noticed that photographers were still using film cameras. And digital cameras are very expensive. To achieve the same resolution that I get with my camera, I would have to spend several thousand dollars on a camera, that will probably be obsolete in a few years. What was immediately clear was that due to the differences in optics between an old 35mm SLR camera and a new digital SLR, when shooting in black and white, film looks better. And due to this, I doubt that cinema shot with a digital camera and projected digitally will ever look as good as film.

Although, I am seeing examples of some great looking cinema that was shot with digital cameras. One of the reasons I'm so crazy about Nicolas Winding Refn is the look of his films. I missed seeing Valhalla Rising on the big screen, but was completely blown away by the cinematography when I caught up with it at home. Valhalla Rising looks like the kind of film that couldn't have been made with a digital motion picture camera, but IMDB technical specifications state that it was shot with a Red One Camera and transferred to 35mm film. Additionally, being a long time fan of Robert Rodriguez, he has illustrated just how powerful the digital medium can be, if you've seen his 10 Minute Film School series or looked at what he achieved with Sin City. And shooting in digital is significantly cheaper then working with film, allowing anyone with a cell phone to make a movie, as Park Chan-wook proved with Night Fishing. I even bought an inexpensive digital video camera to play with, but sadly, my health has been poor and I haven't had the energy to figure out editing software.

So I'm grieving the changes going on in cinema, but see advantages to the evolution of the art form. I still believe I can tell the difference between film and a digital print, but maybe one day, I won't be able to. But while I'm resigned to the fact that more films are shot with digital cameras, I'm still saddened by the news that in the near future, very few theaters will be projecting film prints.  I still see the cigarette burns that indicate reel changes on most of the films that I see in the cinema, but for how much longer?


Valhalla Rising (2009)

Links
RIP, the movie camera
35mm Projection is at Risk. Does That Matter?
Petition for 35mm Film Distribution
Why We Love Film (photography)

The devil you know is better than the devil you don't

Gavin O'Conner's Warrior is everything a good boxing movie should be. One cannot help but to become emotionally invested in the two leads, the fights are riveting, and the final victory is earned and profoundly moving. I loved this movie. Granted, I have a softspot for boxing movies. Sports of hand to hand combat are naturally cinematic. Inherent in the sport is a compelling story arc. There's conflict, struggle, conquest, and in the world of boxing, most fighters are among the underclasses of America, so they are all underdog stories. This alone is the bones of a good movie, as long is it avoids the pitfalls of being too saccharine and too heavy handed. Warrior avoids this with the power and authenticity of it's leads and a setting of modern, post-market crash, war torn America.

Tommy Riodan (Tom Hardy) returns to the home of his childhood, not to make amends with his alcoholic father (Nick Nolte), but to enlist him as his trainer for a mixed martial arts tournament. The unexpected appearance of Tommy is cloaked with mystery. He says little, but he is an imposing figure that has been destroyed by circumstances. However, he is a force to be reckoned with in the ring, which is revealed in a sparing match in a small gym when Tommy takes down the middle weight contender in a matter of seconds. Tommy's estranged brother, Brendan Conlon (Joel Edgerton) is similarly broken by life. He is a high school physics teacher, underwater on his mortgage, who is suspended without pay when it is discovered that he is earning money on the side in fights in the parking lots of strip clubs. Brendan provides a stark contrast to his pill popping, unhinged brother. He too is a skilled fighter, but a controlled fighter who plays by the rules. He does it for the money to support his wife and daughters, one of which has an expensive, heart condition.

Probably the strongest element of Warrior is provided by the authenticity of the two lead actors. Tom Hardy's career took off after he bulked up to become the notorious English convict, Charlie Bronson and he again brings a similar physical menace to Tommy. Probably having no more than a dozen lines in the film, Hardy dominates the film with his powerful build and aggressive demeanor, but also vulnerability. However, all vulnerability is absent when Tommy is in the cage, where he is reminiscent of Kurosawa's samurai heroes, striking down any challenger in the blink of an eye, with a single sword strike. Tommy's fights are over before his opponent has a chance to fight back and he exits the cage before the fight can be called. Joel Edgerton gives a similar level of authenticity and believability to Brendan, since he has an athletic physique that is not in top condition, about what one would expect from a teacher that fights on the side. And he is probably not new to physical roles, since Joel Edgerton wrote many of the films that his brother, stuntman Nash Edgerton directed. Both Hardy and Edgerton were plausible as brothers and very natural as fighters.

While Warrior succeeds as a solid sports movie with great fight scenes and an exciting climactic win, at it's heart, Warrior is a film about family and forgiveness. Gavin O'Connor has made a film that is devoid of any cynicism. There is real compassion for Brendan and Tommy in their struggles to redefine masculinity. Both have rejected the violent and domineering model of manhood provided by their father, Paddy Conlin (Nick Nolte), but the alternative paths taken by the brothers have failed them. Tommy became a soldier to escape his past and Brendan became a teacher and a family man, but in the post-9/11 world, both are damaged by not only their alcoholic father, but also the war and the lack of any kind of social safety net. But in Warrior, Tommy and Brendan find forgiveness and redemption when they face off in the ring in what should have come across as trite, in a film with so much honesty and heart, Warrior instead becomes triumphant.

A few things about Friends with Benefits

I have not been getting out to many movies recently. My health has kept me home and the medications I've been on have made it difficult to concentrate. But while I haven't been seeing many of the 2011 summer movies, what I have seen has been damn enjoyable and the proceeding coming attractions seems to suggest that there are going to be a lot of exciting movies in the near future.

But I didn't want to miss the opportunity to say a few good things about what might be among my favorite romantic comedies of the year, Friends with Benefits. In Will Gluck's follow up to Easy A, Jamie (Mila Kunis) is a head-hunter who successfully recruits Dylan (Justin Timberlake) for GQ. They quickly become friends and as both have just survived ugly break-ups, they agree to a friends with benefits arrangement as they obviously are both too emotionally unavailable and damaged to be in a relationship. And what develops is a very self-aware romantic comedy that is well versed in the conventions of the genre, but takes care with employing them. Friends with Benefits avoids some of the cliches simply by the nature of Dylan and Jamie's relationship being about friendship instead of romance.

Not to say that Friends with Benefits didn't still employ a few of the conventions that are so familiar in the modern romantic comedy, like the gay best friend, as there most definitely is a token gay best friend. However, unexpectedly, is isn't Jamie with the flamboyant, gay sidekick, but Dylan. Woody Harrelson plays Tommy, the gay sports writer at GQ who is quick to point out that it is Dylan, the pretty boy GQ art director that should be the queer one and seems more than a bit skeptical of Dylan's assertions of heterosexuality. So while the inclusion of a gay friend, to function as comedic relief is a convention, the specifics are anything but conventional. Woody Harrelson is not the first actor to come to mind when casting gay and his portrayal of Tommy is a far cry from the neutered, gay man in the majority of Hollywood movies. Like while Tommy does not have romantic interest of his own, he isn't exactly subtle about making his preference and interest in cock known. Additionally, Friends with Benefits doesn't treat homosexuality as some kind of threat to masculinity. Tommy is open with his appreciation of Dylan's assets, but not being an apetow comedy, these characters are not at all threatened or bothered by each others sexual orientation. In otherwords, this is a modern, mature comedy about sex.

And finally, Friends with Benefits recognizes that friendship is the essential ingredient to healthy, functional relationships. This plays out early in the film when the arrangement is made and they determine their compatabiity. It is downright subversive the way Dylan and Jamie discuss sex. At one point, Jamie interrupts Dylan's attempt at cunnilingus because it wasn't working and shows him what does. I was stunned. I've only seen that scene in one other movie and it was from a much less mainstream filmmaker and part of the new gay cinema that is know for pushing the bounds of on screen sexuality, but I never expected to see a similar sex scene in a mainstream, summer romantic comedy.

But finally, what makes Friends with Benefits enjoyable is the natural chemistry between Mila Kunis and Justin Timberlake. They are extremely charismatic stars that are easy to watch fall in love and while by the conclusion, Friends with Benefits easily falls into the mold of a conventional romance, I still appreciated that in this love story, the most essential aspect of Dylan and Jamie's relationship was not the sex, but the friendship. And this is a movie message that I can endorse.

SIFF 2011: Natural Selection

Natural Selection is the first feature film from Robbie Pickering and was a big hit of the SXSW film festival taking home quite a few awards including both the audience and the grand jury awards for narrative feature and a movie I would have completely overlooked since I tend to avoid small American features, because nothing good is American. Natural Selection follows Linda White (Rachael Harris) on a road trip to find her husband's illegitimate son, Raymond (Matt O'Leary). After many years in a sexless marriage to the devout Abe (John Diehl) who has been making frequent donations to a fertility clinic instead of having sex with his barren wife and Linda only finds out about this extracurricular activity after Abe has a stroke during one of these donations. Natural Selection is a sly comedy that follows Linda on a journey of self discovery as she pushes her way into Raymond's life. Slowly, these two individuals learn to trust and care for one another on their journey.

What really struck me about Natural Selection was that this is a film about a devoutly christian woman that doesn't belittle her for her faith. No what is does is highlight just how misogynistic Christianity is. Much of Linda's life has been negatively impacted by Christianity as her marriage is based not on love but on guilt and regret and is being further degraded by a husband that refuses to make love to her because of the belief that she cannot have children. But her faith also gives her a sweet naivety that allows her to trust Raymond, when she finds him, when she really shouldn't. But it also allows these two people to connect in refreshingly original ways.

Natural Selection - SXSW 2011 Accepted Film

SIFF 2011: The Future

One problem I have with trying to write something about every film that I see at SIFF each year is that there are movies that not only am I not impressed by, but literally have no thought on them at all. The Future would be one of those. So instead of sitting around trying to figure out what Miranda July was intending, I thought I'd just ask Nate whether he had any thoughts on the Future. I think listening to his complaining about Miranda July's movie was much more enjoyable then actually watching it. Now for a few paraphrased quotes, that probably aren't even accurate since I am sitting in a bar writing this as I wait for my next SIFF screening. Because that is the sort of party girl that I am!

"You know, it could be kinda fun to be buried up to your neck and the only way I'd watch the Future again".

"I think Miranda July wrote a movie about all of the worst and most annoying qualities of both 90s slacker culture and hipster culture."

And when I asked what he thought of Miranda July's narration as Paw Paw the dying, shelter cat he replied that Paw Paw is Dylan Thomas, and quoted "Rage, rage against the dying of the light."

What it comes down to is that Miranda July has made an enjoyable, quirky and original film, Me and You and Everyone We Know, but her style doesn't translate well to darker material. I didn't find much compassion for a couple attempting to find meaning during an existential crisis caused by the potential stress of pet ownership. So they quit their jobs in an effort to find meaning and their relationship unravels after Sophie (July) cheats and Jason (Hamish Linklater) stops time to have a chat with the moon. Yup, it's that kind of movie...

Hopefully, there will be no more films narrated by dying shelter cats this year at SIFF.

The Future will have a limited release in the US in July.

The Future - Trailer HD

SIFF 2011: Beginners

Beginners will be a festival favorite. As can be seen in the trailer (linked below), there is a lot to be charmed by here. There's Ewan MacGregor, who cannot seem to turn off the charm, portraying Oliver after the death of his gay dad and he is falling for the lovely French actress, Anna (Melanie Laurent) and Oliver has inherited his dad's adorable Jack Russell terrier, Arthur, who talks to Oliver. I mean who doesn't like a movie with a mopey Ewan MacGregor flirting with Melanie Laurent. And I was totally on board once I saw the trailer as it is a great trailer, but unfortunately, the movie doesn't add much beyond length to the trailer. But it is still pretty entertaining.

What really does work in Beginners in the depiction of Oliver's relationship with his father Hal(Christopher Plummer). Shortly after his mother's death, Hal comes out as gay and spends the remainder of his days living life to the fullest. He has a much younger boyfriend (Goran Visnjic), goes out to clubs, and subscribes to nearly every gay periodical around. Even after a terminal cancer diagnosis, Hal continues to live life to the fullest while Oliver ties to stay by his side through the appointments, treatments, and finally his last days in hospice care. And all of the flashbacks to moments shared between Oliver and his father are touching and a lovely portrait of a little seen father and son relationship. Where the film falls short is in the romance between Oliver and Anna.

The beginning was promising, when they meet at a Halloween party when he is dressed as Freud play acting psychoanalysis all night and she has laryngitis, so is mute using a notepad for communication. But once the initial meeting is over, and Anna gets her voice back, the romance follows every convention in the book. There are early scenes with them frolicking, rollerskating, etc. and when things seem to be going well, they have to have the convention imposed breakup so that Oliver can realize that just because his parent's marriage wasn't exactly as it appeared, that is no reason to be afraid of commitment, or relationships, or whatever the contrived issue was.

But despite the contrived romance there was still a lot to like about Beginners. It just is not as moving or profound as it wants to be and it also suffers from trying too hard to be a cute, quirky indie film. As someone who appreciates the artifice of cinema and my favorite filmmakers revel in its artifice, but here the aritiface doesn't marry well with the realism of Oliver's journey to understand his childhood and deal with the passing of his father. Beginners marks the first disappointment of SIFF 2011, but this is still a pretty endearing film, just not a great film in comparison to Perfect Sense and 3.

'Beginners' Trailer HD

SIFF 2011: Perfect Sense

David Mackenzie makes intriguing and rather challenging films. I might be quite taken with his work. I was a bit mystified by Young Adam, but completely adored every second of Hallum Foe and am again quite taken with Perfect Sense which is a rather timely apocalyptic allegory on humanity.

Susan (Eva Green) is an epidemiologist puzzling about a peculiar outbreak involving a sudden loss of the sense of smell. The loss of this sense follows a period of immense grief over past wrongs and regrets. Susan appears less absorbed with this strange epidemic, then her failed relationships and terrible luck with men. Michael (Ewan McGregor) is a chef at the restaurant across from Susan's flat, who's livelihood is being threatened by the impact loss of scent has on the enjoyment of dining. After a bummed cigarette, their lives become entangled by mutual desire and synchronous onset of the illness. With both Micheal and Susan in the throes of profound grief and need, their relationship gains depth quickly, without being overcome by the kinds of doubts and fears that preclude the progression of many relationships. They are caught up in the center of a confusing, global crisis that Susan should be among the scientists attempting to solve, while Michael is only trying to continue working as a chef in a world where people are not drawn to food by the enticing scents.

But the epidemic rages on. The loss of the sense of smell is only the first of the senses to depart. Taste is lost after an orgiastic hunger. Hearing is next after a loud, demonstrative period of violence and rage. And after people lose a sense, there is a brief period of panic, until the world learns to cope with the loss. Micheal draws back costumers without the sense of smell, by enhancing the flavor of the meals, then once taste has departed, they experiment with the texture and sensory aspects of eating. This leads to a delightful bath tub lovemaking scene where soap is eaten and suds playfully spit after the lovers have lost their sense of taste. This is what really works with Perfect Sense. While their is no attempt to explain an outbreak that robs mankind of each sense one by one, the film instead explores the elements at the root of humanity and has an optimistic outlook on mankind's ability to adapt to any situation. Finally, even in the darkest moments of this film, when it appears that there is no hope for the human race, the underlying message comes across that even in the middle of a global crisis that will likely lead to the final days of human life on the planet, that love will persevere.

Because when there is nothing left, all you need is love.