“When society breaks down, how quickly does our humanity follow?” – Jeannette Catsoulis
As much as I rail against certain aspects of Hollywood, I must admit that I’m a sucker for a good movie, especially one that revolves around those familiar disaster scenarios. And as a bit of a stray from our regular posting categories, I figured I would share some recent movie selections, as well as offer a bit of commentary.
Late this morning, as I was scuttling around the apartment, eyes half-open and nearly spilling my coffee as I bumped into furniture, I settled onto the couch to watch a movie I had been dying to see. With an afternoon forecast of storms and heavy rain, I felt as though this was the perfect chance to watch “One Hundred Mornings“; an Irish, post-apocalyptic …drama?
As Filmmaker Magazine said, it is a haunting, lyrical piece. It’s not an action flick. There is no virus, no zombies, and no comet hurtling towards Earth. Instead, the film allows you to discern what happened and throws you in the midst of it.
The movie carries more of the emotional aching that The Road had; that down and out feeling… but in a more bleak, surreal sort of way, if that were even possible. What I enjoyed most about this piece was its incredibly heavy subject matter, realistically expressed with little dialogue.
Of course, as with most post-societal films, there are more than a few scenes where I can think of a dozen ways to mitigate the antagonizing situation, and at times, One Hundred Mornings is a let-down, in the sense of failing to think outside the box. The characters offer up unique pasts of their own, but don’t ever truly seem to grasp or portray the gravity of the situation. There is certainly depth to each of them, but they somehow carry a rather laissez faire attitude most of the time. Perhaps they give up too easily, and take things way too far when it is uncalled for.
Overall, I enjoyed it and would definitely recommend watching it.
So, enough of my rigid review; here is the New York Times’ Jeannette Catsoulis’ review of One Hundred Mornings:
Playing like balm to the soul of anyone quivering from too many overworked, over-agitated multiplex experiences, Conor Horgan’s “One Hundred Mornings” uses an apocalyptic event as a springboard into the human psyche.
Set in and around a midsize cabin in the verdant Irish countryside, this intelligent, delicate debut observes the shifting relationships of its four adult inhabitants. An unexplained recent catastrophe has left them without telephone, electricity or fuel, and though Dublin is within walking distance, the roads are unsafe. Jonathan (Ciaran McMenamin) is resigned and withdrawn, his wife, Hannah (Alex Reid), nervous and chafing at the unwanted proximity of their guests (Rory Keenan and Kelly Campbell). Their sole neighbor, an unwaveringly self-interested survivalist (Robert O’Mahoney), has a firmer grasp on the every-man-for-himself new order, but soon the others will be forced to catch up.
Positioned on the cusp of a dying civilization, “One Hundred Mornings” shows people still bound by rules — like deference to a couple of essentially useless local cops — while coming to terms with an unspeakable future. Packing reams of information into a minimalist screenplay (as an added novelty, the female characters are, if anything, more complex than their male counterparts), the film slowly subordinates sex, death and basic decency to the terrors of a dwindling food supply.
Leavening the rather grim atmosphere with luminous earth tones (photographed by Suzie Lavelle) and a smidgen of wry humor, this low-budget beauty draws you in. With neither zombies nor cannibals to hold our attention, Mr. Horgan relies on a single question: When society breaks down, how quickly does our humanity follow?
Tiny URL for this post: http://tinyurl.com/mydeh6n