The Oscar -winning actor set in this thriller produced in pandemic, turned almost entirely on Zoom, which is also the first feature film NFT.
Fish must swim, birds must fly and filmmakers must make films, even in the middle of a world pandemic. This is the main point to remember from the beginnings of director of Rick Dugdale, turned during locking cocovated worldwide. That some films must be made is another question. With Anthony Hopkins, apparently appearing from his own living room, as a mysterious technological entrepreneur named Finley Hart, Zero Contact does not make you exactly nostalgic for the days you spent mainly on Zoom. In the production notes, the director-producer Dugdale says: “We hope that the time has come … now.” Leaving aside the question of why ellipses were necessary, it seems safer to say that time for this has passed.
This high -tech corporate thriller, apparently turned entirely on zoom and surveillance and mobile phone cameras, is apparently desperate to prove its good faith. His marketing informs us that he is “the very first film offered in NFT on the View platform and is also the very first feature film NFT”.
(This review will stop now, so those of you who care about such things can take advantage of it to buy the film’s NFT because, which cannot be a worse investment than the stock market at the moment.)
Do? Ok, where were we? Oh yes, we also learn that Zero Contact has been shot in 17 countries, although the reason why it should be important because the film is hardly a world in the world in the 80 -day style as well but rather A portrait of farms and personal parts. When there is a photo of someone’s courtyard, it is positively a thrill. Then there is the idea that the sound mix apparently uses ASMR (Autonomous Sensory Response Response), although the only tingling viewers are likely to live will come from the relief that occurs when the film is finished. Finally, there is the idea that this represents a new genre, “distant sequences” (compared to “Found Fetging”), which is really, really, really suffocated in the egg.
The fact that the film presents a kind of scenario seems almost a reflection afterwards. He revolves around a video call conference designed by Hart (think Elon Musk, only with a real charisma), who does not leave the fact that he died of preventing him from putting the intrigue in motion. The call presents five people from various places, one of which is the separate son of Finley, Sam (Chris Brochu). It seems that Finley, who had been ousted from his own business shortly before his death, implored them beyond the grave for reactive “the quantinum initiative”, which apparently implies teleportation, before the end of the world. Or something like that. Let’s just say that “the machine runs on Dark Matter Reactor” is one of the most coherent lines of the script.
The film is not entirely a talkfest. Very bad things happen to some of the online participants during the call thanks to mysterious intruders, perhaps because they were upset not to be invited to participate (a bit like many of my loved ones). Even more horribly, from time to time, the appellants are suspended and we are subject to repeated listening to “Escape (the song by Pina Colada)”, which represents the polar opposite of the ASMR.
As Finley, Hopkins displays his usual magnetism, even taking advantage of one of his own musical compositions on the piano. He delivers monologues alternately worried and perplexed throughout, although his tendency to look at almost elsewhere than directly in the camera. However, it is a pleasure to listen to him to expose on subjects such as the breathtaking effects of reading Aldous Huxley in this elegant voice.
With no less than 10 minutes of end credits which include behind -the -scenes images intended to impress us with the complexity of the implementation of the project, zero contact is only the first episode of a trilogy, the other two parts Who are now filming. Would it be impolia to emphasize that the vast majority of us relieved to spend our days doing nothing but screens?