Three Thousand Years of Longing (2022)
Directed by George Miller
A solitary scholar discovers an ancient bottle while on a trip to Istanbul and unleashes a djinn who offers her three wishes. Filled with reluctance, she is unable to come up with one, so the djinn tries to inspire her with his stories.
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Miller recalls shades of Tarsem Singh’s The Fall (2006) both in the loose, potentially illusory nature of the stories he tells and the methodical splendor he employs to give them life.
With all due respect to Robert Ford’s production design (it’s never a bad thing when a movie’s sets earn comparison to “The Fall”), or the impressive degree of freakiness that Miller and his team are able to stuff into a single image of Solomon wooing Sheba, the Djinn’s tales are always more compelling for his sad and self-deprecating commentary on them than they are for any of their murder hijinks.
A titre personnel, je n’avais pas vu un travail de cette ampleur depuis The Fall de Tarsem Singh, qui se trouve être un de mes films favoris de tous les temps.
In fact, Alithea is so content with her situation that she can’t think of anything to ask for when a massive, shirtless Djinn with a long, long, long-standing obsession with fulfilling women’s deepest desires puffs into her Istanbul hotel room — the same Istanbul hotel room where Agatha Christie wrote “Murder on the Orient Express” — and offers her three wishes.
In fact, Alithea is so content with her situation that she can't think of anything to ask for when a huge, shirtless Djinn with a long, long obsession with fulfilling women's deepest desires walks into her Istanbul hotel room: the same hotel room in Istanbul where Agatha Christie wrote “Murder on the Orient Express” and offers her three wishes.
Maximalist in its mediativeness and meditative in its maximalism, “Three Thousand Years of Longing” might seem to beg for a scale on par with similarly many-splendored epics like “Cloud Atlas” and “Everything Everywhere All at Once,” but Miller’s film can’t afford to grow so vast that its various stories overshadow the purpose of telling them.
Maximalistic in its mediativity and meditative in its maximalism, "Three Thousand Years of Longing" seems to beg for a scale on a par with equally lavish epics like "Cloud Atlas" and "Everything Everywhere All at Once," but Miller's film can't.
The latest from George Miller, the man known primarily as the force behind the innovative “Mad Max” film franchise (though let’s not forget he also helmed such diverse fare as “The Witches of Eastwick” and “Happy Feet”), is an opulently rendered tale about two bereft souls who find each other through happenstance and blossom as a result.
Even Miller’s more dialogue-heavy films ( Babe: Pig in the City , Happy Feet , The Witches of Eastwick ) all got much across through the visuals.
He touts credits like Happy Feet , The Witches of Eastwick and Babe: Pig in the City .
He’s also the warped, undeniably fearless mind behind films as diverse as The Witches of Eastwick , Lorenzo’s Oil , Happy Feet , and Babe: Pig in the City .