The stories are wonderful, and wonderfully shot, till we get to London. Then, the theme and vibe of the film changes - to superficial preaching and banality.
Alithea, the directors and writers suggest, is the perfect white woman: childless and alone, satisfied by an academic career (in the pursuit of pseudo-knowledge) and periodic visits by a Djinn. The conspicuous, slow shot of a religious woman in traditional garb pushing a pram passed Alithea's home informs the viewers what a progressive future should be and what actually constituted progress. So too, the old ladies next door simply exist as superficial foils to advance a political harangue; too bad it's entirely unconvincing. Like other reviewers, it's impossible not to note that these scenes occur as the film loses its footing, becoming boring and somewhat aimless in terms of narrative and plot. It ought to have ended sooner than it did, since the first two thirds really were special.
Alithea, the directors and writers suggest, is the perfect white woman: childless and alone, satisfied by an academic career (in the pursuit of pseudo-knowledge) and periodic visits by a Djinn. The conspicuous, slow shot of a religious woman in traditional garb pushing a pram passed Alithea's home informs the viewers what a progressive future should be and what actually constituted progress. So too, the old ladies next door simply exist as superficial foils to advance a political harangue; too bad it's entirely unconvincing. Like other reviewers, it's impossible not to note that these scenes occur as the film loses its footing, becoming boring and somewhat aimless in terms of narrative and plot. It ought to have ended sooner than it did, since the first two thirds really were special.