Review: Anomalisa

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DIR: Charlie Kaufman, Duke Johnson • WRI: Charlie Kaufman •PRO: Charlie Kaufman, Duke Johnsen, Dino Stamatopulous, Rosa Tran • DOP: Joe Passareli  • ED: Garret Elkins • DES: John Joyce, Huy Vu • MUS: Carter Burwell • CAST: David Thewlis, Jennifer Jason Leigh, Tom Noonan

The brilliant Charlie Kaufman makes a very welcome return to our screens, co-directing his own script with Duke Johnson, in this haunting and humorous stop-motion treatise on human relationships. It’s been eight years since Kaufman’s last outing – the magisterial Synecdoche, New York – and it really is sad that an artist of his calibre has struggled for funding for various projects since. Kaufman had to turn to Kickstarter to get Anomalisa made. The film’s subsequent critical raves and popularity at various festivals should at least ensure Kaufman does not have as much trouble raising finance for his next project.

The film follows Michael Stone (Thewlis), an alienated customer services author, who flies into Cincinnati the night before he is to give a talk at a conference. In Michael’s world, and the world of the film, everyone speaks with the same voice (Tom Noonan), be it a boorish taxi driver driving him to his hotel, his ex-girlfriend, his son, his wife. Even the music that Michael listens to is infused with that same droning delivery. After an ill-advised meeting with his ex-girlfriend, Michael hears from his hotel room the sound of a different intonation. It is that of Lisa (Jason Leigh), a fan of Michael’s book, who is also residing in the hotel, a few doors up from him. Subsequent to this delightful discovery Michael invites Lisa and her friend for a drink and then later, Lisa to his bedroom. And so begins a fragile, mismatched and finite night of passion and romance between the two.

There are some shades of Lost in Translation about the alienated hotel room setting but Kaufman’s film is a more slippery, ambiguous affair. It lacks the scale of Kaufman’s Synecdoche, being a more low-key and simpler affair. However, Kaufman doing simple still results in richness unmatched by most other contemporary filmmakers. With Anomalisa, he has essentially given us a film in which two lonely people spend a night together in a hotel but has injected with strange beauty and also genuine sadness and pessimism. The film is often hilarious in its cynical depiction of human nature, but there’s also something almost disturbing and eerie about the world of the film. Lisa stands out to the viewer in the same way she stands out to Michael’s foggy, depressed mind.

The engagement with Michael’s subjectivity is achieved largely through the extraordinarily detailed animation. The technical majesty on show is probably best exemplified by an extraordinary sex scene between Michael and Lisa. On paper the description of a puppeted sex scene might conjure up memories of Team America: World Police. But here the scene is not played for laughs. It is explicit, sustained, and tender. It also feels decidedly real.

Another key component of the film is the terrific voice work from the three actors. Thewlis really captures the burrowed melancholy of a man so cut-off from those around him. It is to my mind, the actor’s most memorable role since Mike Leigh’s Naked. Jennifer Jason Leigh also does exceptional work. Her rendering of Cyndi Lauper’s Girls Just Wanna Have Fun is another odd image and sound that proves difficult to forget on seeing the film. Noonan, voicing every character other than those two, also excels in what could have been a thankless role.

A film of hidden depths and subtle riches. Essential viewing.

David Prendeville

89 minutes

15A (See IFCO for details)

Anomalisa is released 11th March 2016

Anomalisa – Official Website

 

 

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ADIFF Review: Anomalisa

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Tom Crowley checks into Charlie Kaufman and Duke Johnson’s Anomalisa, which screened at the Audi Dublin International Film Festival.

Anomaly- ‘Something that deviates from what is standard, normal or expected’

An anomaly is something that our protagonist Michael Stone (David Thewlis) is desperately searching for in Charlie Kaufman’s fantastic new stop-motion animation. Anomalisa is co-directed by stop-motion expert Duke Johnson and is an existential tale of depression, alienation and mundanity.

Michael Stone is a renowned customer-service specialist who flies to Cincinnati to give a speech at a convention. He stays at the Fregoli Hotel. ‘Fregoli’ does sound like the name of a posh hotel, but it is also a rare monothematic delusion. The Fregoli delusion is a rare disorder in which a person believes that multiple people are in fact the same person in disguise. Michael Stone has a variation of this disorder, and in turn while experiencing the film, so does the audience. Everyone’s voice is the same (voiced by Noonan in monotone) and everyone has the same blank face.

This represents Stone’s severe depression. Nothing excites him, people are boring to him. To talk on the phone to his wife and child is a chore for him. He doesn’t seem to like himself or what he has become. He lights up cigarettes almost ceaselessly to accentuate the pointlessness. During his one-night stay at the hotel he chases the past in desperation which only brings him to realise why it is the past.

Then he suddenly finds his anomaly, Lisa (Jennifer Jason Leigh). Hearing her voice down the hotel corridor he frantically chases her down. Lisa, although quite insecure, is the opposite of Stone. She finds beauty in the small things that life has to offer. She is fascinated by things that Stone finds melancholy. Lisa is a customer service team leader and is instantly infatuated with Stone, a supposed rock star in such a circle. Stone falls in love with her because she is different. He can’t get enough of hearing her voice.

However, for Kaufman, it is clear that this is a tale of depression. Stone’s mental illness becomes readily apparent. This is much to the confusion of Lisa, a breath of fresh air in this deeply existential and at times truly depressing narrative. With these two characters Kaufman endeavours to dissect a fragment of the human condition. When they are together the romance between Stone and Lisa is potent. As individuals, sadly, it could never work.

The humanity within this stop-motion animation is amazing. It is interesting to gauge this aesthetic with our connection to these characters’ unreal human bodies. It reminds one of the audience affiliation with the Operating System Samantha (voiced by Scarlett Johansson) in Spike Jonze’s Her (2013). In cinema when the body is taken out of the equation audiences have a different understanding and perception of character. Anomalisa certainly wouldn’t have had the same impact if the characters where played by Thewlis and Leigh in the flesh. To take leave from the real provokes unbiased metaphysical thought.

Anomalisa and Her share the same idea of a lonely man searching for the ideal. Kaufman’s long anticipated follow-up to Synecdoche, New York (2008) has been worth the wait as he continues to fuel self-reflection and existential thought in his audiences.

 

Anomalisa screened on 23rd February 2016 as part of the Audi Dublin International Film Festival (18 – 28 February)

 

 

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