When ranging out of Mad Max territory, George Miller’s films are highly diverse and unpredictable in nature, and never has this proved more the case than with his time-traveling, narratively far-ranging new drama, Three Thousand Years of Longing.
In this Cannes Film Festival competition entry, the director delves back into old texts to examine the nature and power of legendary stories that have endured for centuries in a way that is both sharply creative and a bit off-putting; the film begins on quite a high, only to slowly deflate as it works its way toward its modern-day ending.Based on a 1994 short story, “The Djinn in the Nightingale’s Eye,” by A.S.
Byatt and adapted by Miller and his daughter Augusta Gore, the film is bracing in its intelligence and thirst for inquiry, immoderately well made and carried to the highest levels of screen acting by two sensationally good actors, Tilda Swinton and Idris Elba, who remain center-screen throughout; no matter what they’re doing, you feel that you could watch these two forever.Shot under highly regulated conditions during Covid, the film introduces itself with exhilarating swiftness and intelligence as Dr.
Alithea Binnie (Swinton) arrives in Istanbul, where she is installed in her hotel’s “Agatha Christie room.” Miller introduces an extraordinary amount of information, nuance and feeling here in a very short period of time and never lets it feel like mere exposition; it’s superior, multi-layered filmmaking without at all showing off or allowing the audience to feel it.In short order, Alithea is confronted by an extraordinary sight, that of a giant fellow in her room — he virtually fills the place — who speaks in ancient Greek (before resorting to English) and quickly mentions
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