Directed by:
David MackenzieScreenplay:
Kim Fupz AakesonCinematography:
Giles NuttgensComposer:
Max RichterCast:
Ewan McGregor, Eva Green, Connie Nielsen, Ewen Bremner, Stephen Dillane, Denis Lawson, Richard Mack, Alastair Mackenzie, Anamaria Marinca (more)Plots(1)
Susan is a scientist searching for answers to important questions. So important that she has given up on other things, like love - until she meets Micheal. Susan and Michael find themselves embarking on a sensual adventure while the world around them seems to be falling apart. (official distributor synopsis)
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Reviews (8)
The infection is spreading around the world. Its course is very peculiar. In every person, perhaps at the same moment, a new symptom always appears. Each symptom is associated with one of the human senses. The sense of smell, hearing, and taste are mainly affected. No one really knows how to cope with the disease. There are no medicines, and nobody knows what will happen next. The casting of actors, such as Ewan McGregor and Eva Green, the director did not intend to focus on filming the infection itself, which was the case with the film "Contagion", but rather to create a delicate, sensitive story about two people who are able to connect, love, but also hate against the backdrop of this catastrophe. Is it just how their senses change, or is it inherent in human nature? Can't a person simply get along with others? Does everything have to be complicated for them? Is the infection really just a disease, or is it a metaphor for human relationships, how we enter them with love but also bring in hatred, anger, and resentment? The film is very powerful, very impactful, yet the viewer feels disconnected. It's like watching a work that tries so hard to be artistic and not just a film, to the point where I feel like it's not even a film, but rather a closed box that we can only glimpse into. It reminds me a bit of the style of the film "Stud", but more emotional and yet less personal. A good film, but that's where it ends. More: http://www.filmovy-denik.cz/2012/09/rebelka-perfect-sense-sprosty-holky.html
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Perfect Sense is a more philosophical version of Soderberg’s Contagion, but with more modest production. With the
exception of the nicely done ending, however, it is just as cold and detached, which is not the best choice, given the
film’s focus on the two central characters (and their relationship).
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A perfect premise, no doubt. The director of Spread has made a surprisingly ambitious romantic drama with a global catastrophe as a backdrop. The result is quite impressive, but it could have been even more so if the relationship between the two protagonists worked better – I just didn’t feel any bond between McGregor and Green. The apocalyptic line works much better and it was the most enjoyable thing in Perfect Sense. What’s a stumbling block, though, is that the creators want to express way too many things in these two lines (from personal relationships, through the human nature, all the way to our relationship with our planet) and I couldn’t catch the central motif, if there was any to begin with. The resulting impression is as if someone had optimistically told me that I still have one year of a happy life left… 7/10
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Remember One by Metallica? What if all people ended up like that? A great idea to depict a relationship beginning in a world slowly heading towards collapse where people entertain the false hope that things will get better. Both Ewan McGregor and Eva Green are great, even though they eat soap. The only thing that bothered me is that the movie wasn’t devoted only to those two (documentary shots from around the world), or that they didn’t show several stories taking place in various places around the planet.
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The story portrayed in this film is not set in any particular time or place, the “hypertext” interspersing of the fictional event with authentic news footage illustrates the global impact of the epidemic and gives us the feeling that what we see is happening right now and in this world. The small scale of the narrative with a few people and one place is not adhered to as conscientiously as in another chamber film about the end of the world, namely von Trier’s Melancholia (in contrast to the procedural Contagion, both films provide space for the characters’ reactions to the anticipated end of existence rather than to the cause of the epidemic). It isn’t clear what the filmmakers want to point out to us. The pointlessness of treating symptoms instead of looking for deeper causes? The distancing of humanity from the roots of a "pure", pre-technological society? The cynicism and selfishness of humanity, which at a critical juncture gives preference to physical pleasure over atonement? In any case, there is no doubt that the subtext of the vaguely articulated challenge is hopeful: don’t deal with bullshit and re-establish broken contacts (with people, or with the world). The optimistic message will be a reason to sneer especially for viewers enthused by von Trier’s film, which conceals one layer of depression under another. The biggest cynics can choose the opposite reading and see Perfect Sense as an unintentional parody of post-apocalyptic films (the gluttony phase of the contagion looks like an outtake from a zombie-horror B-movie). Too much latitude for interpretation, the predictability of the plot and the fear of really going all out (like Fernando Meirelles in the much rawer Blindness) prevent us from enjoying Perfect Sense as a disaster thriller. The film works much better – almost flawlessly in the final scene – as a standard melodrama about a couple in love facing a force more power than them, but not more powerful than their love. The film makes perfect sense only as a drama that we willingly let ourselves be touched by. 70%
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