From “Blade Runner” to Big Brother, bleak futures
have been portrayed countless times. Yet two aspects set Alfonso
Cuaron’s dystopia, “Children Of Men,” apart from
so many others.
First, its vision of the future is utterly horrifying. And
second, “Children Of Men” signals the arrival of a
truly brilliant filmmaker.
Set in London in 2027, “Children Of Men” follows
Theo Faron (Clive Owen), an alcoholic bureaucrat in a world where
no children have been born in 18 years due to a mysterious
infertility pandemic. Theo is surprised when his former flame,
Julian Taylor (Julianne Moore), visits him with a proposition:
escort an immigrant girl named Kee (Claire Hope-Ashitey) out of
England to a mysterious think tank studying infertility called
“The Human Project.” Why is Kee important? She just so
happens to be pregnant.
This journey isn’t easy, because “Children Of
Men” is the epitome of a world gone mad. Britain survives by
rounding up illegal immigrants in cages and refugee camps while
bombs rip through coffee shops and the government distributes
suicide kits for those who’ve had enough.
Despite the misery, “Children Of Men” is a hopeful
tale of redemption. Theo’s journey from uncaring alcoholic to
scrappy savior is a stirring transformation made possible by Owen,
who recalls Hollywood’s leading men of the past. Theo
repeatedly makes deadpan jokes and observations to lighten the
mood, giving the film much-appreciated humor.
“Children Of Men” is undeniably intense, a credit to
Cuaron and cinematographer Emmanuel Lubezki’s breathtaking
long takes. Filmed entirely with a handheld camera, the film has
multiple segments in which the camera follows its characters
without cutting for as long as seven minutes. The most impressive
has Theo scurrying through a war-torn refugee camp as soldiers gun
down surrendering refugees and tanks blast apart buildings. If this
film doesn’t receive Oscar nominations for directing and
cinematography, then the Academy has lost touch with what
filmmaking should aspire to.
Some may criticize “Children Of Men” for leaving
questions unanswered, but they’re not what the film is about.
Cuaron, when queried about this in an interview, asked when film
became about simply tossing exposition at viewers. And he’s
right ““ too many long explanations would turn this into
“The DaVinci Code,” which it most certainly is not.
With “Children Of Men,” Alfonso Cuaron has made one
of the best films of the year, and perhaps the most socially
relevant film of our time.