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The warping of time is something that Nolan does masterfully. When watching Christopher Nolan films specifically, the viewer often has to suspend their belief of linear time to understand the story and the message that is conveyed within. Suddenly, chronological order means nothing. Time can become subjective, and allow the viewer to see things in an order that is impossible in the real world. The concept of non-linear progression is the backbone of film. In cinema, however, those rules don’t apply.
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Without a linear perception of time humanity would likely change to something completely different. It is what allows us to make sense of events, and what helps us understand what we have done, versus what we need to do. Time is an objective fact within our perception of reality.
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Like the day they arrived.” -Louise Banks There are days that define your story beyond your life. We are so bound by time, by its order… But now I’m not so sure I believe in beginnings and endings. “I used to think this was the beginning of your story. Wholly original it may not be, but this is a film that proves what can still be done when a good idea is implemented well.By Clayton Keeling, George Ranch High School As a genre film, there is more in Infinity Chamber to justify the sci-fi thriller moniker than you’ll find in much of whatever property Hollywood chooses to recycle. That said, these are minor criticisms for a film that achieves exactly what it sets out to do. A fine balance must be trodden, and while Milloy largely handles that line with style and conviction, one or two scenes feel somewhat superfluous. As the mystery slowly unfolds, moments are revisited time and again and while purposeful in drawing out the plot along ambiguous lines, occasionally serve to frustrate. If there is a downside, it is in the partial repetitiveness of some of those interactions. Skillfully, Milloy balances the elements to keep you intrigued, and when the revelations come they are both justified and strangely expected. Dialogue is often sparse, as each interaction is carefully constructed to either add depth to the mystery of Frank’s past or slowly fill in the gaps in his present. Centred largely on two locations - the cell, and the coffee shop that is the focus of Frank’s memories - the narrative remains tightly woven, with rough edges kept to a strict minimum. Where Infinity Chamber is particularly strong is in its simplicity. As the audience, you learn as Frank does, dissecting the flashbacks he seems partly in control of, all the while attempting to work out just what is going on in the present. Working back through the often vague and varying images he tries to assemble a coherent narrative for his incarceration, while constantly trying to outwit the largely benevolent Howard. Soren Kelly delivers a truly engaging performance as Frank haunted, and confused, by memories or visions of what he remembers from his life prior to imprisonment.
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With an all-seeing-eye ‘Howard’ attempts to guide Frank as his LSO (Life Support Operative), declaring its one goal is to make his time as pleasant as possible. And yet, there is something intriguingly original in how Milloy assembles the borrowed parts, creating a film that tantalises to the end, keeping familiarity just out of reach.Ībducted and imprisoned in an ultra-modern facility, Frank’s (Soren Kelly) sole interaction is with a black globe hanging from the ceiling of his lacquered cell. Hints of a dystopian world, a corrupt, ruthless government, and both subtle and obvious nods toward Terry Gilliam’s Brazil (1985), George Orwell’s 1984 (1984), and a host of others. It would be fair to say the themes within Travis Milloy’s Infinity Chamber are verging on those present in generic sci-fi.