Children of Men — nowhere to stand still
A worn-out man, a pregnancy in an infertile world, and some remarkable long takes. The direction makes the danger feel immediate.
A worn-out man, a pregnancy in an infertile world, and some remarkable long takes. The direction makes the danger feel immediate.
Spoiler-free review.
The world of Children of Men looks exhausted. No babies have been born for eighteen years, and the loss of a future is visible in the way people move through the present. The film gives you that feeling through streets, broadcasts, and background detail rather than a long explanation.
Clive Owen is a good fit for Theo, a man who seems tired before the story has properly started. Protecting a pregnant woman gives him something urgent to do, but he never suddenly becomes a polished action hero. His reluctance and physical awkwardness help keep the danger believable.
The long takes are the standout. Alfonso Cuarón lets movement and action build within a shot, so you have time to register the surroundings and then realise how exposed everyone is. They look astonishing, but their strongest effect is making it feel as though there is no convenient break from what is happening.
I was less invested in some of the supporting characters. The movement through this world is so forceful that a few relationships feel briefly sketched, and the symbolism can be quite direct. I admired the filmmaking more consistently than I connected with the whole story.
7/10. Worth seeing for its atmosphere, Owen’s worn-down presence, and those extraordinary sequences that seem to unfold without a cut.
Directed by Alfonso Cuarón · 2006 · English. Film details · Poster source. Artwork © its respective rights holders.
A worn-out man, a pregnancy in an infertile world, and some remarkable long takes. The direction makes the danger feel immediate.
— Desly