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Banks realises the "weapon" is their language, which changes humans' linear perception of time, allowing them to experience "memories" of future events.
Banks's visions of her daughter, Hannah, are revealed to actually be premonitions ; her daughter will not be born until some time in the future.
She has a premonition of a United Nations event celebrating newfound unity following the alien arrival, in which Shang thanks her for having persuaded him to stop the attack by calling his private number and reciting his wife's dying words: "War doesn't make winners, only widows.
In the present, Banks steals CIA agent Halpern's satellite phone, a rarity when phones have been confiscated on the base, and calls Shang's number to recite the words.
The Chinese announce that they are standing down and release their twelfth piece of the message. The other countries follow suit, and the twelve craft depart.
During the evacuation of the camp, Donnelly expresses his love for Banks. They talk about life choices and whether he would change them if he could see the future.
Banks knows that she will agree to have a child with him despite knowing their fate: that Hannah will die from an incurable disease, and Donnelly will leave them after she reveals that she knew this.
Arrival is based on the Nebula-winning science fiction novella, " Story of Your Life " by Ted Chiang , written in As with the film, "Story of Your Life" involves Earth's first communication with heptapods who speak in a cryptic language.
Screenwriter Eric Heisserer had been introduced to the story through another of Chiang's stories, " Understand ", and had begun reading through Chiang's collected works when "Story of Your Life" had a "profound emotional effect" on him.
As a result, he decided to try and adapt the story into a film script as he wanted to share it with a wider audience. Shawn Levy of 21 Laps said they had become aware of "Story of Your Life" around and considered it a powerful work; and when they learned of Heisserer's script adaption, started working closely with him, helping him refine the script before they began seeking a director and distribution studio.
One of the directors that 21 Laps approached was Denis Villeneuve. Villeneuve had wanted to make a science fiction film for some time, although he "never found the right thing".
Heisserer had made several changes from "Story of Your Life" between writing his original screenplays and the final script, the main one being that, the heptapods actually arrived on Earth in a type of first contact situation, as he felt this helped to create the tension and conflict needed for a film.
But after the release of Interstellar in , Heisserer and Villeneuve agreed that this would not work, and decided that the heptapods' gift would be what was "there in front of us … the power of their language".
Amy Adams entered negotiations to star in the film in April , [16] and would be confirmed by the time Jeremy Renner joined the film in March Principal photography lasted for 56 days, beginning on June 7, , after Renner had fulfilled his obligations to Captain America: Civil War.
Bradford Young was sought out by Villeneuve as he was looking for a cinematographer with a sensibility towards natural lighting. Said Villeneuve: "I wanted the movie to have strong roots in realism.
I wanted a cinematographer who would not be afraid to deal with intimacy. Young stated "I went for cooler colors when I wanted Amy to feel worn down.
We tried to pull back on that a little bit, but then Denis stopped me in the [color timing] and told me not to be so concerned about skin tone and let her be pasty, let her exist in that melancholy space, let us feel that visually.
Additionally, Young looked towards the book Speedway by photographer Martina Hoogland Ivanow as a reference for the look of the film.
Production designer Patrice Vermette discussed the film in a February interview with Popular Mechanics , stating that a big influence on the look of the film was the works of artist James Turrell , particularly the design of the meeting room aboard the alien craft.
That big screen was always there in the script, and I used it as an element to unite Louise's world. For me, that big screen is more than a screen—that room, which they called in the script 'the interview room,' is a classroom.
That big white screen, [you see it] represented in Louise's house with the big window. You also see it in her school, in her classroom.
Rodeo FX completed 60 visual shots for the film, and stated that the biggest challenge for them was the sequence in which Louise and Ian first enter the alien craft.
Both the book and the screenwriting required the invention of a form of alien linguistics which recurs in the plot.
The film uses a script designed by the artist Martine Bertrand wife of the production designer Patrice Vermette , based on scriptwriter Heisserer's original concept.
Computer scientists Stephen and Christopher Wolfram analyzed it to provide the basis for Banks's work in the film. Lisa Travis was consulted for set design during the construction of the scientist's workplaces.
Jessica Coon , a Canada Research Chair in Syntax and Indigenous Languages, was consulted for her linguistics expertise during review of the script.
He developed one of the main themes in the first week using vocals and experimental piano loops. Max Richter 's pre-existing piece " On the Nature of Daylight " is featured in the film's opening and closing scenes.
A teaser trailer was released in August , followed the next week by the first official trailer. The inaccuracy angered Hong Kong social media users.
The posters were withdrawn and a statement attributed the inaccuracy to a third-party vendor. The website's critical consensus reads, " Arrival delivers a must-see experience for fans of thinking person's sci-fi that anchors its heady themes with genuinely affecting emotion and a terrific performance from Amy Adams.
Robbie Collin of The Telegraph praised the film, calling it: "introspective, philosophical and existentially inclined—yet [it] unfolds in an unwavering tenor of chest-tightening excitement.
And there is a mid-film revelation—less a sudden twist than sleek unwinding of everything you think you know—that feels, when it hits you, like your seat is tipping back.
For the most part, it succeeds. Conversely, Forrest Wickman of Slate had a more mixed opinion of the film, praising the cinematography and musical score, but stating that he thought it was similar to Christopher Nolan 's "only intermittently stellar" Interstellar , and criticising the dialogue as "clunky".
The Guardian rated it as the third-best film of David Adger , a linguist professor who teaches at Queen Mary University of London had a favourable view of the accuracy of the linguistics in Arrival , saying that "the portrayal of trying different hypotheses about the language, coming up with generalizations, and testing them out was spot on.
Similarly, Jessica Coon , a linguistic professor who teaches at McGill University and helped with the film's linguistics stated that "what the film gets exactly right is both the interactive nature but also that you really have to start small.
Linguistics professor Betty Birner , who teaches at Northern Illinois University , said that the film's use of the Sapir—Whorf hypothesis went "beyond anything that is plausible".
She also felt the film oversimplified the process of translating the aliens' language, skipping straight from Banks establishing the basic vocabulary of the language, to her being able to understand abstract concepts such as "weapon".
Arrival received numerous awards and nominations. From Wikipedia, the free encyclopedia. Not to be confused with The Arrival film. Theatrical release poster.
Roadshow Films. Entertainment One. Paramount Pictures. Release date. Running time. Main article: List of accolades received by Arrival.
British Board of Film Classification. September 19, Archived from the original on September 21, Retrieved September 19, Los Angeles Times.
Archived from the original on May 7, Retrieved April 17, Box Office Mojo. Archived from the original on July 20, Retrieved July 16, CBS Interactive.
Archived from the original on July 29, Retrieved July 31, Deadline Hollywood. Archived from the original on December 22, Retrieved December 8, The Hollywood Reporter.
December 12, Archived from the original on December 13, Retrieved December 12, Science Fiction Awards Database. Archived from the original on May 23, Retrieved May 24, World Science Fiction Society.
Archived from the original on August 11, Retrieved August 12, November 27, Archived from the original on February 1, Retrieved January 30, Script Slug.
Archived PDF from the original on September 28, Retrieved September 28, Archived from the original on March 4, Retrieved March 3, The Wall Street Journal.
Archived from the original on November 8, Retrieved November 8, Awards Daily. November 29, Retrieved March 4, Archived from the original on November 5, Retrieved November 5, Archived from the original on February 18, Retrieved February 18, Archived from the original on November 2, Retrieved April 18, Archived from the original on March 29, Retrieved March 8, Archived from the original on June 16, Retrieved June 9, Archived from the original on June 18, Retrieved June 20, Jessica Coon on Villeneuve's "Arrival " ".
Archived from the original on November 12, Retrieved November 11, November 8, Archived from the original on August 22, Retrieved September 18, La Terre de chez nous in French.
British Cinematographer. Archived from the original on March 18, Retrieved March 18, Montreal Gazette.
February 24, Archived from the original on April 1, Retrieved April 1, Archived from the original on May 13, Retrieved April 24, Nel frattempo, in una prigione, cinque persone lottano per sopravvivere Reduce dall'ennesimo provino andato male, un'aspirante attrice, di pessimo umore, riceve la visita del fattorino che le vuole consegnare una pizza che lei non ha ordinato.
La ragazza lo caccia in malo modo e si fa un bagno. Arrival offre una visione inconsueta alle tematiche relative agli alieni proponendo un approccio molto spirituale tra gli esseri umani e le misteriose creature.
Scienze e fiction nel film di Villeneuve sugli schermi mondiali per celebrare un arrivo, gli arrivi alieni.
Un viaggio introspettivo, la paura del diverso, la mancanza di comunicazione, l'accettazione stessa della bellezza della vita nella propria finitudine: temi sapientemente orchestrati a comporre un film di grande respiro, sapientemente dosato.
Il ritmo lento del film ben si adatta alle atmosfere richiamando un grande filone di fantascienza che combattimenti, marvel e frenetici effetti speciali avevano [ Arrival entra di diritto tra i migliori film di fantascienza mai girati.
La prima parte ricorda molto da vicino "Incontri ravvicinati del terzo tipo", creando un'atmosfera di mistero e curiosita' molto intensa.
Poi prosegue sviluppando concetti spazio temporali innovativi Interstellar. Per poi concludere dando risposte filosofiche universali odissea nello spazio.
Il film "Arrival" si ispira fortemente al racconto "Storie della tua vita" di Ted Chang del , pubblicato in Italia nel Non sono riuscito ad arrivare al finale.
L'ampio uso delle voci dei telegiornali fa pensare ad un espediente per non spendere soldi, occultando l' azione dietro a semplici annunci parlati.
Gli alieni sono di nuovo tra noi. Resta da capire se sono dei bulli assetati di sangue come dice Emmerich, oppure se somigliano ai simpatici ET in stile Spielberg.
O magari niente di tutto questo. Gli adepti della fantascienza tutta action se lo scordino, ma per tutti gli altri un film da non perdere!
Non in senso adrenalinico da mangarsi le unghie, ma nel senso dei contenuti e dei significati che come in un puzzle si svelano completamente solo alla fine.
E se invece il genere umano fosse soltanto vittima del suo egocentrismo? Se invece la natura della razza umana fosse irrimediabilmente [ Opera ambiziosa ed originale del regista Denise Villeneuve.
Sulla Terra approdano dodici navi aliene in attesa di un contatto, per cui viene reclutata dall'esercito degli Stati Uniti la linguista di fama mondiale Louise Banks insieme al fisico Ian Donnelly allo scopo di decifrare le intenzioni degli alieni una volta penetrati all'interno del loro monumentale monolite.
Viene sempre da sorridere quando i film di fantascienza vengono definiti "derivativi". Si tratta di un codice dell'immaginario che prevede una tipologia di destinatari competenti e appassionati, per i quali vige da sempre una sorta di standard precedente, un canone che alcuni film definiscono e che, negli anni successivi, deve essere rispettato fino a che un nuovo paradigma non si afferma.
Il fatto che una manciata di capolavori abbia modificato la percezione comune della fantascienza non significa che tutti gli altri prodotti che se ne nutrono - appunto come si fa con un modello letterario - siano da considerare di second'ordine.
Del resto, nessuno lo ha pensato di fronte al caso Stranger Things di Netflix, che pur sembra non possedere nemmeno un'inquadratura totalmente "indipendente" dall'immaginario anni Ottanta che cita.
Denis Villeneuve ci riporta al cinema in un viaggio celestiale e drammatico avvicinandosi per la prima volta alla fantascienza mentre si attende impazienti il suo Blade Runner con Arrival , il film presentato alla Mostra del Cinema di Venezia.
L'indagine di natura filosofica attraverso lo "schermo d'argento" utilizza il genere fantascientifico ma ben poche volte ha saputo essere denso e profondo.
Sul pianeta Terra compaiono 12 astronavi misteriose, l'esperta di linguaggio Louise Banks Amy Adams viene chiamata insieme al fisico teorico Ian Donnelly Jeremy Renner ad analizzare questi alieni e cercare un contatto cercando di tradurre il loro linguaggio.
Quest'ultimo lavoro di Denis Villeneuve rimanda a diversi capolavori del genere fantascientifico, partendo da Arrival , attraverso delle parole-chiave o elementi tratti dal film, ripercorreremo una piccola lista di capisaldi di questo genere intramontabile.
Dodici immense astronavi atterrano in altrettanti punti del nostro pianeta. Potrebbe essere l'inizio di uno di quegli innumerevoli film di invasione tutti figli della Guerra dei mondi a cui ci ha abituato il cinema di fantascienza.
Che intreccia segnali di sicuro richiamo come navi spaziali e intelligenze aliene [ Un faro sperduto nelle acque della Tasmania contro 12 astronavi aliene che atterrano in diversi punti del globo.
Un gran melodramma all'antica, tutto onde del destino e peccati incancellabili, contro un film di fantascienza tanto concettuale quanto spettacolare.
Due film diversissimi ma curiosamente uniti da una serie di punti in comune, come la presenza decisiva di una bambina e il tema labirintico [ L'avremmo capito subito, anche senza le note dell'ufficio stampa.
Chi sono, cosa vogliono? I governi terrestri sembrano impazziti mentre ovunque si scatena il caos: coprifuoco, emergenza, leggi speciali, saccheggi, violenze.
Nello spielberghiano Incontri ravvicinati del terzo tipo - ispirato al testo di J. Allen Hynek che nel aveva stilato un sistema di classificazione degli avvistamenti Ufo - la comunicazione con gli extraterrestri passava attraverso la decifrazione di una sequenza di cinque note; in Arrival di Denis Villeneuve, sceneggiato da Eric Heissener sulla base del racconto Story of Your Life di Ted [ Dodici astronavi extraterrestri appaiono in altrettanti luoghi del mondo.
La linguista Louise Amy Adams viene incaricata di entrare in contatto con gli alieni e capirne le intenzioni. Operazione complessa.
Che pizza pretenziosa questo sci-fi, politico e filosofico, che sembra diretto da Malick. Ovviamente, osannato dalla critica. Dopo decenni di battaglie sul grande schermo tra esseri umani e alieni, Arrival risponde alla domanda che lo spettatore si fa da sempre: e se stavolta, al posto di sparare, provassimo a parlare con gli extraterrestri?
Diretto nel da Denis Villeneuve [ Chi abita le dodici astronavi a forma di guscio apparse improvvisamente [ Film in streaming Amazon Prime Video Netflix.
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