Astronaut Sam Bell has a quintessentially personal encounter toward the end of his three-year stint on the Moon, where he, working alongside his computer, GERTY, sends back to Earth parcels of a resource that has helped diminish our planet's power problems.
The world's youngest citizen has just died at 18, and humankind is facing the likelihood of its own extinction. Set in and around a dystopian London fractious with violence and warring nationalistic sects, Children of Men follows the unexpected discovery of a lone pregnant woman and the desperate journey to deliver her to safety and restore faith for a future beyond those presently on Earth. Written by
For the first week of release at Leicester Square, London, there was a mistake on the cinema marquee, declaring the film title to be "Children of Me". See more »
As Theo and Kee ride through the Bexhill Refugee Camp there is graffiti on the wall that reads "Uprising." Above this is an Arabic word that is meant to read "Intifada," Arabic for uprising. However, this word is misspelled. See more »
Day 1,000 of the Siege of Seattle.
The Muslim community demands an end to the Army's occupation of mosques.
The Homeland Security bill is ratified. After eight years, British borders will remain closed. The deportation of illegal immigrants will continue. Good morning. Our lead story.
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At the very end, one can read "Shantih, Shantih, Shantih" with children shouting and laughing on the soundtrack, which can be heard repeatedly throughout the end credits. This is the last line of T.S. Eliot's 1922 poem "The Wasteland." "Shantih" means "peace" in Hindi. See more »
Written and Produced by Aphex Twin (as Richard James)
Performed by Aphex Twin
Published by Chrysalis Music (c) 2001
Used by permission. All rights reserved
Courtesy of London-Sire Records Inc.
By Arrangement with Warner Music Group Film & TV Licensing
(p) 2001 Warp Records Limited
Courtesy of Warp Records See more »
Enthralling, haunting addition to the apocalypse genre
Worthy addition to a very British literary, televisual and cinematic tradition of dystopian and apocalyptic narratives. H.G Wells, John Wyndham, SURVIVORS, 28 DAYS LATER.
These texts are revealing of the times in which they were made. Rather than looking forwards,they re often, at heart, deeply conservative. They frequently express a desire for a world where the centralised, industrial society has broken down entirely, replaced by an agrarian based model comprising small, rural communities. These narratives coincided with the rise in 'alternative ' lifestyles, interest in self sufficiency, organic farming, low technology and a different relationship with the Earth. Nostalgia for a pre Industrial past is more prominent than hope and anticipation of a glorious new future when civilisations been destroyed for a new, better world to emerge.
The grand narratives which we once imagined were going to change and improve the world no longer seem credible. Following the collapse of communism, there's a distrust of ideologies, especially those of the left. Arguably, the left has collapsed in the Western World. Thats the context this film arrives in, one where there seems no meaningfully effective counterbalance to the continued dominance of global capitalism, media saturation and environmental meltdown.
Arguably this film offers some hope but my overall impression is of something a lot bleaker than other apocalypse narratives. Without children there is, literally, no future left. Although emerging from a different context, this film shares with its predecessors a thoroughly revealing indication of the concerns preoccupying the time in which it was made.
Two scenes haunted me. The man in Battersea, isolated with his art collection and the set pieces of the illegal immigrants, rounded up and caged.
The Battersea scene uses its location and choice of Picasso's Gernika painting in the background to make a searing comment on a civilisation which, despite its pretensions to Art and Culture, has managed to engineer its own extinction. A civilisation whose intellectual and cultural elites, instead of challenging the prevailing discourse, isolate themselves, collusive in a form of collective denial.
The illegals scene is composed in such a way as to recreate images from the War on Terror, images which are now iconic. Both scenes link together through use of the painting which is an inspired device. This is definitely a movie to watch and work at. I was also intrigued by the recurring animals, and reminded of Tarkovsky, whose work is consistently loaded with symbolism. The scene at the empty, abandoned school was very reminiscent of the Russian director. Also praiseworthy is the astonishing use of sound, particularly in one of the key scenes when dogs can be heard barking in the distance.
Another haunting image is that of the flowers and wreaths laid very early on, after the youngest person on earth has died. Reminiscent of the mawkishness, sentimentality and mass hysteria of those laying floral tributes to murder victims they never knew, the so called 'Diana effect'. Again, a clear reference to todays world.
This is an outstanding piece of film making, I agree totally with previous reviewers comments, especially regarding the battle scenes, which have an immediacy, bringing to mind COME AND SEE or APOCALYPSE NOW. I ll give the last word to Peter Bradshaw, The Guardian newspapers film critic who called this 'a thinking persons action movie.'
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