When their relationship turns sour, a couple undergoes a procedure to have each other erased from their memories. But it is only through the process of loss that they discover what they had to begin with.
In a dystopian near future, single people, according to the laws of The City, are taken to The Hotel, where they are obliged to find a romantic partner in forty-five days or are transformed into beasts and sent off into The Woods.
Michael Stone, an author that specializes in customer service, is a man who is unable to interact deeply with other people. His low sensitivity to excitement, and his lack of interest made him a man with a repetitive life on his own perspective. But, when he went on a business trip, he met a stranger - an extraordinary stranger, which slowly became a cure for his negative view on life that possibly will change his mundane life. Written by
The latest of Charlie Kaufmann's demonstrations of the effect of point-of-view on story-telling, Anomalisa takes its place in that magnificent line of works beginning with Being John Malkovich, through Adaptation, Eternal Sunshine of the Spotless Mind, and Synecdoche New York, all works of genius.
Taking its cue from a delusional condition, Kaufmann applies the point of view of a sufferer to an otherwise banal midlife crisis and comes up with a remarkable and completely unexpected way of presenting it to us.
Kaufmann is awesome.
As well as the terrific visuals, courtesy of co-director Duke Johnson and his team, there is yet another bullseye from composer Carter Burwell.
The pace of the movie is leisurely. The material feels unusually stretched for a Kaufmann script, which may be because it apparently started out as a 40 minute work. Really, though, it doesn't matter. I'd rather spend a little too long with Anomalisa than five minutes with several other films I could mention. This, after all, is an amazing piece of art.
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