| Cast overview, first billed only: | |||
| Tim Robbins | ... | William Geld | |
| Togo Igawa | ... | Driver | |
| Nabil Elouahabi | ... | Vendor | |
| Samantha Morton | ... | Maria Gonzales | |
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Sarah Backhouse | ... | Weather Girl |
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Jonathan Ibbotson | ... | Boxer |
| Natalie Mendoza | ... | Sphinx Receptionist | |
| Om Puri | ... | Bahkland | |
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Emil Marwa | ... | Mohan |
| Nina Fog | ... | Wole | |
| Bruno Lastra | ... | Bikku | |
| Christopher Simpson | ... | Paul | |
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Lien Nguyin | ... | Singer in Nightclub |
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David Fahm | ... | Damian Alekan |
| Jeanne Balibar | ... | Sylvie | |
This movie is a love story set in a Brave New World-type near-future where cities are heavily controlled and only accessible through checkpoints. People cannot travel unless they have "papeles" (papers in Spanish; words and sentences in many languages, especially Spanish, French, and Chinese are mixed with English in this new world), a special travel permit issued by the totalitarian government, the "Sphinx". Outside these cities, the desert has taken over and shanty towns are jammed with non-citizens - people without IDs forced to live primitive lives. William Geld (Tim Robbins) is a family man who works as a government investigator. When he is sent to Shanghai to solve a case of fake IDs, he meets a woman named Maria Gonzales (Samantha Morton). Although he realizes she is behind the forgeries, he cannot help but fall completely in love with her. He hides her crime and they have a wild, passionate affair that can only last as long as his visa: twenty-four hours. Back home, William is...
I loved this film! It was (to my cinematographically uncultured palate, at least) different, and the characters seemed quite unconventional. Rather than just hollow acting, I found Tim Robbins' character to be a mental curve ball, which completely altered the way the film played out. It hinted at the socialisation and culture prevalent at the time.
I also enjoyed the (much-disputed) foreign terms slipped into the conversation - they weren't too frequent, and added a dimension - that there had been purely aesthetic as well as techno/political changes. As English becomes more dominant and other languages in the minority (and therefore more culturally significant), it is likely that foreign terms will be leaked, from the age-old Caucasian tradition of borrowing culture if nothing else.
I also loved the fact that the cityscapes were all filmed to imply the future, rather than CG'd or whatever.
The storyline was innovative, and there were many dead-ends which fleshed out the story and made it less linear. Unlike some, I easily followed the storyline, and I'm rather confused that some people felt that it didn't seem to touch on Code 46 itself much.
Interesting concepts, combined with a sense of triviality surrounding much of the technology, helped to create a more textured world, and while nothing was really explained, the evidence was there for you to draw your own conclusions. If you like thinking, definitely watch this film.
~pr0ph37~