Screenwriter Peter Morgan and director Fernando Meirelles' 360 combines a modern and dynamic roundelay of stories into one, linking characters from different cities and countries in a vivid, suspenseful and deeply moving tale of love in the 21st century. Starting in Vienna, the film beautifully weaves through Paris, London, Bratislava, Rio, Denver and Phoenix into a single, mesmerizing narrative.Written by
360 Films Ltd
360 is the film that "Crash" wanted to be. Unlike the overt manipulations of "Crash", 360 is a slow burn with a deft sleight of hand.
Rather than leading you along with neon coloured sign-posts, lets your mind do a lot of the driving. Shot in a muted, bluish pallet, the gorgeous cinematography captures the attention, while your imagination is allowed to build up steam. It doesn't demand your attention, it flirts with it. I found that refreshing.
The first few plot twists put my brain was on alert, trying to predict where the stories would lead. All the while the tension built, waiting for the axe to fall or the excrement hit the fan.
A few people have complained that 360 was slow and boring and left story lines unfinished. But that is what made it such a good film for me, it took its time and avoided clichés. The characters were neither good nor bad, they simply struggled. Some triumph and some fall, but none are unchanged.
It isn't without faults, nothing with intertwined stories can avoid some contrivance. But it didn't fall prey to the imagined demand of the audience, that everything resolve neatly. Some plots twist and turn until the very end, some evaporate like mist in the light of hearts restored while others end badly.
I can understand how the film's pacing might annoy if you aren't in the mood but if you are prepared to be a bit patient and to do some of the work, 360 is a rare treat.
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