Sometimes when you look out of an airplane window during a long-haul flight you get a view like the God’s-eye imagery that occasionally punctuates Argentinian filmmaker Juan Cabral’s intriguing debut: a dark, curved horizon rimmed with the glimmer of a new dawn. “Two/One,” the celebrated advertising director’s first full-length feature, seems born of this lofty, sleep-deprived perspective.
Two men, strangers to one another and living on opposites sides of the planet, share a yin-and-yang-like connection through cycles of sleep and wakefulness. But this immaculately built film, is most remarkable for the warm, intensely real-feeling observation of these two different but gently echoing lives. For all the vaguely New-Age-y philosophy that underpins the movie, “Two/One” is lovely to look at, engagingly humane and surprisingly down to earth, at least until Cabral’s script lapses into overdetermination later on and the subtle magic fizzles out in a fog of tediously unanswerable practicalities.
Two men, strangers to one another and living on opposites sides of the planet, share a yin-and-yang-like connection through cycles of sleep and wakefulness. But this immaculately built film, is most remarkable for the warm, intensely real-feeling observation of these two different but gently echoing lives. For all the vaguely New-Age-y philosophy that underpins the movie, “Two/One” is lovely to look at, engagingly humane and surprisingly down to earth, at least until Cabral’s script lapses into overdetermination later on and the subtle magic fizzles out in a fog of tediously unanswerable practicalities.
- 12/8/2019
- by Jessica Kiang
- Variety Film + TV
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