A spontaneous decision to squeeze in one more film at Film Fest Gent made for one of my most enjoyable discoveries of the festival. After watching this B&W German film noir hommage, at a film festival, on a Tuesday afternoon, I jokingly said to my girlfriend (who I had been dragging along from film to film for three days) that she had now officially become a cinephile. Surprisingly however, I seem to be part of a rather small minority that absolutely loved this film, be it amongst those cinephiles or more casual movie go-ers.
In my opinion, Die Theorie von Allem wonderfully combines influences from many different genres to become something entirely new and exciting in its own right. The film most obviously borrows elements from film noir for most of its runtime (both in terms of plot and aesthetics), before giving way to a more surreal, almost Lynchian atmosphere in its final act. There was just so much to like for me in this film, from the many noir references to the gripping sequence where the protagonist literally goes through the rabbit hole, but the one thing that stood out to me was the absolutely gorgeous B&W cinematography. Filming this in black and white was an obvious stylistic choice to fit the typical noir material, but it also turned out to be surprisingly well suited to the decor of the film. The B&W shots of the stunning Alpine landscapes offer an original, mysterious and equally ravishing perspective on the imposing beauty of those high Swiss mountains. From the first shot of the film (after a short prologue in color), with a completely black background and more and more small flakes of snow slowly falling down the screen, I was completely hooked.
In short: Die Theorie von Allem starts off as a pitch perfect film noir hommage set in the Swiss Alps, gradually mixes in some classic Hitchcock thriller elements, before ultimately slipping out of our reach like an elusive Tarkovsky dream. By the end it's more Meshes of the Afternoon or The Mirror than The Third Man or Vertigo (it's certainly no coincidence that the film is preceded by a quote from avant-garde legend Maya Deren about myths, fact and fiction). Given that I love all of these influences, I guess I was the perfect target audience for this film, which did effectively make for an immensely satisfying experience watching it on the big screen at Film Fest Gent. The odds are pretty big that I'll be rewatching this on some dark and cold winter evening to soak in its dreamlike atmosphere and take in its beautiful imagery once more.
