Avalon

This is a stunningly visual film which takes many of the best elements of the minor sub-genre of 1980s and 1990s sci-fi involving virtual reality, and blends them into an interesting story exploring social withdrawal, addiction, the nature of reality, and the value of life. The film does have a bit of new wave pretentiousness to it - using cliché hacker-names for the players of Avalon, etc, but no more so than many of its competitors (and a bit less than The Matrix). If this sort of thing doesn't appeal to you - and especially if you're the type who wants a film to simply entertain and tell you a simple story, don't bother to read any further.

The film uses a story-telling technique common in good literature but unfortunately under-used in film - that of intentional ambiguity. The best example of this is the main character - well played by Malgorzata Foremniak. You simply don't know what to make of "Ash". Though I found it easy to relate to this character, and I think I understand her, I am not sure most viewers will. In my opinion, Ash is best interpreted as a person with an iron-clad grip on reality, who nevertheless maintains a distance from the people around her, and prefers to keep her relationships "in-game". This is not at all an uncommon personality type, especially among women and mature males in the real worlds of virtual reality and on-line gaming.

The film focuses on Ash's ambitions to become the best player of Avalon - an ultra-real and sometimes deadly virtual reality game - in the world. Avalon is illegal and run on LANs which are set up in what looks like futuristic crack houses. To become recognized as the best, Ash has to complete a level which tends to put anybody who enters it into a catatonic state. She comes to believe that an old team mate of hers - Murphy - inhabits that zone, and wants to rescue him. But of course the designers of the game have other plans, and maybe Murphy himself does as well. Foremniak does a great job of playing this ambiguous yet sympathetic character. Ash, the carefully developed script, the excellent soundtrack, and the superb and beautiful visual effects, all keep you guessing until the very end. I never knew what to expect from this film, and I was very pleased by the way it developed its own concepts of logic and justice - remaining centered on Ash throughout.

Avalon was interesting enough for a second and perhaps a third viewing. I will update my review (if needed) after my next round with it. For now, I will only give it a very high recommendation to anybody who has read this far. After all, if you've read this far in the review, you're probably interested enough in the film to see it.

I noticed the movie got rated somewhat better by the younger part of the public and frankly, that doesn't surprise me. You'll have to have played an online shoot-em-up or war game at least once to see why the idea of a gamer making a life of her addiction in a near future isn't such an outlandish idea.

Avalon takes this idea to new extremes, without being cheap or easy and adds a healthy dose of magical realism. The artwork is stunning, the soundtrack very strong (and classical instead of the usual techno), the acting is cool and distant, which is all perfect for the dark setting. Even the choice of Poland as the scenery seems right on.

Why then doesn't this flic deserve a 10? Well, although I liked the story and though it does have depth, it is a bit one-dimensional. The world doesn't seem to harbor more than this one story and that's a shame. The movie could have become a classic with a little bit more background plot. But nonetheless, a must-see.

There is an interesting parallel between The Matrix and Avalon. The first is heavily based on Manga/Animee style, in visual dynamics much more than in pace as well as storytelling, the latter IS an Animee movie without the animations - in fact, Avalon is a VERY typical Oshii film in every other aspect going.

It's slow. It has to be. It either bores you stiff or chains you to a subtle, incredibly intense way of visual storytelling - takes you back to a time when the attention span as well as the will required to catch a drift - to hold a thought and work on it - lived longer than a few seconds.

On the surface, this movie is what one could call a cyberpunk poem. For that alone it already claims a unique position amongst whatever one might want to compare it to at first glance. A chillingly dark and detailed as well as beautifully crafted ballad of a heroine seeking much more than sense between realities and illusions. She seeks the home we all desperately try to cling to in belief for lack of knowledge.

As always in Oshii's movies, one has to be prepared to be drawn into the unsettling realm between suffocating rules of conduct and complete uncertainty to get at the tiny grain of hope hovering so painfully close to the wheels that try to grind you.

The dialogue doesn't tell us much. In fact, the more wordy the explanations get, the more they deflect us from what we see and feel. That's pretty much what Ash has to cope with as well to find the way to HER reality as well as illusion.

To call the acting understated, slow and painfully introverted would be an understatement in itself. To call it bad for that would be the most idiotic conclusion. Malgorzata Foremniak (Ash) is a true discovery. The intensity and sheer impact she can give to 'silence' alone makes her the ideal Oshii actress. There is no empty move, no hollow gesture, no shallow expression in her entire performance. Quite an accomplishment if one keeps in mind that Ash leads a depressingly empty, hollow as well as shallow life on the surface.

It's an equally depressing fact that this incredible Polish actress will stay in obscurity as far as the billion dollar mainstream movie world is concerned.

The cinematography and lighting by Grzegorz Kedzierski is nothing short of exquisite. So is Barbara Novak's production design. Budget-wise, this is a B-Movie, but they all turned that restriction into a virtue.

One last praise has to go to the composer as well as the musicians. The title track 'Avalon' alone, a grand piece for orchestra, choir and soprano, is nothing short of a masterpiece.

As I said, this movie is a poem. Take a quiet place, wind down from the hassle of your day and let yourself sink into illusions which might even show the occasional glint of YOUR reality.

* 10 out of 10

Schogger13

I notice on the rating chart that the younger a person is, the higher this film gets rated. Well, I'm 53 years old and I'm giving it a 9 because it's brilliant. Maybe most "older" people simply aren't intellectually equipped to understand this film's blending of sci-fi, virtual reality, classical mythic archetypes, and terrific film work. Too bad. And I suppose the movie poses a challenge to most Americans with their aversion (provincial fear) of subtitles.

In any case, this is a Japanese production filmed and set in Poland, using Polish actors. And it is strangely wonderful in all respects: story, theme, characters, style, cinematography. It explores a virtual reality, William Gibson sort of story and theme. The protagonist is a young woman named Ash (Malgorzata Foremniak) who dons a headset and plays virtual reality games. And we, the viewers, go inside the games with her. What is real? What is virtual?

The director uses special film stock to get dream-like tones and visuals that will knock you out. In that respect, the images often remind me of early B&W American films. Lovely.

Firstly I was amazed at the effect that this film has on people. After reading other comments here, it does not take long to note that reviewers are either full of praise or downright critical, with little in between. Not many movies are so provocative. I stumbled onto this film late one night at the local video rental and it was like my last option, so I had little or no expectations to be deflated. I was pleasantly surprised. The sombre ambiance of the surroundings (Poland) enchanted me, and the sepia black & white film stock simply added to the mystique of the setting. Indeed I have not experienced such a rich atmosphere in a sci-fi film since Blade Runner!!! The SLIGHTLY low-tech special effects were incredible in that they seemed to add authenticity to the fact that this was a "video game" NOT "reality", unlike a lot of sci-fi where the special effects are merely another prop. The insular existence of the lead character due to her obsession with her virtual world is perhaps very poignant today more than ever with the advent of cyber space, computer games etc and their potential for social alienation. Perhaps the films shortcoming is that it may not appeal to the younger set who have grown up on a heavy diet of Hollywood Blockbusters where there has to be the mandatory car chase and subsequent sex followed by a gratuitous helping of ultra violence, but for me that was part of this very artistic films charm.