The Congress

Ari Folman, the Israeli director and writer of this film, creates one of the most anti-Hollywood and anti-Holocaust films in a while. And when I am saying anti-Holocaust I mean against its use for financial or propaganda purposes, like most Hollywood movies about the subject.

The story is weird, wonderful, but a little (a bit more, actually) confusing. The first half an apocalyptic of cinema's future, the movie continues with a full animated second half in a world where anyone can imagine anything, but produces nothing.

It would be pointless to talk about the story line too much, since at the end of the film I had that dizzy feeling of "what the hell did I just watch?" and that most metaphors just flew around my ears and eyes. Enough to say that the film is really original, well acted, with good production values and fantastic visuals. I just wish I would have understood more of it.

It all revolves around Robin Wright playing... Robin Wright. She first gets scanned so that her persona can be (ab)used by the funny named Miramount studio in any kind of film they choose and 20 years later she is chemically thrown into a world where reality appears as 1930's animation and everything is possible. At this point you realize that the story is not about an actress, or even cinema studios in general, but as everyday people that are actors in their own lives. The metaphors come out pouring in a psychedelic fashion that left me completely confused.

Yes, there are some similarities to the Stanisław Lem book "The Futurological Congress", but one might argue that there were just as many influences from sources like the movie Brazil, or Matrix, or Roger Rabbit, why not? The outcome is not really an adaptation of anything, but a truly original work.

My recommendation is to watch it. After all, nobody fully understands any work of art as the artist intended it. Instead we marvel at their complexity and beauty. And this film has plenty of both.

It's a great allegory about the avatars of ourselves, on the social networks, on the smartphones and ipads. while, in the real world, people are getting poorer each day, wars are declared, people don't have water to survive. But this is mostly about identity. we sell it really easily, we want to be someone else, and someone can profit from that. Robin wright character is very well built, all her pain, her realization of being "old" for the job, the love for the kids.

The problem is that the dialogues are too expositive sometimes, at certain parts it can get confusing it's truth. but it talks about today, it wants to amaze us visually , and makes us think about all the virtual networking we're having now a days. we are selling ourselves each minute on the internet,

Really good stuff, highly recommended.

The movie itself is a metaphor for some of the new trends that are happening around us. It makes a hinted implicit discussion about things like the Internet culture (avatars, virtual life), Intellectual Properties, rights, freedom, terrorism, capitalism, life extension. The movie is deep and few people can really get to the bottom of it and get the messages. My wife for example, got out from the movie unable to explain it. I, on the other hand, thought that the messages in the movie were powerful. It reminded me for moments "Vanilla Sky" and the "Matrix" though a bit different. The animation seems deliberately hand made and old (as Disney's movies) and I believe this is yet another critique about the cutting-edge Pixar computerized movies, made by hundreds of people and co-producers that shape up each character (which is an owned intellectual property). Producing this movie was a bold and brave move – it may get mixed critique from the intelligent, and might be mocked by the superficial crowd, but I say it is brave and brilliant!

This sounds like exactly the type of thing that I love. It's only because of my expectations that I found it somewhat disappointing. Still, it's worth taking a trip into. Wright has recently proved to be in full force (House of Cards) and this is no exception. She's brilliant, and even does wonderful things in the animation section of the film, along with Jon Hamm, who uses his smooth, sexy voice to bring some true wonders to his limited screen time. Overall, the animation section did sort of lose me a bit, especially because I wanted it to go to even better places, but as it is, this is very much worth seeing. Definitely seek it out, even if it's not in Waltz With Bashir's

THE CONGRESS (2014). Director Ari Folman's THE CONGRESS not only uses lead actress Robin Wright's persona, but, in the film her whole acting being is taken over by Hollywood. Director Folman, who made the stunning WALTZ WITH BASHIR (an Oscar nominee), adapts Stanislaw Lem's (Solaris) novel The Futurological Congress by making it fully contemporary. The central idea is that an actor's image can be 'bought out' by Hollywood by digitally scanning them and then do what they want by incorporating that image in any movie or TV show they wish. The actors themselves then are free to "retire". For well over a decade we've seen CGI versions of dead actors placed into movies, TV and commercials - so this isn't so much sci-fi as near-future - or, even, Today what with the de-aging of DeNiro in THE IRISHMAN and Harrison Ford in the current Indy 5.

The key for most viewers is how they view the largely animated second half of the movie where Wright lives out her artificially created being in an advanced hallucinatory Virtual Reality world. I went with it all the way, but Folman's animation style may not be for everyone (as it was with WALTZ). The movie was much better received in Europe than stateside where it was barely released (the reviews were decent). Robin Wright is terrific and brilliant in a similar way to how John Malkovich was in BEING JOHN MALKOVICH - themselves, but, not quite. The supporting cast including Harvey Keitel, Paul Giamatti, Danny Huston and the voice of Jon Hamm is solid. Max Richter's terrific score abets the visuals.

THE CONGRESS is a film which grows in impact as the years roll on, as evidenced now by the twin SAG and WGA strikes where AI has become a sticking point in the negotiations. Reportedly, the Studios asked for permission to allow background actors to work for one day and be scanned for permanent re-use without additional pay or permission. Nine years ago THE CONGRESS was sci-fi, now....????