There are currently two products in the science fiction industry (folders and streaming) that have received widespread criticism from the public and critics. In countless cases where we question the originality that reigns in debates and roles in Hollywood, often directors choose to borrow certain elements that are revisited to form them into a new vision from which an original concept emerges.
Because these directors don’t have a reputation for mastering Tarantino rehashes or understand the media powers of an era like George Lucas, but they’ve shown this year as an example of how certain recycled concepts can be functional.
I’ve said here how well Gareth Edwards did this in The Creator. Despite the foreshadowing that can be attached to it and the very forced ending, the sci-fi epic contains some of the best visual moments of this 2023, a high-voltage impression and copies – the home of The Terminator and Apocalypse Now, bringing back the time extravaganza. in commercial cinema of this genre.
But when it comes to his servant, there is another belt of a genre that once turned to reality, and which has similarly confirmed its famous references to sci-fi cinema and classic terror (Invasion of the Body Snatchers, Signs, “Fire in Sy, War of Worlds, Alien) to create an adventure that plays out interesting social analogies, as well as some very effective horror scenes that bring back memories of the horror of youth in the 80s.
Directed by Brian Duffield (who gave us an excellent guide to Love and Monsters), Nobody Can Save You tells the story of a lonely teenager, marginalized by his community, who must face an invasion of aliens seeking to replace humans for a “better” version of them.
The narrative meanings that expand the belt should be immediately noted; The first, which does not contain any dialogue, gives the director a broader idea of how to structure the characters, but above all the mysterious social situation in which the main character lives, parts of simple images, the sounds of the gang, the environment. and an atmosphere that gradually becomes gloomy again, in clear analogy with the psyche of the heroine, who prefers to live in an “ideal world” and not accept reality or the consequences of her actions. This desmoronamiento of “his world” will begin to materialize along with the alien legend, another great narrative asset, thanks to Duffield’s showing no mercy in the opening act, quickly building up his hilarity and opening up through superb editing, sound effects and visuals, rewarding an environment that can produce many horrifying scenes, including many memorable ones within similar gruesome exercises.
Unfortunately, with a first act that reveals astonishing perfection, the film is far from perfect, thanks in large part to the secondary conflict that was welcome in the middle, a “Mi Pobre Angelito” type that reverses the horrors. The spread of the creatures is very dark, but on top of everything there is an illogical intrigue around how the girl (given certain violent tendencies) can exterminate even aliens such as the Predator. It’s clear that Duffield (a lover of monster art) wanted to focus more on the structure, reasons and motivations for the invasion, but ultimately it seems like he had worse choices in terms of the design of these elements.
The belt, which stands out a little from the general garbage, looks like an easy trick below the manga in its climax, round and final. Duffield keeps in suspense the mysterious social situation enveloping his heroine, which will literally unfold within his psyche, so that the viewer can provide clues not only to his damaged emotional state, but also to the analogy – the metaphor of the belt and the intrusion.
It is satisfying that the replacement of the human race with a part of the invaders has a common denominator with the emotions and desires of the protagonist, so that through a decent kidnapping sequence the director stabilizes the final part of the ambas “razas”. This reasoned decision is not forced at any point, which confirms the tragic disease of humanity, but not trust. Themes such as hypocrisy, violence, mental problems and the modeling of an optimal world by part of society are explored superficially, but very functionally within the goal of the director’s vision creating an “ideal” utopian society as written individually about the protagonist.
Kaitlyn Dever’s performance is excellent and, like her direction and dialogue delivery, she delivers a good dramatic story, expressing desperation and hopelessness through her unique facial expressions and physical desperation. The soundtrack also seems to be highlighted, with its sound effects and photography instilling a very high level of terror in the viewer, especially in the first act.
Where many have failed, Duffield has succeeded in turning an argumentative base that you chew and process into a worthwhile, entertaining, and reusable edible product. Enjoy it on Star Plus.
Tags: Brian DuffieldKaitlyn DeverNady can save youNo one can save you
