Christolph Waltz plays Qohen Leth, a black-clad man in a day-glo world – a loud, irritating future of intrusive technology and automated intimacy. Not that he wants intimacy. He just wants to be left alone at the fire-damaged church he calls home, where he is hoping to receive a phone call that will explain his existence. After a strange encounter with the mysterious Management (Matt Damon) at a party held by his boss (David Thewlis), he is granted his wish to work from home, as long as he works on a hush-hush project, an attempt to assemble a computer model of an insanely complex equation. He makes better progress than most in a task that has driven others to despair, but still begins to lose his mind under the pressure. A therapy programme (Tilda Swinton) proves unhelpful, so sexy Melanie Thierry, as a kind of virtual call girl, and a teenage wizkid (Lucas Hedges), are brought in to keep him working, turning his ordered and isolated life upside down in the process.
Terry Gilliam’s latest is restless in its own skin, feeling like a hugely absurdist science-fiction satire trying to fight its way out of a five-hander play, or an intimate study of modern madness lost in an overactive hyperkinetic playground. The Zero Theorem takes you to the edge of a black hole, and the beach of a tropical island at permanent sunset, but still feels claustrophobic. Where the likes of Minority Report are thematically dystopian, but fetishise the gleaming technology, Gilliam has a cartoonist’s eye for bullshit: the street advertisements in his lousy future address passers-by as the wrong sex, the pizzas sing annoying ditties, and digital communications are a great new way to not listen to each other. As you would expect from this director, the environmental detailing, the sheer visual exuberance, is something to behold. I heard ripples of delight spread around me at the screening from some shots, but this is, essentially, a beautiful boat without a goddamn motor. The earlier, kandy-koloured-Kafka scenes evoke a sense of stress and alienation many people in 2013 will be familiar with, but for the most part Leth’s problems, his goals and desires, are just too abstract and peculiar for easy identification (especially when he’s determinedly throwing off the advances of Thierry). Elements of the OTT visual dynamic obscure the storytelling. Forward momentum drops away, and the suspicion begins to grow that nobody knows where this is going or how to satisfactorily end it. It’s a film with many incidental pleasures, but little purpose. A downbeat, pretty, befuddled mess.
Watch the trailer: