by Foster Harlfinger, Contributing Writer
A sprawling fantasy romance may seem like a peculiar followup to George Miller’s Mad Max: Fury Road, but then you remember that beyond the Mad Max franchise, Miller is responsible for such films as The Witches of Eastwick, Babe: Pig in the City, and Happy Feet. Miller remains one of the most creatively exciting and unpredictable voices in Hollywood, and Three Thousand Years of Longing is perhaps the most unique entry in his varied filmography thus far.
Based on a short story by English novelist A. S. Byatt, Three Thousand Years tells the story of Alithea Binnie, a quirky narratologist portrayed by Tilda Swinton (because who else would you hire to portray a character described as a “quirky narratologist”?), whose life takes an unexpected, fantastical turn. Shortly after delivering her latest academic lecture in Istanbul, Alithea unintentionally summons a mystical, wish-granting Djinn (Idris Elba). However, rather than cash in her customary three wishes in exchange for his freedom, Alithea strikes up a conversation with the Djinn whose wide-ranging stories provide the basis for the film’s alluring title.
Despite a noticeable lack of action from Miller, the first two thirds of Three Thousand Years contain some of the most brilliantly imaginative and affecting scenes of the year. Swinton and Elba work magic together, and Miller’s genuinely novel integration of computer-generated effects makes for a hypnotizing ride. It is unfortunate, then, that the majority of theater-goers who exit the theater share a somewhat disappointed, “Well, that was interesting,” reaction as the credits roll. For all its creative ingenuity, the final rushed act of Three Thousand Years fails to tie together its themes in a way that will resonate with most audience members.
Three Thousand Years, at its heart, is about the power of storytelling. On one hand, stories can manipulate and entice. On the other, they have the unique power to move and connect individuals from different walks of life. Miller layers this dichotomy throughout every moment of Three Thousand Years, and the film certainly leaves you with much to consider. Depending on the type of movie-goer you are, you might find yourself scoffing at the seemingly out-of-left-turn story beats, or you may delight in the challenge of uncovering the thematic nuances Three Thousand Years has to offer.
In spite of the film’s shaky third act, this wonderful hodge-podge of fantasy, romance, and social commentary is unquestionably worthy of your time. Given how much of the film’s runtime is dedicated to the Djinn’s undeniably compelling stories, the film would have undoubtedly benefited from an extra 20 minutes to further develop the present-day relationship between Alithea and the Djinn. Regardless, the imagination and creativity on display easily makes Three Thousand Years of Longing worth the price of admission, and Miller should be championed for taking such a risk on this highly original film.
Score: 7/10
You can follow Foster Harlfinger on Twitter and Letterboxd