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Sundance Review: Mike Cahill Follows Up 'Another Earth' With More Insightful Science-Faith Babble In Michael Pitt Vehicle 'I Origins'

Photo of Eric Kohn By Eric Kohn | Indiewire January 24, 2014 at 4:7PM

"I Origins" is like a knock-off of "The X-Files" that grounds its admittedly preachy science-versus-faith battles in subtler moments.
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Writer-director Mike Cahill's 2012 science fiction debut "Another Earth" was a breakout Sundance hit that ultimately irked nearly as many people as it thrilled. Cahill's sappy narrative of soul-searching conundrums revolved around the sudden appearance of a planet identical to our own hanging in the sky, leading to gratingly self-serious conversations about identity and aspirations that held back an undeniably intriguing premise from reaching its full potential. But at its best, "Another Earth" had the appeal of a "Twilight Zone" episode, infusing its ridiculous premise with allegorical depth.

Cahill's far more refined follow-up, "I Origins" is more like a knock-off of "The X-Files" that grounds its admittedly preachy science-versus-faith battles in subtler moments. While still invested in grandiose swipes at big ideas and the epistemological babbling of a late night college dorm room conversation, Cahill generates an authentic sense of mystery by keeping a tighter lid on the secrets of the universe.

Opening with a montage of retinas and the voiceover of its main character, lab researcher Ian Gray (Michael Pit), "I Origins" introduces "the eyes that changed the world." These sophisticated brown-turquoise peepers turned out to belong to Sofi (Astrid Bergés-Frisbey), an exotic foreigner living in New York City whom Ian encounters at a costume party, where only her eyes are visible beneath a mask. After a bathroom quickie, he later tracks the woman down to a subway, where he plays a song off his phone (the awe-inspiring "Dust It Off," by The Do), reminding her of the moment they met. During its first act, "I Origins" shifts between their burgeoning romance and Ian's laboratory research — where, appropriately enough, he studies the evolution of eyeballs, while giving the cold shoulder to research assistant Karen (Brit Marling), a workaholic on the brink of a major discovery.

Ian's commitment to his research makes him the cold skeptic to Sofi's spiritual ponderings, a conflict with relatively simplistic connotations rendered with somewhat amusing results. (After she poetically describes the beauty of a white peacock, Ian points out that its lack of color stems from a genetic phenomenon.) Their exchanges establish a swooning tone that risks going over-the-top but constantly backs up from the ledge before the story takes a dark turn that takes Sofi out of the picture.

It's an effective twist that eventually gives new meaning to his research years down the line, when Ian and Karen — now successful partners still pursuing the eye's many complexities — accidentally come upon a discovery that hints at the possibility of tracking the human soul through its many lifespans. By studying an eye's distinctive characteristics as they're shared by newborns and recently deceased individuals, they begin to ponder the supernatural prospects of shared traits. In other words, "I Origins" is about a scientist pursuing the possibility of reincarnation, though Cahill's screenplay smartly avoids using that term.

By the time it arrives at that point, "I Origins" maintains a moderate sense of intrigue that relies more on understatement than prolonged debate, foregrounding Ian's conflict over his investment in the project and exploring his internal struggles mainly by implication. That's not to say it lacks some annoying "Another Earth"-like stabs at deep thoughts ("It's dangerous to play god," Sofi says when Ian asserts he can create superficial eyes for blind worms), and the whole premise has blatantly silly undertones (especially if one considers why no past researchers could have made these discoveries before). As the plot head into its final act, the scientist's globe-spanning journey strains from a bland quality that favors the unknown over the prospects of a satisfactory resolution, although the eventual outcome is both tender and thoughtfully cryptic.

While not a monumental investigation into the heady concepts at its center, "I Origins" impressively resembles the lyrical investigation into the universe experienced by its characters. Cinematographer Markus Forderer (whose frightening high contrast images were the best thing about the German thriller "Hell") captures the shadowy cityscape to illustrate the impression of Ian's quest getting lost in a much larger puzzle of the monolithic forces around him. Marling is serviceably focused, but Pitt keeps the narrative grounded with grave expressions that never become as overblown as the narrative's grabs at profound themes.

Viewed on its own terms, the movie lacks enough sophistication to make its existential inquiry fully resonate, but it certainly benefits from comparisons to "Another Earth" by showing a more complete effort to sublimate its conceits into the storytelling process. "I Origins" actually shows a considerable attempts to avoid the pratfalls of its predecessor. In one scene, Ian delivers a monologue worthy of eye-rolling dismissal when he talks about losing track of Sofi and says that he feels "painfully vacant." But he doesn't get away with it: "The way you just talked was poetic," his friend replies. "It was, like, weird." In such moments of self-awareness, "I Origins" acknowledges its potential to fall flat and, more often than not, nimbly side-steps the trappings of the material.

Criticwire Grade: B

HOW WILL IT PLAY? Picked up by Fox Searchlight following its Sundance premiere, "I Origins" is likely to perform well in limited release due to its genre hook, particularly if it's released as a form of counter-programming to bigger studio efforts in heat of the summer blockbuster season. 


This article is related to: Reviews, Festivals, I Origins, Mike Cahill, Brit Marling, Science Fiction, Sundance 2014, Sundance Film Festival