![]() Forced into reoccurring dreams and even delusions of escaping, he’s begun to lose the ability to distinguish actual reality from his perceived reality. His perception of reality is entirely different from what is normally experienced. The caveat is that Frank isn’t a reliable narrator. Likewise, when Frank wakes up in the chamber the viewer is upset with him. When Frank believed he was outside the chamber, so did the viewer. Here it’s established that the story is being told through Frank’s eyes. Shortly after he wakes back up in the infinity chamber, understandably distraught. It’s the same photograph from his dreams in the café. He makes his way to a nearby gas station, but on the wall, he spots it. He narrowly manages to break out and finds his way out of the facility. This goes on for some time until eventually, Frank decides to make an escape. ![]() And he certainly doesn’t receive any answers from Howard, who reveals next to nothing about Frank’s imprisonment, only that he’s here until he’s ‘processed’. But Frank doesn’t ever seem to have the right answer. ![]() He then wakes up in the infinity chamber and Howard lightly interrogates him on what he saw. Arrow), an artificial intelligence assigned to him, an incredible character is developed.įrank has recurring dreams about going to a cafe, meeting a woman named Madeline (Cassandra Clark) and after noticing a photograph of a pine forest on the wall, getting shot and killed. ![]() But as the show goes on Kelly shines as Frank, and through conversations with Howard (Jesse D. The whole “amnesiac wakes up” is a fairly overdone trope, and the lead actor, who’s on screen practically the entire movie, feels slightly unbelievable. Infinity Chamber is the nightmare of Frank (Christopher Soren Kelly), who has been arrested in a dystopian America and imprisoned in a solitary chamber in an attempt to retrieve certain information from his mind. When creating a sci-fi film its all too easy to slip off the slippery slope of originality into a gorge of exhausted movie tropes consisting of heroic sacrifices and deus ex machina. By the same measure, many sci-fi films with ballooned budgets expect the ostentatious visual effects to carry the film, but all the same turn out immemorable and lacking in conveying any real or intriguing theme. Low-budget science-fiction films are notorious for being poorly acted, cliché and forgettable. While Infinity Chamber (2016) and Arrival (2016) are economically disparate, they contain the same themes and implications about time, science and share something that can’t be described-something that defines humanity as a separate entity from our animalistic nature. Recently, two new films have each tampered with time in their own way. The warping of time is something that Nolan does masterfully, which you can read more of here. When watching Christopher Nolan films specifically, the viewer often has to suspend their belief of linear time to understand the story and the message that is conveyed within. Suddenly, chronological order means nothing. Time can become subjective, and allow the viewer to see things in an order that is impossible in the real world. ![]() The concept of non-linear progression is the backbone of film. In cinema, however, those rules don’t apply. Without a linear perception of time humanity would likely change to something completely different. It is what allows us to make sense of events, and what helps us understand what we have done, versus what we need to do. Time is an objective fact within our perception of reality. Like the day they arrived.” -Louise Banks There are days that define your story beyond your life. We are so bound by time, by its order… But now I’m not so sure I believe in beginnings and endings. “I used to think this was the beginning of your story. A still of Christopher Soren Kelly in Infinity Chamber (2016). ![]()
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