Hidden Meaning in Arrival – Earthling Cinema


Greetings, and welcome to Earthling Cinema. I am your host, Garyx Wormuloid. This week’s artifact is Arrival, starring
thirty-eight time Oscar nominee and zero time Oscar winner Amy Adams, long may she reign. The film begins with an adult female taking
care of her young daughter as she dies of one of Earth’s many popular diseases. This adult is Louise, a linguistics professor
at Human University. She’s got a lot of papers to grade, but if
a bunch of military guys show up and ask for her help, sure yeah, the TA can just take
care of it. Which is exactly what happens, on account
of the alien spaceships that have plopped themselves down in different places all over
planet Earth — twelve to be exact, a couple handfuls to be inexact. And because this random teacher is the best
goddamn translator on the planet, it’s up to her to figure out how to communicate with
these a-holes. The “a” stands for “arrival.” Well these arrival-holes are called heptapods
and they look like big seven-fingered hands, or what all hands look like before circumcision. Louise quickly uses her translator powers
to deduce that the heptapod language isn’t spoken, it’s written in circular air tattoos,
duh. But then the army guys tell her she has to
keep doing the translation thing since China is getting antsy and wants to attack the spaceships. So Louise tells the heptapods she’s sick of
doing all this unpaid work, just give her the answers already. They tell her she’s no fun, but ok: the daughter
stuff is from the future, which is crazy because it means Louise isn’t going to age for at
least another ten or twelve years. Turns out the heptabuddies are here to given
humans their language, which has the power to alter time in some magical way that you’ll
just have to go along with. This gift is sort of a “you scratch our giant
hand, we’ll scratch yours” type thing, since in 3000 years they’re gonna need Earth’s help
moving to a new apartment. Louise gets a vision of herself at some kind
of Bar Mitzvah, where the Chinese general is thanking her for stopping his attack on
the spaceship. So she dusts off her old routine of just having
someone else give her all the answers, and he tells her his phone number and exactly
what to say. Back in the present she plugs in all the info
and boom, peace is restored. Ian, the male lead, tells Louise he loves
her in order to justify his presence on the mission. And even though she knows he’s the future
father of her dead daughter and will abandon her to go hang out with the Avengers, she
can’t pass up an opportunity for free sex. Arrival depicts humanity’s response to a profound
paradigm shift, which is also what I call my bowel movements. The heptapod arrival is an unprecedented event,
and the human efforts to apply understood frameworks on the situation are predictably
obtuse for a Class 12 species. The resulting confusion is exemplified visually
when the humans enter the ship and try to throw a rave in a new, gnarlier form of gravity. The film causes viewers to share the characters’
disorientation by manipulating traditional aesthetics and structures of film. The heptapod viewing area is shaped like a
Samsung Galaxy Note screen, or really any screen, a visual motif that serves to remind
us of the way we typically consume media. We expect movies that conform to certain architectures,
such as a linear chronology and straightforward cinematography. And if it’s a big blockbuster, we also expect
Jeremy Renner to show up at some point to grab his check. Arrival gives us more J-Ren than we can handle,
but it also gives us something different — upside down shots, confusing perspectives, and a
timeline that eschews a beginning and an end. This philosophy is embodied in the design
of the heptapod enclosure, which was inspired by John Turrell’s art installation “Breathing
Light”, one of my top five favorite art installations of his. By eliminating depth perception, the work
dislodges the viewer’s preconceptions about his surroundings and lets him just chill out
for once, Karen. Thus, just as the scientists must forego their
usual arsenal of data points, so too must the audience come to terms with the fact that
this is an alien movie without any cool battle scenes. The film suggests that communication is not
only about translation, but also perspective. Initially, the so-called “scientists” try
to understand the literal meaning of the heptapod words using their so-called “logic”. However, these interpretations do more harm
than good because humans process everything through the Instagram filter of their own
experiences. It’s only when Louise becomes fluent in the
heptapod language in about a week and begins to experience time from the heptapod point
of view that she can grasp their purpose. Similarly, as the audience’s preconceptions
dissolve, we realize Louise’s flashbacks were actually flash forwards, causing us to flashback
to when the TV show Lost did it first. The circular heptapod language reflects their view of time, without a beginning or an end, just 100% all-natural, grade-A
middle. Likewise, Louise names her daughter Hannah,
which is a palindrome. It can be read in either direction – from
end to beginning, or future to present. Just like this video, which can be watched
forward or rewound and watched forward again. For Earthling Cinema, I’m Garyx Wormuloid. Goodbye in Chinese.

100 Comments

Add a Comment

Your email address will not be published. Required fields are marked *