Sometimes a film transcends its medium, stretching our comprehension of what storytelling can achieve. 'Here', a 2009 film directed by Braden King, does just that. Revolving around the profound journey of an American mapmaker and an Armenian expatriate photographer, the narrative is compact, yet sprawling across emotional landscapes and physical terrains. Set in the breath-taking tapestries of Armenia, this film, released in January 2011 at the Sundance Film Festival, artfully captures not just the stunning interplay of geography and humanity, but opens discussions on what it means to connect, explore, and ultimately, understand our shared human experience.
This film stars Ben Foster as the passionate mapmaker Will Shepard, alongside Lubna Azabal, who delivers a heartfelt performance as the ambivalent photographer Gadarine Nazarian. Their encounter starts a dialogue between two distinct worlds and perspectives. The movie is metaphorically mapped with existential themes that extend beyond the dusty Armenian roads. King, who co-authored the screenplay with Dani Valent, crafts a narrative where the surface exploration mirrors emotional introspection. For both Will and Gadarine, the journey becomes less about roads and more about the serendipitous pursuit of self and mutual understanding.
'Here' is immersive. King and Valent’s story pushes viewers to confront the notion of what it means to find 'home' or 'belonging'. The characters' struggle between staying true to one's own path while grappling with the draw of personal connections and obligations reflects broader societal themes. They represent the tension between the wanderlust of youth and the societal narrative of settling down. This is a theme effortlessly resonating with a generation valuing experiences over static living.
Beyond the intimate love story, 'Here' interacts with the viewer on a political level too. The borders, both geographical and emotional, are essential in understanding the political undertones of identity and globalization. Much like contemporary conversations around the dissolution of hard borders in favor of interconnectedness, this film feels timely. It portrays a world compressing in on itself while individuals search for spaces that allow them to breathe and exist authentically.
However, the film is not loud in its political messaging. King’s style allows space for viewers to project their understanding and conclusions onto the narrative. Surprisingly, the underlying message of human connection and cultural understanding subtly critiques isolationism and xenophobia, embracing a global mindset, typically aligning with more liberal or progressive ideologies.
Critics have noted 'Here' for its meditative pace, which some may argue is a detractor in an era dominated by quick cuts and high-energy storytelling. Nonetheless, its tempo becomes a samba of perfect tension, inviting viewers to slow down and reflect along with the travelers onscreen. Just like with any good piece of art, the lingering shots and expansive landscapes demand patience and mental engagement.
And yet, peeling back layers of this film, there exist arguments against its approach to narrative pace and development. Detractors point to its intentional ambiguity, leaving audiences to debate its merit by the amount of guidance—or the lack thereof—it provides. Some argue that King’s artistic choices may leave certain viewers stranded, seeking clarity or traditional storytelling closure. It is understood, however, that the film’s prowess lies in its provocativeness and the questions it leaves behind.
Despite possible criticisms, the experience 'Here' offers fundamentally speaks to generational shifts seen today. As Gen Z reshapes norms around work-life balances, relationships, and mental health, in turn, redefining community and belonging, this film resonates deeply. The choice versus fate debate encasing Will and Gadarine’s choices looks similar to everyday online discussions among youth who question whether they, too, should take the traditional path or forge their own, unique routes through the map of life.
Cinematically, the film enchants with its visual poetry. The Armenian landscape, captured by cinematographer Lol Crawley, becomes another character. Each visual component complements rather than overwhelms the narrative. It offers a canvas that appeals to the wanderlust residing in many hearts, particularly among a generation preoccupied with global experiences and cultural exchanges.
Ultimately, 'Here' provides more than entertainment; it delivers a subtle nudge to consider introspection amid the noise. It is through films like this where old cinematics interlace with modern ideologies, prompting whether the pursuit of understanding without boundaries can transform rearview mirrors into windows of opportunity. As more young people navigate through uncertain times, films like 'Here' provide a reminder that sometimes, getting lost is just a different way of finding oneself.