![]() I agree the guy in Bokeh was a total twat but it wasn’t his fault that they were in that position, it’s his fault how he reacted to it whereas in passengers it was both. She thought she would wake up hundreds of years later as a young woman on a new plant ready to start her life instead she has to live a lonely, boring existence with food rationed, no books, no people/choice of partner, no career or home or children or pets or whatever it is she wanted from life. I thought passengers was even worse SPOILER because he got accidentally woken up and then CHOSE to wake up an attractive woman to have some company thereby ruining her future. Because that would be a stupid decision to make in that circumstance. I think this is why I preferred that Jennifer Lawrence/Chris Pratt movie where they wake up early from cold sleep (I'll allow the plot device that makes this happen, despite what it says about the characters, because otherwise there isn't enough plot for the movie) - that there's none of that happy ending bullshit with kids and family etc. I watched that movie a while ago - I didn't read any reviews, she was far from a nag or a nuisance - she was the adult for Christs sake (and yes, I felt for her when he ate all the yoghurts).Īm I imagining it, or wasn't there a scene where he wanted to have sex in a field? All I could think in that scene - or possibly some other time it was raised in the movie was 'NOOOOOO' - she couldn't possibly risk getting pregnant, how bloody dangerous that would be, and the idea of leaving your children alone to survive when something inevitably happens to you (since you were raised in easy street, and now everything, anything can kill you). And he had no idea how bad it was until then.Įven in a world empty of people, woman's socialisation kills her. I find this whole concept disturbing, that a woman's valid concerns are completely disregarded by her 'loving' partner to the point that she kills herself. ![]() It wasn't until the end of the movie that I realised it was written in the man's POV all along and he had no idea that his partner/gf was on the brink of utter despair until it was too late. I read a movie review that described the female character as a harpy, nag and nuisance. He sees the future as wide open with possibilities. ![]() (He eats whatever he wants because he feels like it!) ![]() Also for trying to keep their food supplies in good order. He gets annoyed with her for pointing out how futile their lives are on a planet with only two people. He tries to pull her out of her depression while ignoring all her points on why she is sad/worried/scared. Man is excited to be released from the shackles of modern life while still exploiting the benefits of it - free food, goods, home, cars, etc. She is still doing the dishes, though! She's still making the tea of course! On holiday in Iceland.īut the woman is distraught at the loss of friends and family, is going through a religious crisis and is on the brink of major depression. There isn’t another soul, living or dead, to be found.I watched this last night on Netflix and it's been bugging me all night long.Ī couple wake up to an empty world. So are the usually busy streets of Reykjavik. When they both wake up in the morning, the hotel is abandoned. Then one night Jenai gets out of bed, looks at the dancing northern lights out of their hotel-room window, and witnesses a strange, psychedelic burst of light. They check out the country’s majestic geysers and soak in its milky-colored thermal baths while Riley snaps endless photos on his antique Rolleiflex camera. Matt O’Leary and Maika Monroe (who was so fantastic in the low-budget 2015 chiller It Follows) play Riley and Jenai, young lovers vacationing in Iceland. Sadly, it’s also the most interesting element in Geoffrey Orthwein and Andrew Sullivan’s unimaginative and unconvincing apocalypytic drama. “Bokeh,” it turns out, is a semi-obscure photography term that refers to the out-of-focus areas in a picture. That title isn’t some typo or bit of Berlitz gibberish.
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