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Exploring different facets of life without memory in a future that has no past, the film tells five interwoven stories in a world where the survivors remain search for meaning and connection in a world without memory after a global neurological epidemic.
It's metaphorical aspects like that, and the striking visuals that delineate the stark contrast between the worlds above and below ground, that make Embers memorable.
Wildly impressive, Claire Carré's science fiction indie, Embers takes visceral cinema with a small budget and colossal imagination to exciting new heights.
While one wishes Carré, who shares screenplay credit with Charles Spano, might have hung those stirring visuals on more involving plotting, "Embers" nevertheless makes a strong, not to mention timely, impression.
Attempts to be a complicated dissection of a possible world not too far ahead of us, but it lacks the imagination to make us soar along with its vision.
Carré succeeds in creating a haunted mood. The mood is so strong, in fact, that it overwhelms any sense of narrative development -- the movie feels a bit like a video-art installation expanded to feature length.
An elegant, brooding drama with a sprawling international cast, the movie presents its haunting premise with barely any explanation, leaving viewers to steadily make sense of the chaos along with the confused protagonists.
Claire Carre's debut feature could be described as a mass-scale Memento, but that thumbnail sketch misses both the pic's impressive conceptual breadth and its numbing dramatic stasis.
Carré weaves from her ensemble amnesi-apocalypse a reflection of the human condition as philosophically compelling as it is emotionally intelligent, while celebrating our species' tenacious resilience...
A lovely meditation on identity and the difficulties of personal connection, Embers is a descendent of Andrei Tarkovsky's Stalker in both tone and mise en scène.