
“Things Will Be Different” focuses primarily on the story of two criminal siblings who time travel to escape punishment, only to be trapped in a farmhouse with remnants of a crime, leading them to believe they’re actors playing a role in a sci-fi reality television show. The film is from first-time feature director Michael Felker who also co-edited together with Rebeca Marques in a nonchronological manner and it covers a variety of genres, combining action, relationship tension, crime, and drama in what is sometimes featured as a 3D-catching experience. It builds an atmosphere within the film as well as character and graphic development. What may appear to be the peak and conclusion of the film turns out to only be a slight diversion as it develops covering the same points multiple times. About fifteen-minute scenes later, it turns into a plot twist again for the jaw to hit the ground again.
Not every element is successful the screenplay is actually the weakest part of the whole film as the visuals, direction, and editing have been quite engaging and entertaining, but perhaps a few too many times the conceptual reset button is pushed which does vary per individual above all else. Yet the most impressive part might just be the flow of time and the order of events, which combined with an overall effective and artistic film creates an unexpected atmospheric experience which is almost always whatever complaints one may have.
Interestingly, this also reflects one of Pedro Almodovar’s principles of cinema, that it should not only flow but also be full of dance. Three “passage of time” montages so rank with the best I’ve seen and strikingly, throughout the cutting have people, not only speed and noise, but stasis and silence. In “Things Will Be Different,” however, there is very little music. About ninety percent of it occurs when there is no dialogue, that is, in any sound that occurs naturally in the locality at that particular time, either in an old, dark basement or in the eerie woods. Movies that do this make you extremely aware of the sound of a single footstep on a floorboard or that of something moving across the cornfield around the farmhouse which is the center of action within the context of the film. Such a main set is so intensely focused upon, and repeated with such purposefulness, that it becomes almost a barren island of earth in the American prairies of that artistic world, which can be literally or metaphorically construed, based on the story. (It’s hard to envision this one having been written as a play instead, in which case the entire narrative shifts in perception).
Perhaps it’s best that you don’t know everything, not just because it’s interesting to see where this leads, but because, at the end of the day, I think the film is more about emotions and rhythms than it is about reason and order. I can tell you that the brother Josef (Adam David Thompson) and sister Sidney (Riley Dandy) come to the house armed with rifles and scare away three men who had been idling out front and that they go into the place to commit an act that is illegal and is also a break of the laws of time and space unless you are Christopher Nolan or Alain Resnais. The idea regarding how this is a crime thriller with these characters using time travel as a form of a cheat code really applies to the first ten minutes, fifteen minutes, maximum. The film turns out to be more complex than that.
While the plot unfolds one can make sense of the relationship of Sidney and Joseph. They are not blood siblings. One is instigated to believe that Sidney is an adoptee who grew up with siblings. However, there is sibling-like energy between them and when they move, one feels as though they are cats raised by the same mother. A cat and its littermate when well fed move well. Both are armed with telescopic sight rifles and are adept with them. This is the crux of the movie and the most critical relationship in the screenplay which helps in carrying the movie through its darker sequences.
Thompson and Dandy shine in their roles both during fight and gunplay scenes as well as when they are simply having a meal or discussing their life. At times, they seem so flawless on screen that I would not even bat an eyelid if the press notes claimed that they were sister and brother. They start speaking before their partner finishes and they both have the same thoughts almost all the time during their quarrels the emotions are so strong that one is likely to shed tears even if it is a drop or two. There is compassion in the touch that is clean and strong at the same time, which in such an energetic musical production is quite miraculous and where one would think a conductor has been directing rather than a director.
There is this common notion that revolves around the fact that cinema is all about the story or its content. “Things Will Be Different” This is an especially pertinent point in the context of character development.” But it’s also about these characters’ feelings when confronted with the reality of the unthinkable and uncanny facts of their situation. The movie feels with them deeply But it also maintains a cool scientific distance, as if it’s a record of an experiment. But it is also made in such a way that it puts the audience in the confusion experienced by the artists.
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