The “Exit Plan” has been recovered from “Suicide Tourist” for release in the United States, and the original Monica must have been Panchia, the new one possibly disguised as a more humble and obscure film that could in most cases create an interesting basis.
A second feature collaboration between director Jonas Alexander Arnabi and writer Rasmus Birch, it combines elements of another magical, aesthetically pleasing style – this time more grace-science than the over-horror of 2014’s Animal Dream. Fi. Again, however, the Danish pair seems to be more interested in rusty atmospheres and idiosyncratic descriptions than descriptive cognitive or psychological depth. Committed to a mysterious, isolated resort to self-help as a final sick person starring Nikolaj Coster-Waldo, it is a handsome, well-acting cipher that presents joy as well as a high-puzzle kind of frustration designed to disappear. Screen Media is launching it in VOD and theaters available June 12.
The “Game of Thrones” actor shows off his good looks through a Milky Way spectacle, ‘Stitch and Carriage as Max, an insurance adjuster whose life is intertwined with the excitement of his marriage to Lorte (Tuva Novotti). It is her unfortunate duty to act in such a way that her husband’s policy cannot be settled unless there is an agency to prove her death. It was during this uncomfortable exchange that he collapsed, soon discovering the cause of an incurable brain tumor.
When the same woman asked for another meeting, Max was told in her expectation that she had discovered an alternative to a slow, painful death: she had received from her husband “Aurora”, a forgotten suicide note video via a secret, deluxe final destination hotel for those who (Considered Precious Expensive) Wants their deaths to be pleasant, nonviolent and managed by professionals. After several inexperienced failures for self-destruction, Max duly applied for a berth there. Then, unaware of his decision, he turned to the intricate private transport that eventually led him to this remote place with the promised “beautiful outcome” in the mountains of some northwest.
All glass, steel and concrete, the impressively smooth facility is designed to meet the needs of every parting-wish, although the way they meet them is a little disgusting – involving drugs, advanced technology, and even some supernatural hoodoo. With the suggestion that there are some naughty behind the scenes of tasteful hedonism, the stage is set for a dazzling revelation here, a gorgeous leap, a spiritual awakening, perhaps all of the above.
But the “exit plan” never promises in any particular way. It doesn’t even turn into a thriller at once, as Max decides he wants to get out of this opportunity rather than his life and sees that the escape has failed. Although Coster-Waldo has borne the brunt of the film, it does not give us such a dimensional understanding of his choice to die luxuriously alone with his loving wife – or why he suddenly reverses that decision. Robert Aramayo, Lauren Hilton, and others have starred fellow Dummed Patrons offer but they and more obvious staffers (including John Bjoyet, Salbozrog Hodgefeld, and Kate Ashfield) act as window dressers who do more of their own living and supporting plot work. .
The elements here, at least in terms of “guests” “striped pajamas (a somewhat densely redefined camp), mean that the narrative is meant not as a literal, but as a metaphor. However, much of the meaning surrendered is very cloudy and mysterious. (Not helping Mickel Hess’s original score, whose pulsating child’s piano-practice theme reduces fatal tomorrow))
The “exit plan” isn’t dull, but as you begin to lose patience realizing it will actually be opposed to going anywhere. Presumably, before the script calls for the release of the random note, the reality / maya turns into the opposite shape which is not at all upsetting.
The marital chemistry between Coaster-Waldo and the Swedish star Novotny (“Annihilation”) makes the film a center of emotional gravity and casts a certain spell on its physical entanglement. DP Niels Thastum’s wide-screen essays, production designer Simon Gray Rooney’s Silent Future, and arrest locations create “exit plans” that look not only terrifying, but also intelligent – no need to show any gratitude for its slightly surreal institutional environment. But while it does work to a degree as an offbeat mood piece and interesting Izbet d’Art, this cryptic story ultimately leaves the impression of being an inviting package with little clear content inside.