CRITIC – Baran Bo Odar and Jantje Friese show, in this series, the journey of immigrants sailing to the new world. a fantastic and intriguing passage during which deaths and unexplained phenomena abound.
IN a single sci-fi saga, Dark, German screenwriters Baran Bo Odar and Jantje Friese are set as the Christopher Nolans of the small screen. In their hands, the concepts of time travel, paradoxes and alternate realities entered a masterful dimension. Quantum physics and philosophy remain at the center of their new proposal for Netflix, between the historical epic and the supernatural. 1899 depicts an Atlantic crossing at the dawn of the 20th centurye century, which turns into a nightmare for wealthy passengers and third-class immigrants en route to New York. Their ship passes through Prometheusghost ship emptied of any survivors.
These eight dense episodes don’t have the pervasive weirdness of Dark. The paranormal goes down with a crash. aesthetic steampunkthe use of anachronistic songs such as psychedelic white rabbit of Jefferson Airplane suggest a spring for it Matrix. Rough and theatrical because of this offshore cam, 1899 hooks curiosity differently. Through her Alice in Wonderland, aka Maura.
The British doctor (Emily Beecham, winner at Cannes) no longer knows what is real or imaginary. In her wake, she drags Daniel (Aneurin Barnard), a mute passenger who emerges from the fog, and the German commander Eyk (Andreas Pietschmann). With Maura, the latter seeks to uncover the mystery of the surrounding fog Prometheus, which disturbs the instruments and sets his vessel in place. Time is running out: deaths and hallucinations multiply on board.
ambitious, 1899 it sometimes lacks fluidity, buried under a perpetual avalanche of twists and turns that erase the rough edges and secrets of each of the characters. It remains a sincere and twilight humanity. As comedian Aneurin Barnard argues, ” 1899 is a psychological thriller that reminds us that in times of trouble, we must reach out to others and seek strength in unity. » The cast of the series reflects the nationalities pushed into exile from the perspective of a new beginning in America: Chinese refugees, Portuguese priest, Polish loggers, Danish farmers. The scenes were a tower of Babel, where each actor spoke his own language. On the French-speaking side, Yann Gael, Jonas Bloquet and Mathilde Ollivier are reunited. Another big challenge, mastering the technology of virtual reality Mandalorian. Everything was reconstructed (starting with the lining) in the studio using a wall of screens on which landscapes and landscapes were projected.
“Our references should be sought more directly Shining and Alien that The Titanic. What happens when the protagonists are trapped in a place with no escape? We design puzzles that keep viewers on their toes. You force them to focus and forget about other screens at home», assures Jantje Friese. Like us blade runner, a bedside film by Baran Bo Odar, memory and its blind spots are the common thread of this plot. How far can you trust your senses and your mind?
No scientific figure or evocation is free. “The date 1899 embodies the passing of the baton and the telescope between the old world of the 19th century.e century and the new XXe », Odar and Friese point out. Who provides it: the main concept is revealed in episode 7. Like the last part, it did not appear in print.
The duo is more talkative about the starting point of this oppressive, often dark odyssey. The accidental discovery of an unusual photo of a man in blood-covered clothes leaning against the railing of a boat. “What had he done?” What are you running from? »asks the duo marked by the migration crisis. “The united Europe we loved is falling apart, they conclude. It made us want to show heroes from across the continent forced to help each other. »