by Landon Palmer.
The release of any Terry Gilliam film is a big deal. More so than any living filmmaker of lauded repute, Gilliam’s work has been unusually burdened by outsized circumstances that render it astonishing that he’s even accomplished the work he has, from Universal’s re-cutting of Brazil to his lead actor dying during the production of The Imaginarium of Doctor Parnassus to his doomed “Don Quixote” project, documented in the film Lost in La Mancha. Not since Orson Welles (who famously pursued his own uncompleted Quixote film) has a respected filmmaker had such an endlessly difficult time bringing his ideas to screen.
That makes the announcement of a late summer release date for Gilliam’s newest feature, The Zero Theorem, all the more remarkable. The film looks like prime Gilliam territory, with its dystopic representation of a certain future burdened by blinding consumerism and Kafka-esque bureaucracy reminiscent of the director’s most notorious battle for artistic autonomy, 1985’s Brazil. As notable as Gilliam’s work is for its visual inventiveness, its wry humor and its trenchant political themes, Gilliam’s career is just as famous for the unceasing uphill battle through which his inimitable filmmaking is achieved.
So here’s a bit of free film school (for fans and filmmakers alike) from the only American member of Monty Python who is actually no longer American.
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