TonHis brave German science fiction novel directed by director Daniel Raboldt and funded by Kickstarter has obvious whispers quiet place, And Luc Besson’s film “The Last Battle” with almost no dialogue. Happened in the future of a war with machines, its purist approach posed some storytelling challenges, making its two protagonists sometimes gesture to each other, as if in a post-apocalyptic guessing game.
Tomasz (Stefan Ebel) is a survivor of the human-machine conflict, in this conflict, the latter is definitely the most important. He huddled in an abandoned house in the wilderness and built an external force field to protect himself. After finishing, there is nothing to do except get excited about a strange blue anesthetic. But one day while checking his generator, he was blocked by Lilja (Siri Nase), a vicious woman with a pair of Uggs (like cockroaches, seemingly able to survive the end of the world). He was tied up and taped when he woke up, and she welded robotic parts frantically, as if she was trying to get rid of their secrets.
The two must keep their heads down to avoid bringing automata. In fact, this seems a bit illogical: Wouldn’t such advanced technology absorb movement or caloric characteristics? Even ignoring this, Raboldt’s visual narrative is not fast enough to take advantage of this self-imposed constraint. Tomasz and Lilja’s goals are often vague. Despite the best efforts of the actors, their inner motivations are still largely closed. Ebel is particularly prone to cartoon-style excessive road signs-although you can’t completely blame him in this case.
Nevertheless, “The New World Order” is still very angry, and combines its digital effects with illusory animation-like composure: the giant three-legged robot looming in the forest landscape is clearly inspired by the 1980s TV series “Tripod”. Although the narrative is muddy, it is effectively constructed to its climax. The deployment here is definitely sufficient and it is worth the wait to see what Raboldt can do with a larger budget.
