“Bunker”
(France/Spain)
Screened at the 62nd Chicago International Film Festival (4+/5)
Letterboxd (4.5/5), Imdb.com (9/10), TMDB.com (9/10), Imdb.com critics review
#BrentMarchant #Bunker #ChiFilmFest #JavierBardem #PenélopeCruz #PaulDano #London #architect #billionaire #Hawaii #comicrelief #paranoia #environmentaldecline #willfulseclusion #gentrification #danger #safety #obsession #bookeditor #thriller #Madrid #securitysystem #maritalproblems #suspicion #affair #separation #mistrust #geopoliticalconflict #fear #financialcollapse #socialupheaval #personalturmoil
In a world where danger is perceived to be lurking around every corner, it’s indeed possible to become preoccupied about our safety and well-being, especially if we’ve got much to lose and feel that we must resort to extraordinary measures to protect ourselves. But, while it’s true that there are hazards to be aware of, is this paranoic obsession healthy? And what impact might such an attitude have on our lives, particularly the enjoyment and fulfillment of our existence? Those are questions posed to award-winning architect Miguel Moreno (Javier Bardem) and his wife, book editor Sofia (Penélope Cruz), in this psychological and metaphorical thriller from writer-director Florian Zeller. Originally from Madrid, the couple and their two daughters now live in a luxurious home in a London neighborhood undergoing ongoing but incomplete gentrification, conditions that prompt them to be cautious about security. But, as becomes apparent, for Miguel, this mindset is about more than just protecting his family and property. He quietly worries about many things, and this outlook even becomes ironically reflected in his work when he’s offered a lucrative opportunity to design a luxury bunker for an enigmatic billionaire, Andrew (Paul Dano), in Hawaii. It’s a project that would take Miguel away from his home and family for a lengthy absence, one of the considerations that’s left him on the fence about accepting the contract, but he won’t summarily turn it down, either. This prospect troubles Sofia, both in principle and practically speaking, given that it would add to their growing marital problems, such as Miguel’s suspicion that his wife is having an affair with one of her authors (Patrick Schwarzenegger). Can their relationship survive these pressures philosophically and logistically, or are they headed for separation? But what’s even more concerning is how would they respond to their circumstances if Miguel’s fears actually come true? What would they do then? Would any amount of willful seclusion be of any legitimate help? Indeed, can life itself become a form of self-imposed bunker as a result of overblown, even erroneously imagined mistrust of virtually everything? Those are serious concerns for getting on in the world these days without its threats from environmental decline, geopolitical conflicts, financial collapse, social upheaval and personal turmoil. But is living in constant fear of them a workable answer by locking ourselves away or installing ultrasensitive security systems? “Bunker” addresses this matter from a variety of angles, including personally, professionally and hypothetically, giving each of us much to think about. As the narrative plays out, the picture starts down an array of different paths that may lead viewers to wonder where the story is headed, but all of these threads fundamentally carry the same underlying themes, and they all ultimately connect, even if that’s not readily apparent as the picture unfolds. This enables the emergence of an extremely smart, meticulously coherent whole, one of the more insightful releases of the year. Add to that the fine performances and remarkable onscreen chemistry of real life husband and wife Bardem and Cruz, as well as some extremely clever strategically placed comic relief (showing how this is a scenario that may at times be best laughed off), and viewers have got a very complete cinematic package in which to become immersed. Some viewers have been highly critical of this offering, but I would suspect that such an assessment comes from insufficient attention. Given the nature of this release, “Bunker” is not the kind of film that can be viewed casually (you’ll miss out on a lot if you look at it that way). Even though this offering is not slated for general release until early 2027, audiences looking for thoughtful substance from their viewing fare should sincerely give this one a serious look, especially if one believes that withdrawing and locking oneself away from everyday life is the answer.