Influenced by elements of the 2011 film "In Time" and 2006's "Children of Men," the dystopian thriller "Paradise" initially presents an intriguing and promising premise. However, despite the wealth of potential inherent in the concept, the film, produced in Germany, falls short of expectations. It delivers a narrative that comes off as sluggish, ponderous, and lacking in clear resolution.
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The film takes its time - approximately forty minutes - setting up the parameters of its near-future universe. It offers viewers a slew of information to make sense of the world the characters inhabit. A significant player in this world is Aeon, a company with a captivating proposition: "Donate your time and start a new life." The premise is that individuals can trade years of their life for substantial monetary compensation, with the given years then converted into a de-ageing serum. Consequently, while the recipient regains youth, the donor ages rapidly, although now with considerable financial resources.
As one might expect, such a contentious process doesn't escape controversy. An opposition group, dubbed the Adam Organisation, rises to challenge Aeon's practices. They accuse them of creating another mechanism that allows the rich to amass more wealth while the less fortunate trade away their life spans for immediate financial gain.
Unfortunately, the film, directed by an undisclosed name, sidesteps the deep exploration of the moral implications of this life-for-money exchange. Several burning questions, such as how a black market doctor procures the serum or the potential ramifications of excessive de-ageing, are posed but left frustratingly unanswered. Instead, the focus of "Paradise" shifts to a simpler narrative, leaving much of its initial potential untapped.
The storyline pivots to Max, a go-getter Aeon employee who suddenly finds himself entangled in an unexpected predicament. When a fire destroys his apartment, Max plunges into a massive 2.5 million euro debt. To compensate for this, his wife Elena is compelled to surrender 38 years of her life. Outraged by this, Max demands justice, setting him on a collision course with Sophie Theissen, the uncompromising CEO of Aeon.
"Paradise" unravels at a leisurely pace, portraying its dystopian world through a muted spectrum of greys and blues. While the narrative does its job, it could have been far more compelling. It tends to stall instead of gaining momentum. This causes audiences to ponder over the plot's shortcomings and inconsistencies in the universe's construction.
Further, the film includes several subplots that seem promising initially but fail to culminate in anything substantial, such as a storyline involving an investigator named Nowak and Sophie's bodyguard. Despite the potential global impact of Aeon's age-for-money scheme, the narrative confines itself to a surprisingly narrow world.
A shift in the film's setting from Berlin to Lithuania midway doesn't serve to enhance the storyline. More scenes take place indoors, and the narrative struggles to balance the personal tale of justice for Max and Elena with the broader mission of the Adam Organisation to dismantle Aeon's operations.
Despite these shortcomings, "Paradise" isn't entirely devoid of merit. It ventures into exploring themes like class, age, and social status, but unfortunately, lacks the nuanced treatment these subjects deserve. Abrupt changes in some characters' moral stances feel forced and out of place. Similarly, the film's antagonists come off as one-dimensional, with their wickedness seemingly dictated solely by the demands of the plot.
In conclusion, while "Paradise" doesn't classify as a bad film, it unfortunately doesn't live up to the potential its premise holds. Borrowing ideas from superior films, it assembles them into a less accomplished and more average product. The film could have been a standout with a few script revisions and a more dynamic pacing. As it stands, "Paradise" is a lengthy engagement that fails to provide viewers with a rewarding cinematic experience.
