For a film that takes place entirely within the confines of the main character's computer screen, the Belgian Thomas in Love is amazingly interesting stuff.
Thomas in Love (2001)
Tomatometer
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Reviews Counted:39
Fresh:27
Rotten:12
Average Rating:6.3/10
Consensus: A quirky but amusing social commentary on human disengagement.
Theatrical Release:Aug 3, 2001 Limited
Synopsis:
Our hero appears to be a man with two first names. Thomas Thomas (voiced by Benoit Verhaert) is an acute agoraphobe, with a pathological fear of open spaces and human contact.
The 33-year-old...
Our hero appears to be a man with two first names. Thomas Thomas (voiced by Benoit Verhaert) is an acute agoraphobe, with a pathological fear of open spaces and human contact.
The 33-year-old Thomas hasn't set foot outside his hermetically sealed apartment in eight years---or allowed anyone else to enter. All groceries and other supplies have to be hand-delivered, deposited in an “air lock” between the outer and inner doors.
Luckily, Thomas lives in a futuristic world in which agoraphobic contemporary social trends like media saturation, cyber-cocooning and Internet shopping have been carried to unforeseen extremes. Plugged into his “visiophone” 24 hours a day, Thomas can interact with all the important people in his life, from a safe and sanitary distance.
Thomas is never visible to the audience; we hear his voice, but his point of view is also ours. We see his interlocutors exactly as he does, as brightly-colored images on the video/theater screen.
These colorful and eccentric figures include the fancifully tattooed insurance agent (Alexandre von Sivers) who manages his business affairs, the bossy psychologist (Frederic Topart) who may or may not be trying to cure his ailment, and a voluptuous computer-generated “virtual girlfriend,“ Clara, whose pixilated charms seem to be wearing a bit thin.
But now, Thomas’ cozy mediated shell is about to be cracked wide open. His insurance rep is pressuring him to take advantage of a government-run prostitution service designed especially for the disabled. And Thomas’ shrink, who thinks he needs to be violently shaken out of his complacency, has signed him up for a chirpy Internet dating service.
Suddenly, it seems, everyone seems to be trying to drag Thomas, kicking and screaming, out of his comfortable cave.
Through the on-line dating service, Thomas makes contact with Mélodie (Magali Pinglaut), an adventurous and high-spirited young woman who is intrigued, rather than repulsed, by his account of his affliction. But she may want a lot more in the way of real intimacy than he is willing to consider.
Meanwhile, Thomas finds himself irresistibly drawn to the sad and elegant Eva (Aylin Yay), one of the government prostitutes, who seems weighed down by a tragic past. What’s more, she is the first person Thomas has ever come across who may be as skittish and as stand-off-ish as he is; a true soul mate.
As the panicky agoraphobe begins considering the possibility of venturing OUTSIDE for the first time in more than a decade, he is also torn between these two attractive women.
Thomas Thomas is facing the most important choices of his life... © 2001 IFC Films
Starring: Benoit Verhaert, Aylin Yay, Migali Pinglault, Micheline Hardy
Starring: Benoit Verhaert, Aylin Yay, Migali Pinglault, Micheline Hardy, Alexandre von Sivers, Frédéric Topart, Serge Lariviere
Director: Pierre Paul Renders
Director: Pierre Paul Renders
Screenwriter: Philippe Blasband
Producer: Diana Elbaum, Karin Schayes
Studio: IFC Films
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Reviews for Thomas in Love
Its bold style and cheeky visual flourishes make this idiosyncratic look at near-future lonely-hearts worth plugging into.
It duplicates Thomas' miserable world so well we want to escape it as urgently as Thomas does.
The last few minutes of this movie are strangely moving. What leads up to them is shot through with dark humor and scathing satire.
Director Pierre-Paul Renders has made an interesting comment on the laughable lives we could all be living should the wired world's growth make human contact obsolete.
The fact that we never see [Thomas'] face or his eyes, and yet still get to know him, is a magic trick that the film performs fluidly and gracefully.
The best and worst thing about the tale is that we never actually see Thomas. We only view events from his first-person and isolated perspective. The effect is both alienating and compelling.
The Dutch director Pierre Paul Renders ingeniously conjures the image of a control freak society that is sinister in its very playfulness.
Creates an entire futuristic world without, seemingly, ever changing the camera set-up.
The most striking thing about this subtle, refreshingly original science-fiction flick is that we never see the hero.
At 97 minutes, [Renders and Blasband] manage to get about all they possibly can out of this unusual narrative ploy.
The film is funny, sad and frequently downright weird with the bizarre facial paint that people in the future wear.
| Tomatometer Percentage | Movie |
|---|---|
| 66% 66% | Public Enemies |
| 83% 83% | Harry Potter and the H… |
| 44% 44% | Night at the Museum: B… |
| 75% 75% | Julie & Julia |
| 32% 32% | Terminator Salvation |
| Tomatometer Percentage | Movie |
|---|---|
| 90% 90% | District 9 |
| 86% 86% | 500 Days of Summer |
| 63% 63% | Extract |
| 06% 06% | All About Steve |
| 78% 78% | It Might Get Loud |
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