ⓘ Arrival (film)
Arrival is a 2016 American science fiction film directed by Denis Villeneuve and written by Eric Heisserer. It is based on the 1998 short "Story of Your Life" by Ted Chiang and stars Amy Adams, Jeremy Renner, and Forest Whitaker. The film follows a linguist enlisted by the United States Army to discover how to communicate with extraterrestrial aliens who have arrived on Earth, before tensions lead to war.
The film had its world premiere at the Venice Film Festival on September 1, 2016, and was released in the United States and Canada by Paramount Pictures on November 11, 2016. It grossed $203 million worldwide and received praise for Adamss performance, Villeneuves direction, and its exploration of communicating with extraterrestrial intelligence. Considered one of the best films of 2016, Arrival appeared on numerous critics year-end lists and was selected by the American Film Institute as one of ten "Movies of the Year".
It received eight nominations at the 89th Academy Awards, including Best Picture, Best Director, and Best Adapted Screenplay, and won for Best Sound Editing. It also received Golden Globe nominations for Best Actress for Adams and Best Original Score for Johann Johannsson, and was awarded the Ray Bradbury Award for Outstanding Dramatic Presentation and the Hugo Award for Best Dramatic Presentation in 2017. The score by Johannsson was nominated for Best Score Soundtrack for Visual Media at the 60th Grammy Awards.
Linguist Louise Bankss daughter, Hannah, dies in adolescence from an incurable illness.
Twelve extraterrestrial spacecraft silently hover over disparate locations around the Earth. Affected nations send military and scientific experts to monitor and study them; in the United States, U.S. Army Colonel G.T. Weber recruits Banks and physicist Ian Donnelly to study the craft above Montana. On board, Banks and Donnelly make contact with two seven-limbed aliens, whom they call "heptapods"; Donnelly nicknames them Abbott and Costello. They both begin researching the aliens’ written language of complicated circular symbols, sharing results with other nations. As Banks studies the language, she starts to have flashback-like visions of her daughter.
When Banks is able to establish sufficient shared vocabulary to ask why the aliens have come, they answer: "Offer weapon". However, China translates this as "Use weapon", prompting them to break off communications, and other nations follow. Banks argues that the symbol interpreted as "weapon" might mean "tool", and that Chinas translation likely results from their interaction with the aliens using Mahjong, a highly competitive winner-take-all game.
Rogue soldiers plant a bomb in the Montana craft. Unaware, Banks and Donnelly re-enter the alien vessel, and the aliens give them an extremely complex message. Just before the bomb explodes, one of the aliens ejects Donnelly and Banks, knocking them unconscious. When they reawaken, the military is preparing to evacuate in case of retaliation, and the craft has moved out of reach.
Donnelly discovers that the symbol for time is present throughout the message, and that the writing occupies exactly one-twelfth of the 3D space in which it is projected. Banks suggests that the full message is split among the twelve craft, and the aliens want all the nations to share what they learn.
Chinas General Shang issues an ultimatum to his local alien craft, demanding that it leave China within 24 hours. Russia, Pakistan, and Sudan follow suit. Communications between the international research teams is terminated as worldwide panic sets in.
Banks goes alone to the craft, and it sends down a transport pod. Abbott is dying from the explosion; Costello explains that they have come to help humanity, for in 3.000 years they will need humanitys help in return. Banks realises the "weapon" is their language, which changes humans linear perception of time, allowing them to experience "memories" of future events. Bankss visions of her daughter, Hannah, are revealed to actually be premonitions; her daughter will not be born until some time in the future.
Banks returns to the camp as it is being evacuated and tells Donnelly that the alien language itself is the "tool". Reflecting the Sapir–Whorf hypothesis of how language shapes perception, those who master the language are able to perceive the future and past. She has a premonition of a United Nations event celebrating newfound unity following the alien arrival, in which Shang thanks her for having convinced him to call off the attack by calling his private number and reciting his wifes dying words: "War doesnt make winners, only widows."
In the present, Banks steals CIA-agent Halperns satellite phone, a rarity when phones have been confiscated on the base, and calls Shangs number to recite the words. The Chinese announce that they are standing down and release their twelfth piece of the message. The other countries follow suit, and the twelve craft depart.
During the evacuation of the camp, Donnelly expresses his love for Banks. They talk about life choices and whether he would change them if he could see the future. Banks knows that she will agree to have a child with him despite knowing their fate: that Hannah will die, and Donnelly will leave them after she reveals that she knew this.
2.1. Production Writing and development
Arrival is based on the Nebula-winning science fiction novella, Story of Your Life by Ted Chiang, first written in 1998. As with the film, Story of Your Life involves Earths first communication with heptapods who speak in a cryptic language. Eric Heisserer had been introduced to the story through another of Chiangs stories, Understand, and had begun reading through Chiangs collected works when Story of Your Life emotionally rocked him and drove him to getting the story to film to share with a wider audience. After writing an initial script, it took several years of trying to pitch it for production before anyone would show interest, and nearly had given up on the idea. Heisserer believes it was not until he had successfully completed and produced 2013s Hours that others took interest in his work, having proved himself capable. Eventually, Dan Levine and Dan Cohen of 21 Laps Entertainment showed strong interest in Heisserers script. Shawn Levy of 21 Laps said they had become aware of Story of Your Life around 2011 and considered a powerful work, and when they learned of Heisserers script adaption, starting working closely with him, helping him refine the script before they began seeking a director and distribution studio.
One of those 21 Laps approached was Denis Villeneuve. Villeneuve had wanted to make a science fiction film for some time, although he "never found the right thing". Cohen and Levine, however, introduced Villeneuve to the novella, which the director immediately took to, although his work on Prisoners meant that he did not have the time to properly adapt it into a screenplay with Heisserer. Heisserer completed a first draft, which Villeneuve and Heisserer reworked into the final script. Villeneuve changed the title, as he felt the original title sounded like a romantic comedy and that the script had become very different from the short story. While Villeneuve went through "hundreds" of possible titles, Arrival was the first one his team of producers and writers had suggested.
Heisserer had made several adaptions from Story of Your Life in his original screenplays and into the final script, the largest being that for the film, the heptapods actually arrived on Earth in a type of first contact situation, as he felt this helped to drive tension and conflict needed for a film. Heisserer said that earlier versions of the script had a different ending: the gift from the heptapods was to have been "blueprints to an interstellar ship, like an ark of sorts", to enable humanity to help them in 3.000 years. But after the release of Interstellar in 2014, Heisserer and Villeneuve agreed that this would not work, and decided that the heptapods gift would be what was "there in front of us … the power of their language".
2.2. Production Linguistics
Both the book and the screenwriting required the innovation of a form of alien linguistics which recurs in the plot. The film uses a script designed by the artist Martine Bertrand wife of the production designer Patrice Vermette, based on the scriptwriters original concept. Computer scientists Stephen and Christopher Wolfram analyzed it to provide the basis for Bankss work in the film. Their works are summarized in a Github repository. Three linguists from McGill University were consulted. The sound files for the alien language were created with consultation from Morgan Sonderegger, a phonetics expert. Lisa Travis was consulted for set design during the construction of the protagonists workplaces. Jessica Coon, a Canada Research Chair in Syntax and Indigenous Languages, was consulted for her linguistics expertise during review of the script. Heisserer said at the Alamo Drafthouses Fantastic Fest premiere at the end of September 2016 that Shangs wifes last words, translated into English, were "In war, there are no winners, only widows". Villeneuve decided not to include subtitles for the line; Heisserer said he would have preferred it not be kept secret, and was happy to reveal the translation.
2.3. Production Casting
Jeremy Renner joined the film on March 6, 2015, to play a physics professor, Ian Donnely. Forest Whitaker signed on in April 2015, to play Colonel Weber, along with Michael Stuhlbarg joining as CIA Agent Halpern soon after in June 2015. Linguistics professor Jessica Coon was brought on to consult with Amy Adams, who took on the role of Louise Banks.
2.4. Production Filming
Principal photography lasted for 56 days. It began on June 7, 2015, after Renner had finished filming Captain America: Civil War. Filming was done mainly in and around Montreal, Quebec, Canada, with Saint-Fabien serving as Montana. The team took some time to find the right site to represent the landing, because producers wanted to avoid a mountainous site that might dwarf the scale of the ship, but thought that a barren location would be cliched. Most of the filming that did not involve the exterior of a ship was done indoors on stages, although a real house located in Chemin de lIle, Montreal was used as Bankss home. The scenes of the university where Banks teaches were shot at HEC Montreal.
Johann Johannsson began writing the score as shooting started, drawing on the screenplay and concept art for inspiration. He developed one of the main themes in the first week using vocals and experimental piano loops. The original soundtrack was released by Deutsche Grammophon on November 11, 2016.
Max Richters pre-existing piece "On the Nature of Daylight" is featured in the films opening and closing scenes. Due to the prominent use of Richters music, which had also featured in Martin Scorseses film Shutter Island, Johannssons score was deemed ineligible for the Academy Award for Best Original Score, the rationale being that voters would be influenced by the use of pre-existing music when judging the merits of the score.
A teaser trailer was released in August 2016, followed the next week by the first official trailer. Paramount Pictures released a series of promotional posters, with one showing a UFO hovering above a Hong Kong skyline that included Shanghais Oriental Pearl Tower. The inaccuracy angered Hong Kong social media users. The posters were withdrawn and a statement attributed the inaccuracy to a third-party vendor.
In May 2014, while titled Story of Your Life, Paramount acquired the U.S. and Canadian distribution rights. Shortly after, Sony Pictures Releasing International and Stage 6 Films acquired some international distribution rights, while Entertainment One acquired the UK distribution rights and Roadshow Films acquired Australian distribution rights, as well as other distributors like Spentzos Films for Greece, Lev Cinemas for Israel, Italia Films for the UAE, and Chantier Films for Turkey. The film had its world premiere at the Venice Film Festival on September 1, 2016. It also screened at the Toronto International Film Festival, Telluride Film Festival, and the BFI London Film Festival. The film was released on November 11, 2016.
4.1. Release Home media
Arrival was released on Digital HD on January 31, 2017 and on Ultra HD Blu-ray, Blu-ray and DVD on February 14, 2017.
5.1. Reception Box office
Arrival grossed $100.5 million in the United States and Canada, and $102.8 million in other countries, for a worldwide total of $203.4 million, against a production budget of $47 million.
In the United States and Canada, Arrival was released alongside Almost Christmas and Shut In, and was originally expected to gross around $17 million from 2.317 theaters in its opening weekend, with the studio projecting a more conservative debut of $12–15 million. The film made $1.4 million from Thursday night previews at 1.944 theaters and $9.4 million on its first day, pushing projections up to $24 million. It ended up grossing $24.1 million over the weekend, finishing third at the box office. In its second weekend, the film grossed $12.1 million a drop of 49.6%, and in its third made $11.5 million dropping just 5.6%. Following receiving its eight Oscar nominations, the film returned to 1.221 theaters on January 27, 2017 an increase of 1.041 from the week before and grossed $1.5 million up 357.4% from its previous weeks $321.411.
5.2. Reception Critical response
On Rotten Tomatoes, the film has an approval rating of 94% based on 412 reviews, with an average rating of 8.41/10. The websites critical consensus reads, Arrival delivers a must-see experience for fans of thinking persons sci-fi that anchors its heady themes with genuinely affecting emotion and a terrific performance from Amy Adams." On Metacritic, the film has a score of 81 out of 100, based on 52 critics, indicating "universal acclaim". Audiences polled by CinemaScore gave the film an average grade of "B" on an A+ to F scale.
Brian Tallerico of RogerEbert.com gave the film three out of four: "Its a movie designed to simultaneously challenge viewers, move them and get them talking. For the most part, it succeeds." At Time.com, Sam Lansky described it as "sophisticated, grownup sci-fi: a movie about aliens for people who dont like movies about aliens." IGN reviewer Chris Tilly gave it a score of 8.5 out of 10, saying: Arrival is a language lesson masquerading as a blockbuster, though much more entertaining than that sounds…its smart, sophisticated sci-fi that asks BIG questions, and does a pretty good job of answering them."
Film critic Robbie Collin gave Arrival five out of five, calling it: "introspective, philosophical and existentially inclined – yet unfolds in an unwavering tenor of chest-tightening excitement. And there is a mid-film revelation – less a sudden twist than sleek unwinding of everything you think you know – that feels, when it hits you, like your seat is tipping back."
The Guardian rated it as the third-best film of 2016. Critic Catherine Shoard said that it "amounts to something transcendent; something to reignite your excitement for cinema, for life." Numerous other publications, including io9, Den of Geek, WhatCulture, Mir Fantastiki, The Atlantic, Blastr, and Digital Trends named Arrival the best movie of 2016.
Rex Reed of the New York Observer gave the film one out of four, calling it Villeneuves "latest exercise in pretentious poopery" and referring to a lack of action in the storyline.
5.3. Reception Response from linguistic experts
David Adger, a linguist professor who teaches at Queen Mary University of London was favourable towards accuracy of the films linguistics saying that "the portrayal of trying different hypotheses about the language, coming up with generalizations, and testing them out was spot on."
Similarly, Jessica Coon, a linguistic professor who teaches at McGill University and helped with the films linguistics stated that "what the film gets exactly right is both the interactive nature but also that you really have to start small." However she admitted that the creators had not invented an entirely new language.
Linguistics professor Betty Birner, who teaches at Northern Illinois university, said that the films use of the Sapir-Whorf hypothesis went "beyond anything that is plausible." She also added that film skipped the realistic build from easier words to more abstract ones.
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