Three Thousand Years of Longing

Three Thousand Years of Longing directed by George Miller weaves a passionate fantasy compilation of fables with little character beats.

Three Thousand Years of Longing pins Idris Elba and Tilda Swinton as their unfurling love lives unravel across time itself.

Poetically nuanced and visually masterful, Three Thousand Years of Longing mirrors the ache of lost love and the yearning for replacing it all the same in a way that audiences may not expect from the Mad Max: Fury Road director.

Replacing danger for djinns, Miller’s fantasy is steeped in mythical knowledge, with the director using his esteemed career as a deposit for studio backing of this Elba-centric film.

Yet, where many may expect the film to bounce an electric spark between Swinton and Elba, it reaches a fraction of its capabilities spending its runtime breaking down the exact three thousand years that makeup Elba’s longing for freedom and love rather than allowing the enigmatic cast to ignite the screen like our hearts.

Despite being enthralled by the spectacular visuals, one surpassed by only Everything Everywhere All At Once, its clinical approach to love felt under realised whilst story hooks lay ignored.

What this film is though, is a testament to how restricting an otherwise limitless director can do wonders.

In this instance, set evidently between UK lockdowns circa 2021, Miller and the production team were no doubt faced with setbacks, delays and cuts with Elba and Swinton spending the majority of the film in a three-walled hotel room indicative of a studio set.

With so many low to mid-budget films seeing high praise this year: Everything Everywhere All At Once, Men, Nope, and Three Thousand Years of Longing, audiences should relish this avant-garde era caused by the pandemic whilst it lasts as soon money will creep in and ruin this untouched gem.