A boldogságvirág

Kihasználatlan lehetőségek. Megragadó futurisztikus forma, amely illik a steril környezethez, és egy érdekes téma, amelyet X módon lehetne fejleszteni, Y számú lehetséges kimenettel. Nem számít, hogy meghitt és ötlettelen maradt, vagy hogy nem töltötte ki a műfaji edényeket. Ami zavaró, hogy a második részben két lépéssel lemarad a néző mögött az okosságban, és elvakult bolondnak állítja be a főhősnőt, aki a néző számára a történetben kialakuló veszélyekben egy biztonságos kapcsolat. [Cannes] (2019.05.20)

Besides Vivarium, Little Joe is another film in the Cannes programme that would have worked better as an episode of The Twilight Zone. In comparison to the hopeless Vivarium, however, Little Joe is better developed and directed, though no less predictable. If we take Jordan Peele as the benchmark, Little Joe doesn’t come at all close to his work, including Us. Hausner simply set out on a career path, shooting a mercenary project that comes across as a more sedate variation on Invasion of the Body Snatchers, except in Little Joe the theme of unadulterated egocentric happiness replaces the fear of communism found in the original Body Snatchers from 1956 and the psycho paranoia of the 1978 remake. Nevertheless, any overlaps and ideas on this theme reach beyond the film itself, without being conveyed in the narrative. As it happens at festivals, Little Joe gets a fine context as a double feature with Loach’s Sorry We Missed You, which contains some similar elements and motifs, albeit conceived and developed in a completely different way. (2019.05.18)

Luck is a fickle thing, so why not help it through the possibilities of genetic engineering. Little Joe is a fairly intimate film that tries to build an oppressive, almost uncomfortable atmosphere as it goes along, which it succeeds in doing mainly thanks to the ethnic-horror music (a strange combination, but somehow I needed to call it that) and the greenhouse spaces, which, despite their glassy brightness, in this case seem exceedingly hostile and "dark". On the one hand, you can see an upraised index finger pointing towards the limitless possibilities of genetic engineering, but on the other hand, you can also find a parallel to the (non-)violent promotion of leading ideas in society (in this case for survival). I was very impressed by the work with space and the camera, which seems to deliberately try to neglect the characters. However, despite the very original premise, I felt that it was not used to its full potential, remaining dormant rather than blossoming into its full glory. Still, it is an emotionally disturbing film. (2020.02.23)

Little Joe is a laboratory engineered flower that, with a little loving and care, is meant to ensure your happiness. It is a very original and ambitious premise that unfortunately squandered its potential. The overall effect of the film is bland, dull, and yet the plot invites so much escalation, chilliness and paranoia. This is probably what the "musical" score of the film is trying to do, which is at times almost horrific, but it’s more like a random mix of chimes, flutes and whistling that feels more tinnitus than music. The acting is a bit cold overall, which would have been useful in the context of the story in the second half of the film, but the visuals succeed where the script and the soundtrack fail. The film thrives on pastel colours, the light green, rust and white creates a perfect contrast to the deep red of the dangerous flower. Unfortunately, nice visuals are not enough for a full-fledged experience. (2020.02.15)