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Published by David Carter on 2016/1/10 (426 reads)
Directed by Akcay Karaazmak
Review by David Carter

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Released by MVD Visual/SGL Entertainment
Running Time: 107 minutes
Rating: Not Rated
Color format: Color
Audio/Subtitles: 2.0 Stereo English
Region Code: 1, NTSC
Aspect Ratio: Widescreen
16:9 Enhanced: Yes
Special Features: Visual Motion Menu
Trailer Online: Yes

Open in new windowThe opening of Akcay Karaazmak’s REMINISCENCE: THE BEGINNING states that the film is “based true physics events and black hole theories.” I have seen a lot in my day, but I have to admit that this is the first time I’ve seen a film make such a claim, much less a horror film. 2001: A SPACE ODYSSEY depicted the most cutting-edge of space travel and artificial intelligence theories with the help of NASA, but Kubrick’s landmark work still maintained a viewer-friendly narrative style. REMINISCENCE delves deeply into the worlds of theoretical physics, quantum mechanics, and alternate dimensions in a largely non-narrative style. Images, rather than words, tell the story here, resulting in a film that is experienced more so than understood. REMINISCENCE: THE BEGINNING is now available on DVD from MVD Visual and SGL Entertainment.

Open in new windowSeeing as how most of REMINISCENCE is dialogue-free, I’m forced to glean much of the plot from the DVD packaging. Slovakian physicist Miska has been doing research on magnetic fields and their effect on time. She theorizes that every six years “breaks” in time appear in certain spots around the globe due to intersections of these fields. To see if she’s correct, she and her boyfriend take a trip to the coastal Turkish town of Cesme, where she believes the next intersection will occur. She right – with frightening results. Not only does time break down, so does the barrier between our world and a horrific alternate dimension.

Open in new windowKaraazmak employs many techniques from the worlds of music videos and art cinema in REMINISCENCE. The result is a visually striking film that lacks cohesion by design, reinforcing the “broken time” thesis of the work. This may be jarring to some viewers more accustomed to linear narratives, but those with an appreciation for such works will find much to enjoy here. Several of the “broken time” sequences are realized well and feature disturbing imagery straight out of a nightmare and, oddly, these scenes are more potent due to the fact they take place in day, rather than night.

I would have liked to see REMINISCENCE spend more time discussing its theories during the film itself instead of leaving it up to the DVD box. Doing so would make the “broken time” sequences more effective, rather than confusing as they are at times. Additionally, the film is overlong to a degree and a tighter pace would greatly improve the work. As it stands, REMINISCENCE is a challenging film that offers powerful visuals but a scant plot. Impressive special effects make the film engaging, but the lack of a narrative will make this appeal more to viewers who prefer art cinema to horror.
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