Imagine mixing ‘The Tree of Life’ (2011) with ‘A Ghost Story’ (2017) and adding a dash of nostalgia — you’d get ‘Here’, Robert Zemeckis’ ambitious adaptation of Richard McGuire’s graphic novel. Set entirely in one lounge with a single camera angle spanning eras from prehistoric times to the present, it transforms an ordinary space into a time machine.
The ‘plot’, if we can call it that, hops through time with micro-stories of lives unfolding like a powerpoint presentation. This format feels like a blend of live theatre and an art exhibition, giving us a mosaic of scenes rather than a linear story. As the scenes hopscotch through history, the acting style leans into a theatrical vibe — deliberate, expressive, sometimes even a touch over the top.
Tom Hanks and Robin Wright bring warmth to their roles, ageing forward and backward with somewhat smooth de-ageing effects. Supporting players like Paul Bettany and Kelly Reilly add layers, though they often feel like fleeting faces on a train.
The film’s editing is the unsung hero, weaving decades with seamless picture-in-picture transitions that keep the rhythm and ward off monotony. With only one camera angle, the cinematographer might’ve had the easiest job in Hollywood. But ‘Here’ works by immersing viewers in a meditation on time, memory, and the meaning of ‘home’. Ultimately, ‘Here’ is a once-is-enough kind of film, closing with a bittersweet nod to the little moments that define our lives. It leaves you wondering if your own sofa might have a few good stories to tell.