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Monday, Apr 29, 2019 8:10 PM
Dir. Claire Denis | Germany/France/UK/Poland/USA | 2019 | 110 min. | R | DCP
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General Admission Adult - $10.50
General Admission Senior - $8.50
General Admission Student - $9.00
General Admission Military - $9.00
General Admission Child - $8.50
General Admission Group Sale - $9.50

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Monte (Robert Pattinson) and his baby daughter are the last survivors of a damned and dangerous mission to deep space. The crew—death-row inmates led by a doctor (Juliette Binoche) with sinister motives—has vanished. As the mystery of what happened onboard the ship is unraveled, father and daughter must rely on each other to survive as they hurtle toward the oblivion of a black hole.

Working again with the brilliant Juliette Binoche, supported by a cast that includes André Benjamin and Mia Goth, master French filmmaker Claire Denis guides her actors into daring new territory that—while recalling at times the science fiction of Stanley Kubrick and Andrei Tarkovsky—carries a fearless curiosity that is Denis's own.

“At once a grand departure and the same film Denis has been making all her life, HIGH LIFE deals in a kind of metaphorical colonization, in the violence inherent in interpersonal relations between men and women, and in the perversity of (especially female) desire.” —Jessica Kiang, Variety

“As horrifying and ambiguous a space odyssey as you might expect from the singular mind behind TROUBLE EVERY DAY and BEAU TRAVAIL, HIGH LIFE is a pensive and profound study of human life on the brink of the apocalypse.” —David Ehrlich, IndieWire

“...If she’s always been a kindred spirit to David Cronenberg, the connection has never been clearer than it is this time, as Denis revels in the clinical spaces of the ship (washed in warm oranges and electric blues) and splashes around in several varieties of human fluid.” —A.A. Dowd, AV Club

“HIGH LIFE looks to be on the right side of a masterpiece. By twisting around preconceptions of what an outer-space epic should be, French auteur Claire Denis returns to the fertile ground of her TROUBLE EVERY DAY era, using genre to dig beneath themes that others would only treat as skin-deep…The ending of HIGH LIFE arrives almost too suddenly, but that's only incentive to seek out a second, third and fourth viewing as soon as humanly possible.” —Barry Hertz, Globe and Mail

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