Terry Gilliam scarred my childhood. Not through a too-young exposure to his surreal and occasionally lewd animations on Monty Python’s Flying Circus (my sense of humour is mostly the result of my dad exposing me to recordings of The Goon Show, again, too young) but rather through his film Time Bandits, one of the greatest and darkest children’s movies ever made. I’m quiet sure that the ending, which I’m not going to spoil, resulted in a few disrupted nights for my parents.
Now he’s back with The Zero Theorem, a new movie following the familiar Gilliam theme of a discontented everyman trying to survive in an at-times sadistically unfriendly dystopia. It’s equal parts Kafka and comic book, and the result is a visual feast that barely conceals the symbolism Gilliam shovels into the mix.
(Spoilers for two recent movies below the cut…)