If you could find only one other person at the end of time, Nick Nolte would be a near-optimal individual to encounter, especially if he ran Earth’s last movie theater. Alas, while “Last Words” has…
would be a near-optimal individual to encounter, especially if he ran Earth’s last movie theater. Alas, while “Last Words” has initial intriguing fun with that premise, it eventually sends its two protagonists on a post-apocalyptic odyssey that’s defined by stasis, not to mention an abundance of half-baked themes.
Based on a novel by Santiago Amigorena , “Last Words” revolves around Kal , who in 2085 believes himself to be the final survivor of a global climate-change catastrophe that spawned ecological decay, war, famine and disease. After losing his pregnant sister to a mob of young French children, Kal — motivated by film canisters found in Paris — decides to seek out the Cineteca di Bologna, which is now a one-man operation overseen by Nolte’s aged cinephile, who’ll later be dubbed Shakespeare.
It’s not long before Kal is having celluloid dreams. Recognizing he has a new acolyte, Shakespeare opts to forgo suicide and manufacture fresh film reels, as well as give Kal an assignment: to construct the world’s only working movie camera. The duo subsequently embark on this mission together, following signs to “the Call,” where, they hope, they’ll locate others.
Kal and Shakespeare’s destination is a ramshackle commune created by Zyberski , where the ground is green — a shocking sight in this barren reality — but nonetheless toxic, and folks wander about in a stunned stupor. It’s here that “Last Words” becomes similarly racked with lethargy, as Kal and Shakespeare bring temporary joy to their new acquaintances via black-and-white movies . The rejuvenating power of these dramas and comedies is paralleled by Kal having sex with, and impregnating, Batlk .
The discovery of seeds that might again make Earth fertile accentuates “Last Words’” notion of cinema as a revitalizing force, even as it’s presented as a vessel for humanity’s collective memory. Yet as with Kal’s fuzzy relationship with Dima , or the paper-thin characters of Zyberski and Batlk, Nossiter’s latest becomes fragmented and conceptual to the point of playing like a handsomely mounted actor’s workshop exercise.
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