Terry Gilliam's new movie The Zero Theorem returns again to the cosmic questions that must plague his sleep, and to a vision of a not-far-enough-distant future where a dazzling mix of bright busy noisy public spaces contrasts with the cavernous decaying church where our hero Qohen Leth (Christoph Waltz) sleeps upstairs amid the organ pipes. He works as a programmer for Mancom, the organization which watches everything and controls everyone. But he is really waiting for a phone call, a voice on the line that will tell him why he exists. Which is why he exists: to wait for the call. Samuel Beckett would love this movie.
Qohen's supervisor makes him attend a party where, stepping into a quiet room, he meets the Master (Matt Damon); he also meets Bainsley (Melanie Thierry), a call girl whose enticements he rebuffs: "I don't like touch." These encounters change the pattern of his days: The Master recruits him to work on the Zero Theorem in a perfectly-Gilliam space with old mosaic floors and iron circles and the hoses and tubes so familiar from Brazil, all surrounding and feeding some gigantic machine, the nerve center of this highly-controlled-in-chaos society. Here Qohen meets Bob (well, the Master's 15-year-old son, played by Lucas Hedges, who calls everyone Bob because he can't spare brain power to remember names), who explains that everyone is a tool.
Qohen is given permission to work at home (where he wants to be, in case his phone call comes). His computer screen looks like a giant smart-phone, and using a video-game
manipulates equation-cubes in a vast structure where sometimes they fit
perfectly and he achieves Upload, but other times cause avalanches or
explosions of already-constructed areas. Bob visits to explain the Zero Theorem - that we are nothing and to nothing we return, so nothing matters. Bainsley shows up. Bob tells Qohen she's a tool, but Qohen thinks maybe she really does like him, as she claims. She gives him a Virtual Reality suit he can wear when he visits her Bainsley.sex website, and they have virtual interludes in a tropical paradise, just the two of them - and Qohen's isolation begins to crack.
Surveillance is constant, which we're reminded of by black-and-white camera-eye sequences. Gilliam's vision is a chaos of speeding, flashing, blasting - as if the world were a combination Times Square and game arcade. The mash-up seems futuristic, but the elements already exist: targeted ads, cameras everywhere, blind constant pursuit of money, sex, drugs and drink. No contemplation, no silence. Are we there yet, Terry?