Empire of Light

2 out of 5

Many films have sought to depict the transportive and escapist nature of going to the movies. Whether it be the recent autobiographical films from directors like Kenneth Branagh’s Belfast (2021), and the upcoming The Fabelmans from Steven Spielberg to classics like Cinema Paradiso (1988). There are many movies made about movies. It is not uncommon, but Empire of Light stands out in its ode to the location rather than the medium.

Set in an English coastal town during the early 1980's, this film follows Hilary (Olivia Colman), a worker at the Empire Cinema. She’s only recently returned to work after a mental breakdown and is withdrawn and depressed. That is until she meets a new co-worker, Stephen (Micheal Ward), and together a friendship and romance develop between them, despite the turbulent experiences that they both endure. Hilary continues to struggle with her mental health, and Stephen is continually accosted because of his skin colour. All the while, the cinema is trying to remain popular and put itself on the map, with its manager (Colin Firth) putting significant pressure on the staff.

This is director Sam Mendes’ follow-up to his technically stunning film, 1917 (2019), but this is a markedly different affair. Whereas the World War I epic felt focused on one key task, Empire of Light sadly bites off more than it can chew. The celebrated director comments on racism, sexism, workplace harassment, and mental health, all whilst attempting to be a tribute to cinema. Every time the film seeks to focus on the Empire Cinema, and its capacity to bring people together so that they can enjoy the movies being shown, it feels impassioned, but sadly the film gets lost in its numerous side plots. These side plots are still watchable, thanks to incredible work from Olivia Colman and Micheal Ward. Their warm chemistry and emotional commitment shine through. While Colman, in particular, elevates the weak script, bringing such depth and nuance to Hilary, proving she is one of the best actresses in the industry today.

On a technical level, Sam Mendes' work is a beautifully assembled film, with stunning cinematography from the legendary Roger Deakins. He truly understands how to capture light on film and does so with immense care. The film is also buoyed by a soothing score from Trent Reznor and Atticus Ross (Soul, The Social Network) and sensational production design. The titular cinema is a memorable location, full of character and charm.

Unfortunately, as a film about film, Empire of Light fails to be a good one. When all is said and done, you may question, “why did it matter?” or “why should I care?” With so many themes, none are indeed developed, and the film has long swathes when it feels slow and unnecessarily plodding. Whilst its creative team all deliver strongly, the story suffers, and the film ends up being far more style than substance.

Reel Dialogue: Why do we want to escape?

In Empire of Light, the cinema presents an escape for its characters. A place where someone can ignore the hard realities of life, by being distracted by focusing on the images being beamed onto the movie screen. But sadly, movies don’t remove the hardships in life. They just delay our having to deal with them for a while.

But why? Why do we crave this escape? Well, it’s because the world is broken by sin. Inequality, judgement, racism, sexism, etc., all damage and tire out our capacities to engage with the world. With so much hatred and hardship, it can be overwhelming, and cinemas provide an escape. But The Bible teaches that this sinful world will pass away, and that for those who believe, and preserve in their faith, there is an eternal reality that will not be an escape from the world. It will be a renewed, perfect one.

2 Peter 1:4 “For by these He has granted to us His precious and magnificent promises, so that by them you may become partakers of the divine nature, having escaped the corruption that is in the world by lust.”