A Journey into the Shadowy Heart of a Twisted Multiverse
“The Universal Theory,” a chilling and stylish German film, embarks on a dizzying journey through a warped multiverse, blurring the lines between reality and the unsettling unknown.
The narrative begins with a flamboyant, hallucination-inducing parody of a late ’60s/early ’70s talk show. Johannes (Jan Bülow), portrayed with a youthful vulnerability reminiscent of a young Jack Nance, is introduced as the author of a controversial “non-fiction” novel about the aforementioned multiverse. The film effortlessly transitions into stark black and white, seemingly stepping directly into the pages of Johannes’ novel, blurring the lines between fiction and reality.
Johannes, a fresh-faced German doctoral student, travels to Switzerland alongside his disgruntled supervisor, Dr. Strathen (Hanns Zischler), for an academic conference on physics. From the moment they arrive, a palpable sense of unease permeates the pristine mountain setting.
Strange occurrences start escalating. Keynote speakers vanish into thin air, participants experience hallucinatory episodes on pulsating carpets, and amidst the intellectual discourse, figures inexplicably appear dead only to miraculously reappear moments later.
Whispers of illicit wartime experiments with uranium, conducted by Strathen and other scientists, shroud the mountain in shame and guilt. This murky past seems to bleed into the present, fueling the bizarre occurrences. As Johannes delves deeper into the growing disarray, he encounters Karin (Olivia Ross), a haunting figure with a dark allure. Karin, a jazz pianist seemingly fabricated from shadows and secrets, possesses an unsettling network of knowledge – she knows what Johannes keeps hidden from the world, even divulging details of his nocturnal dreams.
The film’s visual style contrasts starkly with the events unfolding. While beautifully cinematographed with the retro, almost noir aesthetics of vintage
Magnum photography, the film embraces surreal anomalies, bridging the classic vibes of
“La Jetée”
with a tormented, electrically charged energy. Adequate comparisons to the haunting score by David Barnitz and achieved brilliance of Bernard Herrmann, specifically his work in Hitchcock’s “Vertigo,” easily come to mind.
A Multiverse of Mystery
As the film progresses, the line between reality and delusion blurs beyond recognition. The narrative follows a tapestry of interconnected events, weaving together tragic history, forbidden science, and a fundamental questioning of reality itself.
“The Universal Theory” isn’t without its flaws. Not every ambitious cinematic gamble fully lands, creating a slightly uneven viewing experience. But, its unique blend of universal themes – guilt, betrayal, hidden truths, and the lingering contamination of the past – resonates powerfully.
Associate Director Timm Kröger shows remarkable audacity in tackling the complex and paradoxical concepts of the multiverse, blending retrospectively stunning visual styling and captivatingly eerie audio design. This captivating thriller ultimately leaves the audience to grapple with unsettling questions about reality and the chilling echoes of butterfly effects.
“The Universal Theory” is set to premiere in UK and Irish cinemas from 13 December.
