Experimental filmmakers from Jean Painlevé onwards have long explored the wonders inherent in scientific and medical footage, particularly when trained on microscopic phenomena. There are multiple universes of unfolding and exploding forms revealed in UNDER THE MICROSCOPE, but Michaela Grill is not content to leave these amazing images unadorned. Using the cinematic resources of colour treatment, flashing and strobing, looping and repetition, plus a rich counterpoint soundtrack by Sophie Trudeau, she fashions a symphony of mysterious, mutating movements.
At least we got the original cast back, right? Not even that saves it. None of them could bring a sliver of hope to this special. Rather, they bring dread as we witness the light leaving from their eyes.
Portraying how easy it is to be an ally heavily benefits the majority audience. The more we encourage it, normalize it, and give people the tools to become one, the sooner we can co-exist peacefully.
The film seems like an extreme interpretation of the conspiracy theorists that exist in real life. And then, there’s the twist.
The way Jeannette has to deal with child neglect makes her insecure about her parents and how she was brought up and raised in the United States. This continues into adulthood, where Jeannette becomes a successful journalist and is frequently asked about her parents by others.
