Here’s a beautiful film, visually lush, sparse and gritty in parts. It probes death and forgiveness, revenge and remorse. “21 Grams” would be great for inclusion in church retreats. Make sure you have very good sound equipment so you can enjoy the score that lends emotional power.
Also, it is superb film making. Alejandro Gonzï¿½lez Iï¿½ï¿½rritu does what Tarantino and others attempt to do with non-linear storytelling, to manipulate time and sequence in order to reveal and make present the realities of life. Iï¿½ï¿½rritu is a musician and has been a radio announcer and dj, so it is not surprising that he blends images, scenes and sounds with scant regard to linear sequence but with a sumptuous cohesiveness. “21 Grams” follows on a long line of film expression that breaks from linear time, as James Joyce did with “Ulysess” and which began, in filmmaking, with the 1903 film, “The Great Train Robbery” in which simultaneous actions were presented. The work of David Lynch, particularly “Mulholland Drive,” advances this structure. In “Pulp Fiction” Tarantino simply reproduces what was already done in 1903. But “21 Grams” really puts it all together in a remarkeable way. Iï¿½ï¿½rritu says that he wants the audience to become engaged with the film and construct it in their minds. “Not to just sit back eating popcorn (comiendo palomitas).”