JONATHAN: A Subtle But Meaningful Foray

Another Tribeca Film Festival entry that I missed out on, sadly, was Jonathan, directed by Bill Oliver in his feature film debut. While coined as a sci-fi, which does have foundations of the genre, the film is mostly a character-study elevated by an intriguing design.

There were some areas of the film that seemed to lull, but it’s part of the appeal of Jonathan, as this is a reserved and methodical undertaking.

A Duo Unlike One You’ve Seen

There have been variances on this tale, but this one manages to come out new. Meet Jonathan and John (Ansel Elgort), two brothers that occupy the same body, but are of different minds. They sleep four hours each, work alternating schedules – one day and one night, and are conscious for twelve hours at a time. A change that Jonathan muses is like “falling asleep.”

At the end of their time they leave videos for one another, providing even the smallest details for continuity purposes. Jonathan is the only one that is really revealed to us here, with John’s story coming through in the videos that are left.

Jonathan is a bit of a loner, shy, and adamant to abide the rules they cemented: honesty with one another, and no relationships. During his hours of 7Am to 7Pm he is a talented architect, but he can’t take promotions that would require more time that he doesn’t have.

John, meanwhile, is more impulsive, laid back, and social. They each have distinct personalities, making it easy to buy into this innovative premise.

Their doctor Mina Narima, played with a maternal sensitivity by Patricia Clarkson, has been caring for them since they were children. She’s implanted a device that regulates their own time, and has clearly grown attached to the two beyond a medicinal curiosity.

Half Of The Time, Half Of The Life

When Jonathan feels exhausted, he suspects his brother is keeping things from him. He hires private eye Ross (Matt Bomer) in a small, but amusing turn, and finds out he is indeed hiding something, or rather someone: Elena (Suki Waterhouse). Sibling rivalry takes a step up.

Elena is a beautiful bartender who becomes the first person to know the truth other than Mina. Of course, with a situation such as this one, doubt is the expected return. Waterhouse’s Elena isn’t a bad character per se, but she’s a bit gauzy, becoming more of a totem instigating change between the brothers than a full-fledged character.

Ansel encompasses the two characters exceptionally well. It’s not just the obvious differences like a combed style to the other’s messy hair, or a louder voice to a more refined one. He also portrays Jonathan’s changes with subtleties, including how they perceive and portray emotion. There haven’t been a lot of opportunities for him to show his talent, with the most recent Baby Driver and The Fault in Our Stars being his most impressive. Until Jonathan.

How can you truly live if your existence is cut in half? Jonathan is a lonely tale, with the movie rendered as a journey of self-discovery and a token of brotherly love, as much as it is a depiction of a science fiction yarn. When dealing with a premise like this it could have easily turned into a convoluted examination, with more concentration on the how and why of multi-consciousness. Instead it’s about these brothers, primarily Jonathan, as he navigates uncharted waters.

It is a bit stilted, especially in the beginning, but its humdrum nature is that of the brother’s life, so it’s a sensible atmosphere. They’re often stationary, specifically Jonathan, and his clean and minimal life begins to splinter quickly as his brother isn’t satisfied anymore, and eventually disappears for a time.

They head on a downward spiral, but by the end it makes sense. The monotony is forgiven.

Bill Oliver co-writes the script with Gregory Davis and Peter Nickowitz. One of my regrets for the story is the fact that it’s nearly one-sided with Jonathan, as we always learn about his sibling through the video’s left. It’s a bold conclusion to concentrate only on one, but it’s Jonathan’s piece. The advertisements for the film have also made it seem like a thriller, and while there’s some mysteries to unfold in the final act, it is mostly about the people and not some grandiose plot.

There’s a reasonable portrait of mortality and what life looks like for each of us.

Conclusion: Jonathan

This film is listed as a sci-fi, but it’s more of a drama, resting on the back of a striking performance by Ansel Elgort. Jonathan is a rare and affecting fair, as tenuous as life is, especially when there’s a divergence within your own skin.

What did you think? How did you feel about the characters and were you entertained? Let us know in the comments below!

Jonathan was released on VOD and in theaters is the US on November 16th. 

https://www.dailymotion.com/video/x59484e