What would it be like to sit outside the restrictions of a linear time-line? What if we could make decisions with a full knowledge of the consequences? If you knew your child would experience great suffering, would you still bring it into the world? Arrival explores these big themes of time, transcendence and suffering through the eyes of the linguist Louise Banks (Amy Adams) as she makes first contact with an alien race.
The opening 5 minutes of Arrival are beautifully slow. No explosions or alien battle scenes, just a well-crafted montage of emotions taking you through Louise’s grief at losing her child. This refreshingly contemplative pace immediately sets a precedent for the rest of the film. As a linguist it is up to Louise to decipher the language of the alien visitors. This arduous process is, in a way, a metaphor for the difficulties Louise encounters when trying to express her grief.
But as the film develops, it becomes clear that this alien race offers more than just contact. Louise is thrown into a world where time is no longer a linear affair, but a complex web of moments and narratives, each defined by key decisions in Louise’s life. Whilst Louise has a chance to save the human race, she also has the opportunity to change aspects of her personal life. Reminiscent of Chris Nolan films, Arrival uses Louise’s story to force the viewer into releasing their preconceived perceptions about time. By 90 minutes in, I’d been stripped of my hope for a simple timeline, and had to start seeing time as Louise did, a set of loops where concepts of past and future had lost their meaning.
Using this time tool, Louise’s story then explores a fascinating line of enquiry: would you bring a child into the world if you knew it would suffer and die? Ironically this reality is not so far from our own. Medical technology allows us to make decisions pre-birth about our children’s lives, based upon illnesses that they may have. Sally Phillips recently spoke out on this topic in her BBC documentary ‘A World Without Down’s Syndrome?’ Apparently ‘Ninety per cent of people in the UK who know their child will be born with Down's syndrome have an abortion’. Arrival responds to this startling figure by asking the viewer if life is worthwhile even if it is painful.
But perhaps this dilemma between life and suffering highlights a decision that every prospective parent must face? We have both the foresight to see that life is inevitably painful, and the power to choose life or not for our child. The philosopher Vince Vitale points out that, as parents, we knowingly bring children into a world in which they will experience suffering, and that we believe this to be a morally good decision. Vince goes on to argue that this is the same decision a Creator God would have to make when giving life to each of us. By changing how we see time, Arrival gives us a glimpse of God’s perspective and causes us to consider whether we believe that, on balance, creating life is good even in the expectation of suffering. Perhaps by exploring that question through the new film Arrival, we might find some answers to the age old problem of pain?