Synchronic

2019 | dir: Justin Benson and Aaron Moorhead | 103 m

Almost invariably, time travel films incorporate some issues of causality into their plot. Essentially, there's some event in the past that influences the characters in the present / relative future and it turns out that the characters in the future were actually the ones who were actually responsible for the later events. And almost invariably, the character who is most directly affected by those past events is usually revealed to be the one that caused them initially. This is a well-worn trope in the time travel genre, and like most tropes, the fun isn't in recognizing it, but in seeing how the author/creator finds unique ways to deploy that trope within the worlds they've created.

Synchronic is no different. Which is to say, it's very different. But still the same.

It's time travel, so admittedly, there's going to be some head scratching. The best advice I can give when engaging with any story involving time travel is to quote the late, great Hunter S. Thompson: "Buy the ticket, take the ride..."

Synchronic is the fourth feature film from Aaron Moorhead and Justin Benson, and one of the few movies I was truly looking forward to in 2021 (and in 2020, but the less said about that particular historical period, probably the better). Not just because I'm a sucker for a good time travel film (or even a bad one), but because Moorhead and Benson have established themselves in the indie film circuit as men of a visionary nature and a distinctive voice. I was hooked immediately after watching their debut, Resolution, last year and was similarly impressed/enamoured with their follow-up to their follow-up movie, The Endless, and their just plain follow-up, Spring. Though Resolution and The Endless have roots reaching deep into the fertile soils of both science fiction and horror (I couldn't help shake the feeling after watching Resolution and The Endless and Ari Aster's Hereditary and Midsommar in the space of a couple months last year that I was witnessing a new age in horror), the dominant genre seems to be science fiction. This is a genre that, like fantasy, requires that rare combination of Big Ideas and Big Imagination and the willingness to, as the character Eames from Inception might have put it, "dream a little bigger, darling."

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