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Director Mike Cahill made his name with the low-budget science-fiction drama Another Earth (2011), about a woman's attempts to make reparations for her past, while the world comes to terms with the appearance in the sky of an Earth identical to our own, populated by our doppelgängers.
The premise of “The OA,” which debuts today on Netflix, is irresistible: A blind woman, gone missing from her suburban town seven years ago, suddenly returns with her sight restored.Despite his free and easy camerawork, which generates some lovely moments between Ian and Sofi, Cahill's narrative jolts along in fits and starts.They talk a lot of techno babble but considering the fact Ian and Karen are supposed to be hard-nosed scientists, there is a staggering amount of acting on impulse.Ian Grey, whose study of the human eye uncovers evidence with far reaching implications about or scientific and spiritual beliefs that could fundamentally change society as we know it.The film explores the age old debate regarding science vs. In the behind-the-scenes clip, the cast and crew reflect on the movie’s highly technological and research based approach to moviemaking and cinematic storytelling.It was one of several areas of study for the two writers in creating the story.
They also embedded with high schoolers in the Midwest to fine-tune their teenage characters, and Marling spent time with a blind man in New York learning to navigate the city without eyesight.And they would all be really divergent characters, but they all had these sci-fi epic premises.And then the more we focused on this one, the more we thought, “Oh no, there’s a whole world just in this idea of the two earths, and everyone here being there, and what does that mean, and how can you find a micro-human drama to tell within this epic sort of conceit?Astrid Bergès-Frisbey takes the third lead, and it is her eye (whose two-tone colouring indicates a condition called sectoral heterochromia) which appears on the film's poster.Here the Telegraph's chief film critic Robbie Collin talks to the 35-year-old director about his fascination with the eye, the changing nature of science fiction, and why every young filmmaker should teach themselves visual effects.Throughout her career to date — particularly in the projects she’s done with Batmanglij and Mike Cahill, all three of whom are old friends from Georgetown — Marling, 33, has gravitated to a certain type of role: enigmatic, preternaturally wise women who seem not quite of this plane of existence.