‘Meanwhile on Earth’ Review: Aliens Use Human Bodies to Experience Our Planet in Cleverly Executed Sci-Fi Drama From ‘I Lost My Body’ Director

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Despite initially being grounded in reality, French filmmaker Jérémy Clapin’s work “Meanwhile on Earth,” a melancholic sequel to the lyrically enchanting, Oscar-nominated animated feature “I Lost My Body,” eventually ascends far beyond our atmosphere and into the cosmos. Elsa (Megan Northam), a gifted young caregiver with a passion for drawing, seeks guidance from the stars regarding her missing brother Franck (voiced by Sébastien Pouderoux), an astronaut who failed to return from his mission. Stunned, Elsa discovers that the cosmic void will answer her calls, but not without significant repercussions.

Clapin’s debut into live-action filmmaking doesn’t completely abandon the charm of hand-drawn storytelling. Meditative black-and-white animated scenes, featuring Elsa and Franck interacting in a spaceship, are strategically placed throughout the story. Notably, the melancholic atmosphere he created in “I Lost My Body” is also a powerful influence in “Meanwhile on Earth.”

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Clapin’s initial foray into live-action filmmaking retains an element of hand-drawn narrative, as evidenced by the inclusion of meditative black-and-white animated sequences where Elsa and Franck are aboard a spaceship. Remarkably, the wistful tone that defined “I Lost My Body” is also a key factor in the emotional impact of “Meanwhile on Earth.

The primary character in this piece shares a deep emotional bond with Naoufel, the young protagonist from Clapin’s earlier animated work. Despite being at the pinnacle of their youth, they both harbor resentment towards fate and find it challenging to embrace their new circumstances following a traumatic event that significantly altered their lives.

In the animated film “I Lost My Body,” the camera’s movement through the scenes was particularly striking and unique, mimicked by cinematographer Robrecht Heyvaert with quick movements and unusual angles. This approach transformed Elsa’s quaint French town and the surrounding forest into places that felt as unfamiliar as a Martian landscape. Jean-Christophe Bouzy’s editing decisions, which created strong visual connections, added to this disorienting feeling. The enigmatic mood was further enhanced by Dan Levy’s hauntingly beautiful music, who also composed the score for “I Lost My Body.” This skillful use of cinematic elements effectively drew viewers into the surreal world of the film, as the portrayal of sci-fi aspects, while intelligent, was subtly done: the aliens were never physically shown, only heard as a voice.

One evening, speaking as if conversing with her sibling to the expanse of the sky, Elsa receives a response through the wind – it’s actually Franck instructing her to retrieve a glowing seed from the ground and place it into her ear. A race of unnamed extraterrestrial beings, with Dimitri Doré as their leader speaking directly into Elsa’s mind, has taken Franck hostage. They will release him if she helps them locate five individuals whose bodies they can inhabit. Once inside these bodies, the hosts’ consciousnesses will be put to an eternal sleep in a dream-like state. With no other options, Elsa marks their invisible gateway hidden within the woods.

It’s not hard to understand why these extraterrestrial beings are wandering our world in human forms: they aim to experience life, to simply exist and feel without any agendas or objectives. These formless entities seek the everyday sensations that many of us overlook, offering an insightful viewpoint on humanity’s constant chase for lofty achievements. Is it only those with grand ambitions, the mindset, resources, and determination to achieve them, whose lives are worth saving? Or is there merit in those who choose not to participate in the rat race, the average masses whose existence may leave no lasting impact?

In Elsa’s mission, she is faced with a profound moral dilemma as she must act like a divine being, choosing whom to sacrifice for the sake of transforming into physical form for extraterrestrial beings. Among the potential candidates are an elderly woman who has forgotten her husband and a homeless woman whose circumstances have disconnected her from her family. Northam’s acting, filled with tension, heavily relies on subtle expressions of distress as Elsa becomes more desperate to finish the task (she only has three days left before the portal closes). The skilled actress portrays a character who, due to her profound grief, has lost interest in pursuing a career in the arts. She no longer dreams of a fulfilling future but instead exists in a state of complacency. Given her melancholic demeanor and lack of motivation, could Elsa herself be a suitable choice for sacrificing her life?

In the assessment of “Meanwhile on Earth,” one area that could use improvement is its portrayal of the collective sorrow experienced by Elsa’s parents and her younger brother due to the loss of Franck. Each character only gets a single emotional scene with her, which might seem somewhat limited. However, this sophomore directorial venture showcases Clapin’s skill in crafting heartfelt, philosophical narratives with an unusual flair, regardless of the format he chooses to work in. The film “Meanwhile on Earth” reveals a developing thematic thread that links it to the director’s other projects – not just because the image of an astronaut is prominent in both films, serving as a powerful symbol of someone struggling to comprehend what lies beyond human comprehension, but also due to other shared themes.

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2025-03-11 05:46