ARRIVAL, Denis Villeneuve 2016

FROM WALTZ ON MORPHINE TO SUFI DANCE IN ECSTASY

There is no film I know of with a suspense curve shooting up so incredibly exponential like in ARRIVAL. It starts very slow and almost hypnotic, both thoughtful and sensual, like a waltz on morphine, tightens up as the story develops, but still slow, kind of marveling in trance about its topics like the nature of language, communication and time, until then, in the third act, it starts speeding up circling around its own axis faster and faster, like a Sufi dancer experiencing some sort of cosmic ecstasy — including two orgasmic peaks giving me goose-pimple explosions all over my body.