In a dreary future world, the illegal, virtual reality, shoot-them-up game, Avalon, flourishes, with the best players able to make a living from it. However, there are dangers, and some players do not come out of the game, leaving them in permanent vegetative states. Ash (Malgorzata Foremniak), is a solo player, who has little contact with others since her gaming team broke up. One of her ex-teammates finds Ash, telling her about a fabled level that may be the only way to win. But it is a dangerous level, and no one who has found it has ever returned. What’s more, the one person Ash cares about went after the mysterious level, and is now brain dead.
A Japanese production, shot in Poland with Polish actors and crew, Avalon effectively merges the two cultures to create an original style. Parts of it are beautiful, while others are effective at evoking the drudgery of day-to-day life, which is a kind of beauty, I suppose. A majority of the film is shot on yellow film stock, bringing new meaning to the word dingy. Combined with retro-computers, zombie-like citizens, and the old Polish buildings, the near-sepia tones made me think of 1984, and I couldn’t take my eyes off of it.
The film starts within the game, as Ash wipes out anyone in her way. Why? Well it is how she pays the rent, but other than that, it is only for the vague payoff of experience points and going to higher levels. The virtual reality world looks as drab as normal life, but it adds in excessive violence. Anyway you look at it, life in this future isn’t much fun. The game battles aren’t exactly exciting, but they are interesting to watch.
But most of the film isn’t about fighting. It is about Ash’s isolation, her obsession, and existing in this sad state. The camera lovingly lingers on Ash making a meal (where some real colors appear) and clings to her as she rides the trolley home over and over. I’ve heard Avalon referred to as a melding of European art film and anime (director Mamoru Oshii is best known as the director of Ghost in the Shell), and I wouldn’t disagree.
The plot exists only for the theme, which focuses on existence and what is important in reality. As is usually the case for plots that are slaves to the message, not much happens, what does happen occurs slowly and repeatedly, and important points are left up in the air. Apparently, this allows us to have more to think about. But the theme isn’t that groundbreaking, nor does it require so much prodding. This is philosophy that’s been touched on by The Matrix, eXistenZ, and particularly The Thirteenth Floor. Sure, the concepts are interesting enough to be the basis of another film, but they aren’t novel enough to let the plot slush away.
You won’t be distracted from your existential meditations by the fate of Ash. She’s alone and rabid in her need to get ahead in the game, but has no other personality traits. We’re never told why she is as she is. She ends up just another object on the screen, able to incite thoughts, but never feelings.
Uneven in most areas, Avalon sinks or swims on its atmosphere, and there it excels, with a compelling score adding the last touch. It doesn’t fit in the “all style, no substance” category, but it is for the style that you should take a look.