RENAISSANCE: Not so black and White
"Without death, life is meaningless."
-Dr. Muller, Renaissance 2006
Aesthetically this film takes the standard of good as light and evil as dark and uses it to misdirect the viewer. In reality the actual villain uses invisibility as its form, the character that thrives in the darkness is the hero, and the one that had the brightest future becomes evil. The use of black and white and highly contrasted settings allows the characters arcs and reveals to emerge slowly and effectively.
Karas, the troubled cop assigned to investigate the kidnapping of a bright you scientist Ilana. Ilana works for Avalon, the major health and beauty company whose reaches extend far beyond there chosen industry. The film does not try hard to hide the fact that Avalon is definitely the antagonist of the film. They have a monopoly and the undivided attention of the populations. Avalon has large glowing signs that over look the city of Paris that is mostly decrepit, except in highly public areas, constantly promising beauty and youth, insisting that Avalon is there for the people, for life. The biggest deception of the film is the way they present Ilana, who works part time in clinic and suffered a lot as child. It is revealed that this good hearted scientist, is really looking for fame and glory not to help people. She, with the support of Avalon were trying to harness immortality, which would have been more destructive than helpful. But she is blinded by greed. So to prevent her from creating the power that Avalon wanted another scientist abducts her and tries to convince her not to help them. When she is finally rescued she decides to return to Avalon for the glory. Karas makes a decision, which isn’t very heroic, he kills Ilana so that she cannot do any harm. His actions are despite the love he bears for her sister, and an oath to serve and protect. He is an anti-hero, who is tortured and follows his own moral compass.
Architecturally, Renaissance makes some very strong movements in regards to the characters surroundings. Karas’ apartment is mostly covered in shadow. The only light comes from the holograms of the people involved in his cases. This shows the level mystery and trouble that his character suffers and how single minded he is. Avalon’s head office is glass and over looks the city, but is supported by dark pedways. Almost not allowing the people to see what is exactly holding it up, much like the way the company is operated. The place where Ilana is held is underground pushed out of sight and hidden Accessible by tunnels, bridges and stairs, all in rough condition. All this leads to the only color in the whole film. A young man trapped in an aged body just trying to live and protect the people from Avalon. This is the theme of the film that not everything that appears beautiful is, goodness is rare and hard to find. Aesthetically this film takes the standard of good as light and evil as dark and uses it to misdirect the viewer. In reality the actual villain uses invisibility as its form, the character that thrives in the darkness is the hero, and the one that had the brightest future becomes evil. The use of black and white and highly contrasted settings allows the characters arcs and reveals to emerge slowly and effectively.