Here, A Film That Brings Time, Memory, and Technology Together

Tom Hanks and Robin Wright by the window in Here film by Robert Zemeckis illustrated by Zoe Luna Silveyra

With Tom Hanks and Robin Wright in leading roles, Here is more than just a trip down memory lane – its unique fixed-camera technique and digital ageing technology invite reflection on time, aging and life itself

Tom Hanks and Robin Wright by the window in Here film by Robert Zemeckis illustrated by Zoe Luna Silveyra

24/01/2025

By Rebecca Ceccatelli. Cover illustrated by Zoe Luna Silveyra

It’s time to stay Here, the film. There’s a place where, hundreds of years ago, a dinosaur left its footprint while running away from a meteor. In that same place, only a few years ago, a family experienced a profound loss—so immense that they could no longer stay there. This place is an apartment somewhere in the United States. The film never specifies an exact location, but this is intentional, as the setting itself isn’t the central focus.

Instead, the real “place” where the entire story unfolds is a small slice of the world—a space where people travel in carriages, build homes, and simply live their lives. This is a film about life itself, celebrating the routines and rituals that define it. It follows various families, some more than others, who have made this piece of earth their home. And when you talk about life, you inevitably talk about love and hate, as well as the journey of learning how to live. The film’s core message is clear: don’t postpone life, and don’t wait until it’s too late to meet your true self.

For some, the movie Here directed by Robert Zemeckis, may seem like just another simple film about life, with a predictable plot—the classic story of a protagonist whose journey we follow through growth and challenges. However, in this case, the protagonist isn’t a person; it’s a place. This subtle shift opens the door to a much bigger discussion. It’s not just about the narrative itself or its content but about how that content is presented.

So, what exactly drew so much attention from a directorial perspective? Why, despite the criticism and lukewarm audience reception, might this film be worth more than a quick dismissal?

Am I Witnessing the Happy Ending of Forrest Gump?

In Here, it almost feels as though the main characters have been brought together for a long-awaited reunion after Forrest Gump (1994). With Robert Zemeckis directing once again and key collaborators returning—Tom Hanks and Robin Wright in leading roles, Eric Roth penning the screenplay, and cinematographer Don Burgess behind the camera—the film leans heavily into nostalgia. Even Alan Silvestri, who composed Forrest Gump’s unforgettable score, returns to set the emotional tone. By choosing an “evergreen” cast and crew—professionals whose work has stood the test of time—the film brings a sense of familiarity and emotional depth, making it easier for audiences to connect with the story.

Tom Hanks and Robin Wright get married in Here film by Robert Zemeckis illustrated by Zoe Luna Silveyra

Is this reunion a strength or a weakness? While the decision clearly emphasises the film’s themes of time, memory, and the passage of life—much like Forrest Gump did decades ago—it also runs the risk of feeling like a patchwork of past successes rather than a bold new vision. The challenge when reuniting such a legendary team is to avoid the pitfall of mere replication, where nostalgia outweighs innovation.

At the same time, the difference from the masterpiece to which they all contributed lies not only in the plot but also in the portrayal of time. While it remains a generational story, there’s a unique quality that made Here attractive to the audience.

From Graphic Novel to Film: How Here Brings a Comic Book Concept to Life

Here is an unusual film, both in concept and execution, and much of its originality comes from its source: the graphic novel of the same name by Richard McGuire (2014). Like the novel, the film is structured around a single, fixed camera shot that captures the same location while time flows around it. The characters remain unaware of this ever-present eye as if a silent witness is observing their lives. They walk towards it and dance around it in front of us, presenting a voyeuristic glimpse into their lives. 

What makes this approach so fascinating is how the screen is often divided into multiple panels, much like a comic book. This technique reveals glimpses of different moments in time simultaneously, creating a style that feels almost theatrical. The frame acts like a stage where the past, present, and future unfold together.

Small details, like what’s playing on the television, subtly anchor the viewer in a specific era, while the rigid framing, with its square-like compositions, evokes windows looking into different lives. The film commits fully to this concept, never breaking from its static perspective—until the very end. In its final moments, the camera moves for the first and only time, pulling back to reveal the house from the outside. This movement gives a last, sweeping look before closing the book on its many stories.

Ageing and De-ageing on Screen. The Use of CGI and AI 

Choosing mature actors to portray characters from youth to old age presents an inherent challenge. How can their younger versions be convincingly represented without casting different, younger actors for the role? The director seems to have found the answer in a combination of AI and CGI, using digital techniques to manipulate facial features and body structures to fit the specific period of each scene.

Yet, this decision has sparked criticism among audiences. Many viewers found something unsettling about the digitally altered faces, describing a certain artificiality that was hard to ignore. You know that uncanny feeling when you instantly recognise an AI-generated image? That’s exactly how some people felt throughout the film. At the same time, Robert Zemeckis is not the first filmmaker to explore these technologies.

Robin Wright's 50th birthday celebration in Here film by Robert Zemeckis illustrated by Zoe Luna Silveyra

The use of digital effects to age or de-age actors has become increasingly common in Hollywood. One of the most notable early examples was The Curious Case of Benjamin Button (2008), where Brad Pitt’s character aged in reverse through a blend of motion capture and CGI. More recently, The Irishman (2019) used advanced de-aging technology to make Robert De Niro, Al Pacino, and Joe Pesci appear decades younger.

While the results were technically impressive, many viewers found the effect slightly unnatural, especially during motion. AI-driven techniques are now pushing these boundaries even further.

The challenge remains: while these technologies can create stunning visuals, they often struggle to fully capture the organic nuances of human expression. With Here, the debate resurfaces: does digital manipulation enhance storytelling, or does it risk disengaging audiences from the experience?

Why Here Could be the Ultimate Comfort Film for Sunday Afternoons

Overall, my impression of the movie, alongside the weird feeling that some digitally created faces and familiar plot clichés evoked, was that it could become a comforting film to enjoy on calm Sunday afternoons from the sofa.

Sometimes, we all need a comfort movie—a film that’s easy to understand, warm, and familiar, something we can grow attached to.

Fields of Study
Art

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