Science versus religion. Christians against Jews. Church versus state. How long have these factions struggled against one another? As Alejandro Amenabar’s thought-provoking new film Agora shows, it’s been at least 1,500 years.
Agora takes us back to the 4th century A.D. The dark ages are soon to begin, bringing with them a thousand years of bloody conflict and limited progress. Alexandria, with a library full of hundreds of years of academic papers, stands as a final bastion of knowledge. Within the city, Pagans, Christians and Jews co-exist uneasily while the government monitors public sentiment so it can quickly jump on the latest bandwagon.
For Hypatia (Rachel Weisz), a gifted mathematician and astronomer, philosophy is the higher power that transcends all issues of class and faith. She doesn’t tolerate dissent among her pupils, who range in economic standing and religious beliefs, instead insisting they treat each other as brothers regardless of the growing discord outside her classroom walls.
That attitude earns Hypatia a fierce loyalty among her students—and in some cases, romantic longing. In particular, a wisecracking upper-class Pagan named Orestes (Oscar Isaac) and a young slave with Christian leanings named Davus (Max Minghella) seek to distract Hypatia from her studies long enough to flirt a little. Alas, their courtship is no match for Hypatia’s passion for science.
When the sectarian violence on the streets spills into her beloved library and classroom, Hypatia must finally face the threat to herself and her students. In the years ahead, feelings will change, loyalties will shift, and the reverberations will be felt for the next millennium.
In its early going, Agora feels like a plodding epic, complete with stilted dialogue and earnest speechmaking. But as religious tensions escalate and Hypatia becomes a source of controversy, Amenabar and co-writer Mateo Gil keep adding interesting layers to the story, and Agora ratchets up in intensity.
Confession: Apart from her wicked turn in the underrated The Shape of Things, I’ve never been wowed by Weisz. But at a time when many A-list actresses seem content to play dumb and dumber, it may be time to reassess. Give Weisz credit for frequently portraying the type of intelligent female characters missing from most Hollywood productions. In Hypatia, she’s found a kindred spirit, and it shows in a blazing performance that exudes intelligence while revealing the warmth beneath her pragmatic exterior. Weisz’s final scene is a knockout.
Many period pieces feel distant with their formal grandeur, but Amenabar injects Agora with welcome urgency. Working with cinematograher Xavi Giménez, Amenabar shoots the rioting and violence in a way that makes you feel every horrific stone to the temple.
Despite taking place in an ancient civilization, Agora seems more timely than most contemporary films. Themes of religious intolerance, fanaticism and prejudice against women feel eerily familiar.
Amenabar, who gained acclaim for his work on The Others and The Sea Inside, navigates these hot-button issues skillfully. You’ll marvel at how 1,700 years later, some things haven’t changed. As Agora reaches its wrenching climax, it’s a potent reminder that civilization’s forward progress is far from inevitable.
Grade: A-
Agora trailer:
Related Articles:
1) Seraphine review: Portrait of a most unusual French artist
2) The Girl Who Played with Fire review: Part 2 of Stieg Larsson's Millenium trilogy roars to life
3) A Woman in Berlin review: Survival in post-World War II Germany
"Agora" opens in Atlanta on July 23 at Landmark’s Midtown Art Cinema.
Follow Ryan at http://twitter.com/ATLFilmExaminer.
Comments