User reviews

Tilda Swinton is an academic who studies stories. She lives a fairly isolated existence ... by choice ... valuing her independence over close relationships. While at a conference in Istanbul, she buys a glass bottle as a souvenir and when she accidentally opens it in her hotel room, djinn Idris Elba emerges. Naturally, he tells her she has three wishes, but as she's an expert on stories, she's wary since all the stories she knows about wishing are cautionary tales. Since he needs her to make wishes to be free, Elba tells her stories about his past to explain how he ended up in the bottle and to build trust.

The advertising for this film is deceptive. The trailer and this poster try to convince you that you're getting some kind of magical George Miller action extravaganza along the lines of Mad max meets "Everything Everywhere All at Once". This is nothing like that film. It's a pretty stately paced film that mostly involves Swinton and Elba talking in a hotel room, with Elba's stories providing the magnificent visuals. But even these stories are pretty deliberately paced. It's a film about ideas, not action.

I really liked the ideas. It's about the role of stories in life and also about love and companionship. It's also about the idea of wishing for things and what we ultimately have the right to demand from other people. The pace lagged occasionally for me, but I'm very forgiving of a film this packed with ideas and ultimately so intriguingly open ended.

George Miller's latest historical fantasy Three Thousand Years of Longing is nothing short of a pleasant theatre going experience. From its visual language to its scope and narration, this movie is charming from the get go. Adapted from a collection of short stories titled "The Djinn in the Nightingale's Eye", it tells the story of a narratologist scholar who accidentally frees a djinn that offers to grant three wishes of her heart's true desire. When the scholar initially refuses, being all too familiar with stories of wishes and how they all serve as none but cautionary tales, the djinn then narrates to her the story of his three thousand year long life and how his freedom now rests in the hands of this unwilling scholar.

Each story is its own vignette and each story collectively contributes to the unfolding of history on screen in grand fashion. It's truly amazing and therapeutically charming to witness these stories play out; feeling for the players, understanding their predicaments and relating to their miseries... Three Thousand Years of Longing is in every way as enchanting as the stories it tells. But it's not without its flaws, as the movie eventually plays into what I can only describe as a somewhat weak and forced final act; that to an extent undermines the ambition of its build up. And that final act does ruin what could have otherwise been a collectively satisfying experience.

Whatever flaws it may have, it's not enough to overshadow the sheer scale and ambition of this movie. It was in every way a pleasant experience and a story that is in many ways charming and wonderful.

If you, like I was, are expecting a fast-paced, light-spirited, fun romp of visual extravaganza and witty dialogue along the journey that is Three Thousand Years of Longing ... you WILL be disappointed. Now, that is not meant to dissuade you from watching or enjoying it. On the contrary. It is simply meant to temper your expectations.

There is certainly much beauty in many of this film's scenes; from curious beauty in the mundane, to fabulous beauty in the fantastical. (There is also a musical scene that will spirit you away to decadent places). Sadly however, for some unknown reason, this film chooses to stay more in the realm of the mundane than the wondrous. The wasted shame in this is almost palpable.

The film also feels somewhat choppy or disconnected at times. This is especially true quite early, when it begins to touch upon and wander into the mythical almost immediately, but with no real explanation as to why or how those particular scenes tie in with the rest of the film.

Lastly, and most grievously, while all the right words existed for this story to be told ... it seemed to lack a bit of passion or fervor from the storytellers.

All this is NOT to imply that Three Thousand Years of Longing is without its merits.

For one, Swinton and Elba together (although IMO neither delivering their best performances), is still a treat. They are beautiful separately, and together, they are art. Neither however, could elevate the tone of the film because, intentionally or not, the MAIN TONE of several parts of the film, is more cacophony than cadence. It is my friends, also, far darker and sadder in parts, than what may be expected.

Think of it as a bedtime story for adults where the story is entertaining enough, and the pictures are beautiful, but the Happily Ever After may be a tad bland, bittersweet and hard to swallow.

"Three Thousand Years of Longing" is a culmination of stories leading up to the encounter between Idris Elba's "Djinn" and Tilda Swinton's "Alithea" that will enchant and enthrall those that wish to be enchanted and enthralled. It is certainly not a movie that I would just recommend to anyone. Rather, this film is one for an audience looking to pick out patterns and motifs that make up a three-thousand-year long story.

These musical motifs, visual patterns, color schemes, and recurring events are placed all throughout the film. Many are easy to pick out, many less so. In essence, this film is not unlike Wes Andersen's "The French Dispatch", in which many smaller stories constitute a whole. While there is certainly room to expand, this is an intriguingly crafted film (with an even more intriguing sound mix), that stayed with me long after I left the theater. If you wish to enter a world where history and legend collide, I would highly recommend this film.

I'm shocked it has such a low rating, I feel like its a wonderful movie if it has a low rating, and a bad movie with a high rating, or so it seems anymore. I thought it was Oscar worthy. I was mesmerized the whole time. Beautiful story that will make you smile and cry at the end. The acting is perfect IMO, and the whole movie is a visual treat. Just a really beautiful story well done in all the ways it can be. True movie lovers will enjoy it, or at least I think they will. Give it a try, I think you will be glad you did. What a wonderful way to spend a few hours. I was pleasantly surprised. This will be one of my favorites. So much better than other movies about the same topic.

George Miller has had a hell of a career. Much of his film work has revolved around the Mad Max franchise, but he's done a variety of work such as Happy Feet and The Witches of Eastwick. It's an eclectic mix which has led to his most eclectic film yet, Three Thousand Years of Longing. Although it's not his best work, Three Thousand Years seems to be a deeply personal film.

There are many idiosyncratic choices throughout Three Thousand Years which mark it as a passion project; it wouldn't be surprising to learn that the film languished in development hell or lacked the proper budgeting for its globe trekking story. Whatever the case, the joy for the material is evident, alongside some extremely obtuse and unrelatable elements. It's a strange film full of strange choices, zippy enough to be enjoyed in the moment but too jumbled for satisfactory mental congealment after the fact.

The film follows Alithea, a narrative scholar who uncorks The Djinn, a mystical being who has been imprisoned multiple times over thousands of years. The Djinn recants his history to Alithea, detailing the many loves and tragedies he has catalyzed in three ancient societies. Alithea must choose her own three wishes to fulfill her soul's most inner desire and help free The Djinn for all time.

There's much to unpack and many varyingly effective elements, but Miller dooms himself from the start with an awkward and forced framing device. Although the bulk of the story is The Djinn's, the film forces Alithea's point of view early, kicking off with one of her scholarly lectures and mind-numbing narration. The perspective is ostensibly chosen to build her character, but it's so far removed from the meat of the film that the viewer is immediately jarred when the gears shift.

The crux of the Three Thousand Years takes place in flashback, until it shifts again from The Djinn's vantage to Alithea's contemporary life, which is just as unsatisfying as the opening act; firstly because The Djinn is a more interesting character in every regard, and secondly because there's no thematic or narrative foothold anchoring the audience. We're thrust in, taken out, and thrust in again without explanation or purpose. Additionally, I pray we're not slipping back into years just prior when nearly every film opened with narration. Narration can kick rocks.

Three Thousand Years opens and closes wobbly, but the majority of the film works because the narrative is taken out of Alithea's hands and placed into The Djinn's. Idris Elba's Djinn is a sympathetic and vulnerable figure. He's a perfect physical choice for the role, strong enough to give off an aura of invincibility and inherent strength, but compassionate and fragile enough to create a sense of danger and powerlessness. His deep, silky voice is also perfect, because the film is essentially a spoken word album with accompanying visuals.

Although narration should kick rocks, his perpetual monologue is necessary to keep Miller's intended pace, his dialogue isn't gratingly mystical or overwrought, and he tells his story in a controlled and relaxed manner. As far as narration goes, it's a reasonable middle ground.

There may be a cut of Three Thousand Years wherein the fat is eliminated, narration is removed, and we simply watch The Djinn's story unfold in a more natural and visual style...but there may also be a cut wherein the story is unchanged, the narration is removed, and the viewer never has a prayer of figuring out what the hell is going on. Again, this version is a reasonable middle ground.

Among the chief pleasures of Three Thousand Years' high points are the unpredictability of the tales and the ever-shifting dynamics of power through the ages. Period piece politics are always fun because viewers are treated to the many elaborate and savage methods ancient monarchs used to keep power before the iron rule of law. Watching the uncertainty, paranoia, betrayal, and succession of each era unfurl is a blast, and the vignettes possess a streamlined, concise quality which the film as a whole lacks. Throwing a Djinn into the cutthroat mix doesn't hurt the intrigue either.

Miller's direction is also assured and dynamic. There are a host of camera movements, some subtle, some not, which keep the viewer engaged and alert. There are dozens of stylized scene and shot transitions which broaden the scope of the film and aid in its impressive continuity.

For all the magic, mischief, and mayhem of the tales, the affair could've become deliriously ungrounded or unconvincing, like recent MCU films, but Miller knows (perhaps better than anyone) how to establish and accentuate atmosphere among utter madness. Editor Margaret Sixel also deserves praise for allowing the film to breathe.

The atmosphere of the film is laudable, and the costume and set designs are creatively amusing, but there is a visual nag throughout. The CGI here is plentiful and terrible. It's used for cobwebs, bottles, battles, and feet, among other things, and it's distractingly amateur every time. All of Miller's practical effects bravado from Mad Max: Fury Road is totally, glaringly absent here. In a film impressively managing to keep its artifice at bay through convincing mise-en-scene, the computer effects frequently threaten to crash the illusion. Do we really need CGI cobwebs?

Three Thousand Years is enjoyable in the theater, but its charm quickly dissipates after the projector flickers off. The story is glaringly disjointed on a micro and macro scale. Because the film never establishes a tone or context, the viewer is forced to create one, orienting themselves as the plot flies by - focus is nonexistent.

Motivations are also extremely hazy; Alithea's perspective and inclinations turn on a dime, jolting the film into its third act without rhyme or reason. Even much of The Djinn's story is cobbled together and somewhat rushed. The audience is given a plethora of details, but the eye and mind aren't drawn to anything in particular. Characters are hastily introduced and abandoned within The Djinn's tales and subplots are meticulously constructed for meager payoffs.

Overall, Three Thousand Years of Longing is a unique and simple idea stretched to and beyond its limitations. The film feels both overly developed and like a first draft, connecting several threads without creating intention or meaning. It's a bizarre, frustrating tradeoff. Miller's visual finesse is refreshing, and the relatively low stakes are a relief, but the story is monstrously cluttered.

The film is uncanny, even among Miller's uncanny filmography, and its strangeness may unfortunately turn off many in the general public. That's a shame, as this type of bold vision and passion for the craft should be celebrated and supported. If you have any interest in seeing something outside the box, give it a shot, because there's honestly no telling how you'll respond - a dwindling sentiment.

What a grandeur ensemble between Idris Elba and Tilda Swinton.

A cautionary tale about human desire and what it means to love. The pacing was completely on point; I was engrossed right from the first few moments. The cinematography is beautiful. Miller who shows his versatility in a break from his typical movies. That being said it is noticeably a George Miller movie in style. Recommend this one very much, it does not feel too artsy but at the same time is not your "typical" fantasy movie. This movie is a marvelous artistic depiction of fundamental spiritual concepts that will leave some cold and indifferent while enchanting the initiated in the spiritual paths of the primordial tradition.

What would you do, if a Djinn appeared to you, gave three wishes at your leisure, would you use them for your pleasure, a lad in veritable full throttle, a genie conjured from a bottle, just be clear what you require, to satisfy, your heart's desires (and quench any sweltering fires that may also need dousing).

A tale of loneliness and solitude, of growing old and achievements, of what could have been and what might yet be, told through the furtive imagination of Alithea, with help from a mysterious spirit who she frees from a bottle during a stay in Istanbul.

Imagination doesn't disappear with age, and while this is not the greatest or the deepest film you'll see this year, it may still leave you juggling what three wishes you might make, and especially how to phrase them so they don't backfire.

I was enjoying myself for most of this movie. It's visually and musically beautiful. I was mostly invested in the story, until a point in the second half when I realized there wasn't any kind of escalation.

I don't mean I wanted to see action scenes. I didn't watch any trailers and was not misled as to what this movie "should" be. But there didn't seem to be any build up to any kind of climax. The entire movie is a steady walk. A car in cruise control at a 35 mph. I started to get impatient near the end. And at one point I was just waiting to leave.

The individual stories are interesting, but the overarching story leaves a lot to be desired. It also seems like they didn't know how to conclude this movie. It doesn't really work.

It's a shame because there is a lot of good here, creative and unique filmmaking, and hugely ambitious. I want more attempts like this, just hopefully better.

It's okay, I'll forever thank George Miller for giving me my second all-time favorite movie, Fury Road, which is the exact opposite example of skyrocket escalation to an epic climax. (1 viewing, opening Friday Dolby Cinema 8/26/2022)

It's a good movie, that should have been excellent but ended up just "good". It's visually magnificent, it has very good acting and it's basic idea is original and even poignant but. There are a few very big buts in stopping it from reaching the potential heights it should've reached.

It's getting lost in its own meandering tale, though we've all figured out the point it wanted to make long before it spells it out on the screen. It want's too much to demonstrate it's about storytelling so all the stories we see on screen are so heavily narrated that many of their charming characters end up as puppets with only glimpse of the character they should have, preventing us from really caring for them or in other words leaving us uninvolved with big chunks of the story. The combination of a long meandering plot line that keeps the audience uninvolved is an obstacle almost no movie can survive.

If I did enjoy it it's mainly because of the leading couple - Idris Elba and Tilda Swinton - no they're not giving a gut wrenching performance - they're simply very very professional keeping the convoluted plotline from losing us altogether anchoring the viewers to the story without turning it into a soap opera, and it could very easily turn into one so I'm definitely grateful for that professionalism. I simply can't help wondering what could have happened had it fulfilled the potential it most certainly has.

THREE THOUSAND YEARS OF LONGING is the story of a lonely scholar, Alithea (Tilda Swinton), who finds a Djinn (Idris Elba) while on vacation in Istanbul. The Djinn needs her to make three wishes so that he can be free.

The movie is visually stunning and the philosophical and psychological concepts about loneliness, desire, and what we wish for are interesting but superficially explored. The pacing is slow, and the plot is not particularly original or exciting. The individual stories about the Djinn's past are unexciting and the constant narration made me feel like I was listening to a story being read to me rather than watching a film. And Swinton and Elba don't have much chemistry which makes for an unengaging story.

Overall, I was disappointed with THREE THOUSAND YEARS OF LONGING. It's not a bad film, but it's not a great one either. If you're looking for some lightweight entertainment you might enjoy it. But if you're looking for an exciting and original story, you'll be disappointed.

I was very excited to see this film. The story was very interesting, but for me, the contemporary story of Alithea and the Djinn was rather dull. Most of the contemporary story was of Alithea and Djinn in bathrobes sitting in a hotel room. If the contemporary story would have been as interesting and compelling as the past stories of the Djinn, I would have liked it more. And perhaps if there had been more dialogue between the characters in the past stories of the Djinn it would have been better? The stories from the past felt rushed. And the film itself felt rushed and a bit disjointed. And why was it that it was always women that found the bottle and were granted three wishes? The special effects were good. The acting was good. Cinematography was great. Costuming etc, all good. Again, had the contemporary story been more interesting,especially, for me, it would have been a much better.

It's pretty slow paced and isn't action packed at all which was what I expected heading in. I was excited to see it but it didn't seem to be as good from the people who watched it early which lowered my expectations.

The movie's all about story telling of a djinn's former lifetimes. It's definitely one of the more unique films released this year, it's filled with grand and vibrant visuals, it shows you his memories as they're narrated and the whole movie ekes magic because if it. As far as djinn stories go it's not as original but the way it's told makes it feel like something new, sets it apart from Disney's Aladdin.

In the second half of the movie it moves away from the magical ambience and becomes a romance between the two protagonists that have only loneliness in common. Idris Elba and Tilda Swinton gave great performances; however as the whole premise of the movie is storytelling, it does lack depth and emotional pull which could've elevated it from just a good movie to a great one. Because for something that only wants to tell stories, it's a little disappointing that the visuals were the most captivating thing about it. It also feels much longer than it is, I don't think it should have been paced quicker but they should have just given the audience some more depth or thrill.

It's a very zen movie, it doesn't flactuate, no highs and lows which makes it quite anticlimactic and movies like that are rarely memorable. It tells stories that happened over 3000 years, that's a lot to unpack in such a short time so it makes sense they couldn't unravel it all, but that unfortunately left me with the feeling it had so much more to offer. Little sparks of something special that never came to be.

This movie is... Different. Very different. Probably not like anything you have ever seen. Why? Because of the type of its story, but also because of the way it coexists with the whole mystic/supernatural themes, that are crucial in here.

If you cut all the "weird" things out from here, you basically get a story about 2 people, lonely man and lonely woman, who meet in some strange conditions, start talking, getting to know each other and then realize their goals are very similar and they might be able to accomplish them together. This sounds interesting, right?

And it definitely is. So, where's the problem? There are a few of them.

The biggest problem of this movie is its conclusion. I mean... For me, as someone with cold head, it doesn't really make sense that our characters decide to do what they decide to do. It feels so unnatural for them and it's very easy to predict, it's not gonna work. And I know they are both desperate, but it's still not enough for me to make such decision. Finally it ends exactly the way I expected... The second real problem here is the fact, that we know basically nothing about the character played by Tilda Swinton. All the stories in this movie are told by Idris Elba's character. I get the fact, that because of his mystic origin he might be seen as more interesting, but we have to know something more about one of the main characters, if we know SO MUCH about the other main character, come on...

Overally, I would say this movie was definitely interesting, but after some time it became very predictable and it disappointed me deeply. Still, it wasn't bad though.

I think its awesome how the ratings jumped up from a 5.9 to a 6.9 that's wonderful! Mainly about Tilda Swinton's character buying an antique to find out a Djinn is part of it, has wishes and numerous stories to tell that are fascinating, beautiful, bizarre, and intriguing. Idris Elba is brilliant in anything especially in The Wire that's irrelevant but easily his best role. I barely knew anything of this movie before seeing except that I love George Miller films he has made a lot of masterpieces 3000 thousand years of longing is defiantly excellent for it's uniqueness; I wouldn't say masterful but damn good and would highly recommend!

I came across this film in my Prime feed. I immediately thought, "is that Tilda Swinton?" My next thought was, "is that Idris Elba?" Then my mind was abuzz with queries and assumptions.

I saw the 2022 date and wracked my head for any mention of this film since it's release but came up completely blank.

My next cogent thought was, "of course, I want to see a film with Tilda and Idris called "Three Thousand Years of Longing", who in their right mind wouldn't?" I couldn't even imagine a universe in which I wouldn't want to see such a film. And thank goodness I had that thought and clicked "play". It's a wonderful film which failed to disappoint me on any level.

My only question now centers on why I have not heard of this film until now.

Sorry that I offer no insight into the film's content or meaning, you really need to watch it yourself. I just want to offer that it is a delightful and underadvertised masterpiece.

This truly is one of the best films I've ever seen! I went into the cinema thinking, based on the trailers, that it would be more like a comedy, ridiculous, farcical and just not a very good film, but it truly is one of the best films I've ever seen. The visual effects are great and bring an interesting change of pace to the film, but the performances by Idris Elba and Tilda Swinton are incredible, and the film is like a fairytale; it takes you on an amazing journey through time and history and characters but at the root of it is love, a true love story! I left the cinema feeling motivated, encouraged and feeling optimism again about modern cinema and the ability to tell interesting stories that really engage.

Several parables set up a narrative for Idris Elba's lonely, heartsick and surprisingly relatable djinn - while providing a potpourri of short stories with both entertaining and unpredictable narratives. His perspective runs counter to Tilda Swinton's academic, who enters with confidence - only to doubt her most strongly held beliefs. This is an adult fairytale that forces us (as it does Swinton's Alithea, "truth" in Greek mythology) to realize that fulfillment in life comes from the coalescence of science, history, and, yes, faith in following one's heart.

Technically, George Miller's team pulls off seamless special effects in a kaleidoscopic backdrop of the Middle East, spanning from the time of King Solomon and Sheba through the Ottomon Empire with stunningly beautiful and often heartbreaking backstories. The musical score never drowns out the dialogue, while the visuals are always adding layers that provide purpose to our characters' motivations.

Overall, Three Thousand Years of Longing is a recommended film, that can stand up to analysis due to some unique directorial and story-telling characteristics, while also serving as a satisfying date night with turns that will keep viewers longing to learn the fate of our two lead characters.

Three Thousand Years of Longing is a bit of an odd beast.

It has some very engaging elements and stories, some more cliche and tired feeling sections, and a lacklustre final act which ends the film on a slightly underwhelming note.

I will say that the trailer for the film doesn't really betray the story of this film at all, so you'll probably leave this film somewhat surprised about the type of film you just watched. Whether this is for the better or worse depends what kind of film you are after, as the result is much more meditative and contemplative than you may expect.

That's all well and good, but it didn't really delve into these elements in enough depth to make for a totally engaging film.

Still, the visuals are often striking, and the performance from Tilda Swinton is very watchable. Not a particularly outstanding film, but plenty of interesting enough elements to make it worth a watch.