Anomalisa (2015, Charlie Kaufman)

Customer service expert Michael stays at a hotel named after a paranoid delusion in which all people appear to be the same person in different disguises. I didn’t know this until after the movie, but it works anyway because everyone except Michael has the same face and voice (Tom Noonan, paterfamilias of The House of the Devil). Michael is dreamily British-accented but erratic-acting David Thewlis, and life’s the same old drab nightmare for him until he meets someone with a unique voice: Lisa (Jennifer Jason Leigh). His awkward affair with her lasts one night, after which she becomes Noonan-voiced and Michael leaves her, runs home to his Noonan-family.

Full of small pleasures in dialogue and puppet movement, and larger, weirder wonders (Michael’s subterranean gay-panic dream, Japanese automaton from sex shop, stop-motion recreation of a My Man Godfrey scene). Surely need to watch again – need to watch all Kaufman’s movies again.

Opened in Venice with A Bigger Splash, Francofonia and The Clan, winning what appears to be second place to From Afar. Award shows mostly considered it in animation categories, where it universally lost to Inside Out. Made the top-ten in the Skandies anyway, along with acting and screenplay mentions.

R. Porton in Cinema Scope:

The superb deployment of puppets and stop-motion animation in the work of Jan Svankmajer and the Quay Brothers highlight the vicissitudes of the macabre and the fantastic. Kaufman and Johnson’s film, although superficially more prosaic, manages to make the banalities of a business trip as chilling as anything in Alice or Street of Crocodiles. Towards the end of Anomalisa, Michael concludes that the real lesson of his visit to Cincinnati is “there’s no lesson at all,” a fitting coda to a movie which refuses to offer its audience glib bromides or anything more than cold comfort.

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