As long as we exist, humankind will perpetually begin again amidst the rubble of what came before. In bleakest reality, this is proven in the aftermath of war or natural disasters. Metaphorically, it is also true for every form of art. Old fads, trends, styles, or movements, become archaic or embarrassing and new forms arise. Strangely, when it comes to colonization the reality and the figurative are synonymous—cities and cultures are destroyed so something else can replace them.
And that, friends, is the cleanest thematic explanation for Landscape with Invisible Hand that I can give you. Written and directed by Cory Finley, based on the book by M.T. Anderson, and starring Asante Blackk as Adam, the story begins with an alien invasion that seems like progress. A species called the Vuuv—fleshy creatures, shaped like coffee tables—have come to Earth. In exchange for cohabitation, the aliens offer us their advanced technology and cures for all diseases. It seems like a good deal, but with nothing left to do humans become disenfranchised as the systems that define us shut down. The Vuuv take away jobs first, then homes, food, and finally schools. The exception is art. They keep us churning that out so they can continue to consume it. Whether it’s television, visual art, or live streams, the Vuuv devour it all.
A young painter, Adam Campbell, his mom (Tiffany Haddish), and his sister (Brooklynn MacKinzie) subsist in this new world. But compared to the new girl at school—Chloe Marsh (Kylie Rogers), her dad (Josh Hamilton), and her brother (Michael Gandolfini)—the Campbells are thriving. As Adam and Chloe explore a romantic relationship, that later becomes entertainment for the Vuuv, the conflict between the two families grows. And the question becomes: How do they retain their humanity when everything they understand about themselves is being assimilated and recontextualized by the Vuuv? Perhaps they cannot.
Landscape with Invisible Hand is a slow-burning alien apocalypse with C4 taped to its underbelly. You don’t know whether the situation is going to blow up, but you know the shrapnel could go anywhere. That tension keeps you guessing even when the plot is maddeningly slow. The storytelling and styling are a flashback to classic sci-fi, the kind you might find in The Day the Earth Stood Still or even Brother From Another Planet. It’s bizarre and satirical but isn’t entirely absurd, even in its more ridiculous moments. The narrative isn’t so much an alien invasion as a mirror for Earth’s history of colonization. Those themes make this somewhat unbalanced movie one I can recommend to my sci-fi-loving friends.
To tell you more, without spoilers, there were two standout moments. The first is a cameo by William Jackson Harper. It is way too short but it is profound in its brevity. The scene reminds me of a similar one in The Others (2001)—you’ll recognize it when you see it—and this one lands just as heavily. The second standout moment is for Adam, when his despair pours out in a masterwork of art, and the Vuuv quickly teach him what all artists know: Art leads the way but that power is why art is so often co-opted.
A final thought. As aliens who leave us nothing to strive for, the Vuuv become a cutting metaphor for the push towards A.I. If we are stripped of everything that gives us purpose, in order to make more money, isn’t that too high a cost?
If you’re a fan of classic sci-fi or the satirical kind, see Landscape with Invisible Hand.
Score: C+
