A beautiful chateau stands somewhere in picturesque Normandy. Despite gradually deteriorating, it still retains its grandeur and majesty, which is exactly what brings two strangers to the isolated grounds one quaint afternoon. Bernard (Gethin Anthony) is a location scout sent to France to find a location for his film company to use as both a set for an upcoming project and as a satellite campus for their administrative work, opting to move out of the cities and into the countryside for a change of scenery. Maggie (Cara Theobold) is the representative of the real estate company that owns the property, who is assigned to be present while Bernard looks around the chateau, there to field any questions he may have and guide him through the enormous estate. It doesn’t take long for the two strangers to become friends, as they instantly find themselves captivated by the other, both possessing a natural curiosity, borne from years of feeling out of place, that draws them together, and makes their afternoon rendezvous all the more meaningful. Over the course of a few hours, Maggie and Bernard stroll through the gardens and corridors of the manor, exploring the various nooks and crannies that are concealed behind these majestic walls, while questioning each other and their own beliefs, gradually uncovering the secrets of the universe, all of which are constructed from their shared interest in  Conversations on the Plurality of Worlds, the magnum opus of Bernard Le Bovier de Fontenelle, a famous philosopher who once resided on the estate, and who historians believe may have been inspired to write his greatest works after seeing the beautiful, mystical scenery that surrounds him. However, there’s something deeper lurking beneath this chateau, a set of secrets that start to reveal themselves the more Maggie and Bernard get to know each other – or perhaps they’ve known each other all along?

So begins Around the Sun, the ambitious feature-length directorial debut of Oliver Krimpas, who put together one of the year’s most compelling films, a daring human odyssey that blends together melodrama, romantic comedy and science fiction to be one of the most insightful explorations of existence committed to film over the past few years. A simple, elegant investigation into some of life’s most fundamental questions, the film functions as a powerful statement on humanity that never feels overwrought or heavy-handed, but rather extremely ethereal, carrying with it a sense of sophistication that rarely manifests in such a profoundly impactful way as it does her. Krimpas’ sensibilities as a filmmaker seem to be entirely attuned to what the story requires of him – and taking on such a premise as outlined above may appear audacious for someone so early in their directorial career, but falls into place in a manner that feels entirely authentic and incredibly poignant, sentimental without losing that spark of genius that makes it such an incredibly complex work. Around the Sun is one of those films that makes its intentions known from the start, and if the viewer is willing to surrender to its vision for a short while, we find ourselves drawn into this hypnotic world, where the very essence of our existence is laid bare, vulnerable to the scrutiny of a story that seeks to not only challenge our perception but actively change it in a way that seems entirely genuine. In short, DIR put together a remarkable achievement in Around the Sun, which flourishes as a piece of metaphysical artistry, but goes far beyond these vaguely-pretentious confines to be entirely worthwhile, an exceptional exploration of the human condition from a profoundly different perspective, which makes all the difference when provoking such deep and meaningful themes.

Getting a handle on this film seems intimidating at first – equal part Before Sunrise and Last Year at Marienbad, this is not a film that purports to carry a story without some depth, and instead makes it known that we’re going to see something quite different. Like many great films about deeper existential issues, Around the Sun takes its time in establishing a clear meaning – in fact, up until the very end, we’re not ever quite sure of what this film is trying to say exactly, with the most essential components intentionally being left ambigious, the subject for our own scrutiny as observers into the lives of these two characters. There’s very little room for passivity when watching this film – we’re actively engaging with these characters as they navigate these new, but strangely familiar, concepts presented to them, and we accompany them on a journey that feels simultaneously enriching and bewildering. Constructed as a cinematic puzzle of sorts, with fragments of both reality and fantasy being scattered throughout, with our responsibility being to put them together in a way that feels authentic, even if the final product may appear significantly different for each one of us. Krimpas seems to be doing this on purpose – the brilliance of this film comes when we realize there isn’t any single interpretation – the script and these characters establish some conceptual primitives that give us some context, but everything else about this story is up to us to discern. It’s a wonderfully unique approach that could have so easily failed, but through the sincere and steadfast dedication to this premise, the director manages to make one of the most fascinating works of narrative fiction of the year, an absolutely delightful romantic drama with generous smatterings of science fiction and heartfelt comedy to enrich the experience.

On a traditional level, Around the Sun is certainly an effective film – its beautifully-made (with the chateau in which the film takes place being used exceptionally well, becoming something of a third character on its own), with the cinematography capturing both the grandeur of the location and the more intimate details that go into making this such a gorgeous film. The film also has a pair of exceptional performances in the two roles, with Cara Theobold and Gethin Anthony providing much-needed humanity to a film that teeters dangerously close to becoming enveloped by its own majesty. They deliver lived-in, authentic performances that may be attributed to their masterful control over a dialogue-driven script (which is, in essence, the most impressive aspect of the film), but it should also be noted that both actors demonstrate a remarkable understanding of the paralinguistic cues needed to convincingly play these characters. We aren’t ever sure of whether these characters actually knew each other before this, or if that’s just an artistic construction, put in there to make the story more effectively vague and enigmatic. Whether it be in the most subtle expression or brief glance, both actors do very well in rising above the intimidating script and finding the truth in two very complex characters that may be far more impenetrable for less-committed actors. We become extremely familiar with these characters as time goes on, which is truly the result of a fantastic script and some terrific performances, which bring this rich and evocative story to life and allow it to flourish into this deft, fascinating character study that dares to provoke some of the most enduring questions of existence through the most simple, but striking means possible.

Unfortunately, Around the Sun is not a film that is destined to stand out in terms of how it presents itself on the surface – its a small independent drama starring relatively obscure actors known for their minor roles in a bevvy of other projects, but who are still awaiting their own breakthrough (even if this film is more than sufficient in proving their mettle as performers), and focuses on a premise that may not be all that enthralling for potential viewers. However, for those who enjoy more diverse and idiosyncratic forms of cinema, this film is tailor-made for alternative sensibilities. Theatrical in its premise (with the film focusing on only two characters), but executed with a kind of cinematic grandeur that is as stunning as it is meaningful, Around the Sun is quite spectacular. Its a slow-burning, insightful meditation on deeper issues than we’d expect, venturing into the core of the human condition in a way that feels entirely true to its intentions, never deviating from the confines that many other independent dramas tend to see as an insurmountable obstacle. Everyone involved in this film makes an excellent case for their place in the current film industry – whether Oliver Krimpas’ assured direction, Jonathan Kiefer’s funny, insightful and meaningful script, or the beautiful performances by the two leads, this film is truly quite exceptional. It may take some time to hit its peak (and at only 78 minutes, there’s not a lot of time for the story to be explored to its full potential), but it’s a worthwhile effort that keeps us captivated and leaves us in a state of deep thought, which is always a wonderful achievement for a film as intimate and unassuming as this. One of the year’s most fascinating gems.