Directed by Cory Finley
Years into a benevolent alien occupation, mankind is still adjusting to its new overlords. Their technology initially held promise for global prosperity, but rendered most human jobs – and steady income – obsolete. When two teenagers discover the aliens are fascinated with human love and will pay for access to it, they decide to livestream their romance to make extra cash for their families.
Пейзаж с невидимой рукой, Paysage avec main invisible, Krajobraz z niewidzialną ręką, Paysage à la main invisible, Landschaft mit unsichtbarer Hand, Paisaje con mano invisible, Krajina s neviditelnou rukou, 看不见手的风景, 랜드스케이프 위드 인비저블 핸드, Tájkép Láthatatlan Kézzel, Paisagem com Mão Invisível, Peizažas su nematoma ranka, Paesaggio con mano invisibile, Пейзаж з невидимою рукою, Uzaylılar ile İnsanlar Arasında, 隱形之手的風景, 見えざる手のある風景
USA Sundance Film Festival 
CanadaR USAR USAR 
Brazil16 
Germany16 
Italy USAR 
Puerto RicoR Brazil Canada Germany Italy Puerto Rico USA 
Wow it would really suck if the world was ran by money hungry capitalists who were incapable of love and profited off destroying human expression and turning people against each other through competition under the guise of market opportunity
If they rub those damn paddles together again I’m gonna kill myself
Aliens Gentrified My Street Art
If Vuvv bad, why so cute?
getting sued by a gooey coffee table is somehow more horrifying than acid blood or being hunted for sport
This was fucking weird in the best way. Just trying to describe the plot makes me laugh. The absurd sci-fi concept pairs well with it’s often heavy handed critique of unfettered capitalism (similar to Don’t Look Up). Perhaps the greatest absurdity is found in the similarities between this world and ours. Was a little cold as there weren’t many strong relationships between characters. Beautiful score from Michael Abels and a haunting title
the story and concept are really cool but it all came out quite messy… i really enjoyed it though
“WE THOUGHT THERE WAS A GREAT DISTANCE BETWEEN THE FUTURE AND US, AND NOW HERE WE ARE, FALLING THROUGH IT.“
Cory Finley’s extremely welcome mission to make every conceivable kind of high school movie — at a time when few other serious filmmakers are bothering to make any kind of high school movie — continues with the young director’s third feature and first misstep. Like “Thoroughbreds” and “Bad Education” before it, “Landscape with Invisible Hand” leverages the ecology of American teenagedom into a satirical and/or breathtakingly sad class comedy that explores the value of empathy in capitalism. Unlike either of those two films, it’s full of slimy little aliens who look like a frozen supermarket turkey made out of tongue.
They’re called the Vuvv (rhymes with “love,” not “Clicquot”), and by the time this story begins in 2036, these squat…
this movie is very 🫳🫴🫳🫴🫳🫴
(translation: good)
Man! This movie is very disappointing.
Everything in this movie is fantastic. The story and concept are interesting. I loved the score, which added to the quirky tone but also had this nice B-movie quality to it. The cinematography is great. The actors are all solid. The design of the aliens is unique and memorable, and the way they communicate and everything about them is also interesting.
Unfortunately, the writing is where the movie fails miserably. Not only does it try to tackle so many themes, but it never fully gets around them, so they feel very half-assed. Also, everyone is so mean-spirited, which results in very unlikeable characters that are hard to root for.
All in all, Finley still proves to be an interesting filmmaker, but this one wasn’t it. There is great stuff in it, but it falls victim to its own ambition.
TODAY SCHEDULE
I'm Dangerous Tonight
Landscape With Invisible Hands
Rollerball
Furiosa
Kinda like a Michel Gondry directed Black Mirror episode inspired by a Kurt Vonnegut story. A quirky satire on vlogging (and OnlyFans, ostensibly), the indignity of economic dependence and servility, the ways we already demean ourselves and our desires to placate and pander to capitalist overseers, and how authentic art or emotion survive in a world run by blubbery blocks of synthetic ham. Delightfully bizarre yet unintentionally uneven in tone and execution, this is quite a slapdash detour from Cory Finley, whose Bad Education and Thoroughbreds explored immoral/amoral pathologies in the realm of high school hierarchies much more delicately and dynamically. All said, I appreciated the daringly creative, scattershot energy even if I didn’t genuinely vuvv the final vision.
