Watching Landscape with Invisible Hand, it’s hard not to draw parallels between our society and the alien-invasion allegory depicted in this thought-provoking film. Based on the M.T. Anderson novella of the same name, the movie tells the story of the vuuv, an alien species that looks down on humanity with a mix of fascination and condescension. Having evolved beyond romance and visual art, they scrutinize human endeavors, questioning their purpose. Director Cory Finley uses this near-future United States, plagued by unemployment and financial despair, as a backdrop for his scathing anti-capitalist satire.
The vuuv serve as a versatile metaphor throughout the film. They symbolize commerce gone awry, a warning against unchecked technological progress, and the devastating aftermath of colonization disguised as a strange “gooey coffee table.” Interestingly, the film subverts the typical alien invasion narrative by highlighting how these extraterrestrial beings are welcomed not by governments or militaries, but by opportunistic merchants. It’s a clever blend of “To Serve Man” and “eat the rich,” but the film takes a while to capitalize on its comedic potential.
In a stroke of brilliance, the vuuv eliminate menial labor and inefficiencies with their advanced technology, but they keep the benefits for themselves rather than redistributing them to the majority of Earth’s inhabitants. This exacerbates social stratification, as depicted by the imposing vuuv settlement that transforms Adam’s hometown into a corporate-dominated landscape. When Adam invites Chloe’s family to stay with them, it further emphasizes the class divide, creating an upstairs/downstairs dynamic.
However, Finley’s true talent lies in his ability to capture intimate moments through close-ups. The film centers around Adam and Chloe, who, in their mutual affection, hatch a plan to monetize their relationship by livestreaming it to the vuuv. This forms the core of the film initially, but it eventually evolves into an ensemble piece, influenced by the slice-of-life vignettes in Anderson’s book. The story expands to include the struggles of Mr. Marsh and his son, a surprise visit from Adam’s father, and the desperate ploy by Campbell matriarch Beth to pretend she is married to a vuuv.
However, amidst these different storylines, the film struggles to develop compelling characters. Instead, they often feel like symbols or mouthpieces for the film’s social commentary. This is particularly evident with the Marsh men, who represent the aggrieved American male. Despite solid performances from Hamilton and Gandolfini, their characters lack depth. Haddish, on the other hand, shines in the sitcom-inspired climax of her subplot, but an earlier dramatic moment feels out of place.
Finley’s decision to explore the creative process as a means of critiquing the vuuv’s profit-driven society might not have been the most effective choice. While the film presents various paintings and highlights Adam’s artistic endeavors, it struggles to capture the complexity of the subject onscreen. Nevertheless, the film pivots towards a more resilient and hopeful perspective in its conclusion, aligning with the overall theme of the indomitability of the human spirit.
One of Finley’s greatest strengths as a filmmaker is his ability to provide audiences with just enough information to connect the dots. While the screenplay occasionally falls short in terms of characterization and plot details, Finley compensates by creating a richly detailed world. Through careful set design and visual cues, he immerses viewers in a lived-in and believable setting.
Landscape with Invisible Hand challenges viewers to reflect on the consequences of unchecked capitalism and the power dynamics in our society. While the film has its flaws, it serves as a compelling and thought-provoking piece of cinematic social commentary.