The director and screenwriter Alexander Payne is renowned for his work, including the acclaimed film Sideways starring Paul Giamatti. Downsizing, in contrast to his previous films, features a significant budget and extensive special effects – two aspects that unfortunately highlight Payne’s relative inexperience in this area.
Rolf Lassgård in his biggest role..!The Norwegian scientist Dr. Jorgen Asbjørnsen (Rolf Lassgård) successfully develops a formula that reduces humans or animals to 1/2000 of their original size, making an average-height person approximately 12 centimeters tall. The potential benefits are substantial: finances are effectively multiplied, enabling a luxurious lifestyle within a significantly reduced living space. Operational costs are also minimized due to decreased resource consumption. A comprehensive advertising campaign promotes “downsizing,” as the technology becomes known. Paul Safranek (Matt Damon) and his wife Audrey (Kristin Wiig) decide to undergo this irreversible procedure. However, Paul’s experience deviates sharply from the advertised opulence, presenting him with unexpected challenges.
Could it be something for us?Before proceeding, a word of caution: I strongly advise against watching the trailer before viewing the film. It essentially summarizes the entire plot, including a crucial narrative twist. Consequently, viewers who have seen the trailer may find the initial 40 minutes somewhat redundant. Fortunately, I had not seen it, and I found the opening segment to be the strongest part of the film.
Regrettably, the narrative cohesion diminishes after the protagonist undergoes the reduction process. Once Paul becomes miniature, a sense of realism begins to erode. As Ivan Reitman (or perhaps it was Richard Donner) once stated, “You should never ask the audience to accept more than one fantastical element per film.” Examples include accepting the existence of ghosts and the ability to capture them, or the possibility of human flight. In Downsizing, the initial premise of human reduction via a Norwegian researcher is adequately established. However, subsequent aspects of the narrative strain credulity.
The only way to travel.The fact that an animated family film like A Bug’s Life (1998) exhibits a higher degree of realism than a 2018 drama presents a significant issue. Considerations such as surface tension, for instance, are overlooked. A 12 cm tall individual holding a glass of water would encounter surface tension effects, causing the water to behave like a gelatinous mass. Vocal projection would also be significantly impacted, rendering the individual’s voice nearly inaudible to standard-sized humans. Garments, seemingly thin and well-fitted in the film, would possess a coarse texture akin to doll clothes. Within the miniature world, the environment appears largely unchanged. The potential for creative world-building, such as showcasing the repurposed materials used for constructing the infrastructure for the miniaturized population, is largely neglected. A mosquito microphone used on a small podium and a real rose are among the few instances where this playfulness is evident.
The large Absolut bottles are the only things that testify to the size. Note the table that looks like ordinary wood.Wooden objects retain their normal appearance, failing to reflect the altered scale. Knot holes, which should appear immense, are depicted as ordinary. The scarcity of visual cues truly indicative of the miniaturized world is a persistent problem. When the downsized characters travel by boat – essentially a model boat – on a Norwegian fjord, the slightest wave should pose a significant capsizing risk. This apparent lack of concern for realistic consequences is jarring. Standard weather conditions, such as rain, snow, or hail, would likely pose a lethal threat to such diminutive individuals. The film only identifies mosquitoes and birds as potential hazards, mitigated by a protective net over the city. The broader implications of the animal kingdom and the potential dangers posed by humans – a child mistaking a downsized person for a toy, or intoxicated individuals inadvertently stumbling through the tiny town – are disregarded.
The filmmakers’ oversight in these details is evident. It may stem from a perceived lack of importance, but these inconsistencies detract significantly from the viewing experience. Addressing these details would have enhanced immersion and allowed for a more focused engagement with the story, rather than distraction by the lack of realism.
Matt Damon delivers a standard performance, neither excelling nor faltering. Paul Giamatti might have been a more compelling casting choice for the role. Kristin Wiig performs adequately, meeting expectations without exceeding them. Her character’s abrupt departure from the narrative is disconcerting.
Hong Chau portrays a Vietnamese woman imprisoned for her activism, subjected to downsizing, and transported to the USA in a TV box with other prisoners. As the sole survivor, she encounters the protagonist in the Lilliputian town. While the character’s motivations remain somewhat unclear, the choice to imbue her with a pronounced, staccato accent results in unintended humor. A scene where she lists various American sex positions becomes reminiscent of a similar scene in Full Metal Jacket, but lacks the same impact. A series of questionable script and direction choices prevents the character from resonating effectively. While Hong Chau is a capable actress, the execution transforms the character into a caricature rather than a nuanced portrayal.
The always equally competent Christoph Waltz.As previously mentioned, the plot undergoes a significant shift, introducing the character of Dusan Mirkovic, a Serbian individual played by the exceptional Christoph Waltz. Since his memorable performance in Inglorious Basterds, Waltz has consistently been among my favorite actors. He delivers a commendable performance here, but the film’s structure introduces him late in the narrative, making it difficult for the audience to fully grasp his importance and future role.
Rolf Lassgård makes his American film debut with considerable skill, showcasing a broad emotional range. Margareta Pettersson also makes her American debut. However, her character, whom I refer to as “Miss Exposition,” is notably irritating, and the humor in her scenes feels forced.
Upon reflection, the film’s overall quality diminishes. The potential inherent in its ingenious premise is squandered by its flawed execution. The special effects are well-executed, but the production design lacks the necessary attention to detail to create a truly believable miniature world. Ultimately, the film suffers from a lack of thorough consideration and impactful world-building.
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