The filmmaker, whose career took off with a very different sort of Holocaust film, 1990's Oscar - nominated Europa Europa, understands that most of
these stories arrive at a point of unspeakable, incomprehensible horror.
Not exact matches
In a move that seems both narratively practical and winkingly
pointed, Fantastic Beasts is an immigrant
story from its first scene, as British - born - and - bred Scamander
arrives at 1926 Ellis Island and amusingly makes it through customs without declaring to the Muggle there what he's really packing.
Based on the novel by Colm Toibin and adapted by Nick Hornby, it's an immigrant
story, which makes it a quintessentially American
story, with
points of connection for anyone whose family
arrived at Ellis Island.
Eventually we
arrive at a
point when we both agree we've reached THE END (of the
story, not our partnership).
This is the
point of the
story, with obvious symbolic implications, when the protagonist usually
arrives at some sort of epiphany as they «cleanse» themselves of the past and begin anew, washing away whatever past sins they've committed.
Then comes the onslaught of visitors who make it a
point to get there themselves after hearing one too many
stories of how great the country is and how few tourists are there, and who
arrive somewhat aghast
at the number of other travelers there doing the same.
And now we've
arrived at a
point where cinematic experience over gameplay is generally frowned upon, so the next couple of years will establish a standard where
story doesn't subvert gameplay but enhances agency in a meaningful way by allowing for player expression and, of course, moral choice.