Frequencies (film)

Frequencies, also known as OXV: The Manual, is a 2013 independent British science fiction romance film that takes place in a world where human worth and emotional connections are determined by set "frequencies."

When Mozart plays, we are all the same frequency.
~ Mr. Strauss

Written, directed, and produced by Darren Paul Fisher.

The world's first Scientific-Philosophical romance. (tagline)

Isaac-Newton "Zak" Midgeley edit

I've seen a pattern: O. X. V.
Everything has a side-effect. My whole life's a side-effect.
Ironic particle: the physical manifestation of irony existing latent in every atom in the universe. But my preliminary research suggests that the ironic particles are only activated by the brain when we want something, and so forming a "desire chain"—but only by a certain type of person.
I changed my frequency.
What we know about frequency is wrong. Otherwise, you and I would never have met.
Nature needs constant nurturing.

Marie-Curie Fortune edit

Greeting or serious question?
- Repeated line.
I don't feel. No one wants to understand. I know what they call me—"the Machine"—and they're right. I do not love my family. I experience no joy. If you ever see me smile, frown, laugh, or cry, I'm pretending, waiting for it to become real; but it never will. It's the side-effect.
I feel…connected…to myself.
I have a 210 I.Q. I never needed to take notes. I just didn't want to always have to look at people or have them looking at me. It's the eyes.
I've never waited for a train before.
You have to have choice.

Miss Anderson edit

It's okay, they've used up their minute for this year already; we couldn't get them together now if we tried.
Frequency does not change.

Theodor-Adorno "Theo" Strauss edit

What I am interested in is the universal…symphony.
That's it. Perfect. Oh. I see.
- Last line of the film.

Others edit

Various: Knowledge determines destiny.
Mrs. Fortune: [to Isaac-Newton "Zak" Midgeley] You steal people's frequencies.
Mr. Strauss: When Mozart plays, we are all the same frequency.

Dialogue edit

Boy: What did you get?

Marie-Curie Fortune: A hundred twenty-seven.

Boy: Don't go higher than a hundred.

Boy: Meet my friend.

Girl: You don't have any friends.

Boy: This is Isaac-Newton Midgeley.

Isaac-Newton "Zak" Midgeley: Zak. Hello.

Marie: Hello.

Boy: He's a minus-seven. Always knew I didn't like you.

Girl: Thought he was your friend.

Boy: Shut up, and wait.

Girl: What for? [Marie observes her pocket watch]

Boy: Super-high frequency meets super-low frequency: something should be happening, some…reaction. [after some more seconds pass, thunder begins rumbling and rain begins falling on Zak]

Marie: Interesting.

Mr. Fortune: How do you feel about it, hmm?

Marie: [imitating what a girl had said to her earlier in the day] I'm so relieved, really; it could have been so much lower.

Mrs. Fortune: Is there anything we can do about her emotional…her emotions?

Miss Anderson: It's a common side-effect: the higher the frequency, the lower the empathy. One tends to drive out the other. The luckier we are, the less we care about it.

Mrs. Fortune: And no one's gonna be luckier than Marie.

Miss Anderson: No, it doesn't appear so. There are certain things we can try—knowledge does determine destiny, after all.

Mrs. Fortune: I don't want her to be an experiment. We want her to, uh…make friends, have fun, fall in love, have a normal life.

Miss Anderson: Oh, I'm sorry, but you must understand, that won't be at all possible.

Miss Anderson: Misses Midgeley, we need to be clear on this: Zak is a negative. This is very rare, but it means that he is literally out of sync with the natural world. He will be beyond unlucky. He will never be at the right place at the right time. He will never fit in—apart from those of his own kind. He no longer belongs here; that's not our opinion, that's scientific fact.

Mrs. Midgeley: He is gifted.

Miss Anderson: He's a genius, but unfortunately surrounded by prodigies.

Mr. Strauss: Look, for hundreds of years, we have been the players, Theo, interpreting the score, evolving it. Where's the life? Where's the inspiration? Where's the…spontaneity!?

Theodor-Adorno "Theo" Strauss: If we are all machines, then everything is decided; spontaneity is an illusion.

Mr. Strauss: No, we still have free will, we still have souls, we still have imagination.

Marie: This analyses your precise frequency. I developed a way to directly read the wave-form—much more efficient than the old school tests.

Miss Anderson: You have the patent for that?

Marie: Of course.

Miss Anderson: That's how you define true love?

Marie: That's how nature defines it. Those with the lower frequencies need a minimum of seven hundred signifiers.

Marie: Everybody wants to be my friend.

Miss Anderson: But how many actually are your friends?

Marie: None.

[Experiment 1]

Zak: Hello.

Marie: Hello.

Zak: Did you see the—

Marie: I was going to say—

Zak: Yes?

Marie: —we don't have to speak.

Zak: [pauses] It's just that I-I want to; I mean, we're probably not gonna get more than a minute. [pauses] Sorry, um, how are you?

Marie: Greeting or serious question?

Zak: Uh, greeting.

Marie: Fine. How are you?

Zak: Bit worried about what's gonna happen.

Marie: Maybe nothing will happen.

Zak: [referring to student observers] If that's true, then why are they here?

Marie: Why don't you ask them?

Zak: Why me?

Marie: Because you and I are supposed to have the most interesting reaction.

Zak: [pauses] How long?

Marie: [checking her pocket watch] Fifty seconds.

Zak: What happens if it goes past a minute? [a low-flying plane passes overhead; luggage begins falling from the sky]

Miss Anderson: Do you like him?

Marie: It's just an experiment.

Miss Anderson: It's a false experiment; frequency does not change. Don't waste your "feelings" on this boy; the two of you are just not destined to be together.

Marie: Knowledge determines destiny, Miss Anderson.

[Experiment 3]

Zak: Hello.

Marie: Hello. [pauses] What was your idea?

Zak: I think we should…touch. You know, as part of the data collection, I-I think we should touch.

[Experiment 4]

Zak: Bu-ut, this isn't data collection, this is a date.

Marie: A one-minute date?

Zak: I've been on shorter ones before.

[Experiment 5]

Zak: I know we can't be together, but I-I need to tell you, I love you. I-I know you probably don't love me, but I just hope that you like me, you know?

Marie: Serious question?

Zak: Yes.

Marie: No.

Zak: What about our meetings?

Marie: Data collection.

Zak: Just data collection?

Marie: No, I've also been experimenting with flirting, and now I've stopped.

Zak: You really don't feel anything for me?

Marie: I don't think you understand, Zak: I don't feel. No one wants to understand. I know what they call me—"the Machine"—and they're right. I do not love my family. I experience no joy. If you ever see me smile, frown, laugh, or cry, I'm pretending, waiting for it to become real; but it never will. It's the side-effect.

Zak: Irony: the indirect presentation of a contradiction between an action or expression and the context in which it occurs. Ironic particle: the physical manifestation of irony existing latent in every atom in the universe. But my preliminary research suggests that the ironic particles are only activated by the brain when we want something, and so forming a "desire chain"—but only by a certain type of person.

Panel member #1: A low-frequency person.

Zak: Yes! My research indicates that only they are susceptible to irony.

Panel member #2: Is not irony in the eye of the beholder?

Zak: Yes, but the beholder is the individual involved; hence, the "desire chain." In everyday terms, it's why they never get what they really want. But, my hypothesis—and the purpose of the research grant I hope you'll give me—is that it is possible to reverse this effect. The mental changes the physical. It's all about patterns. The first stage is to want something, recognise the potential irony, and then to change your desire chain.

Panel member #2: Sorry to interrupt, but that sounds suspiciously like your trying to fool fate, and I just don't think that's possible.

Zak: Well, I do, sir.

Zak: The sound waves were the first thing everyone tried!

Theo: It's not just the waves.

Zak and Theo: [simultaneously] It's the words.

Marie: Where's Kaichi? I've not heard of it.

Zak: Relax. You don't have to pretend to care. [Marie ceases smiling] How are you?

Marie: Greeting or serious question?

Zak: Serious question.

Marie: Still "the Machine." Still broken.

Zak: Still waiting.

Marie: Waiting, pretending, but now I think so is everyone else.

Marie: Nothing's changed.

Zak: Not for you.

Marie: What's changed for you, Zak?

Zak: Look at your watch.

Marie: [looks at watch; puzzled] Over a minute.

Marie: But nature works hard to give me everything.

Zak: Almost everything.

Marie: It definitely feels better when we're touching. Why is that?

Zak: B-because…(unith) you love me…maybe.

Marie: You think I'm a virgin? I've conducted many experiments.

Zak: And your conclusions?

Marie: Sex is like masturbation, just with someone else.

Zak: I hope not.

Marie: [to Isaac-Newton "Zak" Midgeley] I think I love you.

Zak: I—I think I love you, too.

Marie: I—believe I need more empirical evidence. H-how—how does this "love" manifest itself?

Zak: Whatever you ask, I'll do.

Marie: Anything?

Zak: Yeah. And you?

Marie: I wouldn't do anything for you.

Marie: No, he did it. He made me feel like this. He told me.

Zak: What?

Marie: He told me—to love him.

Zak: N-no, it—must have been an accident. L-l-like she said, it-it's a side-effect— I said the first word on the list. Y-you have to believe me.

Mr. Fortune: If we believe you, then you are just a fool who got lucky; if we don't, you are a lying genius. I'm sure you'll appreciate the irony.

Zak: I-I probably don't need to do anything; now that I'm not using it anymore, things should go back to normal pretty quickly.

Marie: Oh, they have. I can feel myself feeling less—but not for you. Don't touch me.

Zak: I'm sure I can fix this.

Marie: I know. [places The Manuel in Zak's hand] I love you, but only because you've told me to. Cruel, isn't it?

Zak: Maybe you would've loved me anyway.

Marie: Now we'll never know.

Zak: Does it matter?

Marie: You have to have choice.

Zak: Do you? If it works—

Marie: Do it! Do it for me.

Zak: Maybe somebody else can.

Marie: No, I've already tried! It has to be you.

Zak: I'm just gonna say the last word on the list; I don't know if it'll work. "Endel." You do not love me.

Marie: [pauses] Nothing's changed!

Zak: You always got whatever it is you wanted, didn't you?

Marie: Mm-hmm.

Zak: And what was it you wanted more than anything else in the world?

Marie: Feelings. To be in love. [pauses] So what are you saying, that nature created you for me, someone to give me what I wanted? [pauses] That would mean neither of us had a choice.

Marie: If you're right—

Zak: If I'm right, it means that whatever gave us our minute wasn't love, it was fate. It means I'm just here to serve a purpose for you. It means everything is already decided. There's no freedom, no responsibility, and knowledge absolutely does not determine destiny.

Marie: Yes. But does it matter?

Zak: No, not to me.

Marie: Me, neither.

Tagline edit

The world's first Scientific-Philosophical romance.

Quotes about the film edit

Like youth itself, the opening of Frequencies—an uncommonly ambitious science-fiction romance—is sparkling and unsettling at once.
Better still, it's elegant and moving. It generates its own resonance.
Fisher never subordinates his big ideas to the usual chase scenes or manufactured love conflicts less confident filmmakers use to candy up such material. That's great—too bad that, in the final third, the movie also doesn't subordinate those ideas to its own story, or to its earlier elegance of construction. Instead the ideas swell up, multiply like Tribbles, and finally encompass mind control, ancient conspiracies, questions of free will versus determinism, and what your brain is doing when it somehow knows a melody it's never heard before.
The promise of Surrealism is that there is no explanation. But the gentle mysteries of such imagery gives way to gushing précis of everything much later on, the connections between Mozart and a government cover-up and the science-fair projects the leads conducted a decade before all laid out in monologues.
- Alan Scherstuhl, "Frequencies Makes Smart Sci-fi from What Thrums in the Young," The Village Voice (21 May 2014).
While the detached, deadpan tone and occasionally stilted acting might leave some viewers flat, there’s no doubting the fierce intelligence behind this admirable puzzle box of a movie.
- Daniel M. Gold, "We Feel Your Vibe: 'Frequencies' Mixes a Love Story and Science Fiction," The New York Times (22 May 2014).
Are you hungry for true ideas-fueled science fiction? Do you lament that we so rarely see such things in movies? Then here is a film to warm the cockles of your geeky heart. For here we have a low-budget—I'm gonna guess ultra-low-budget—little British tale from a slightly parallel universe where everyone has a "frequency."
Frequencies ends up, electrifyingly, in an insanely bonkers and kind of amazing place where words have literally power and free will and creativity are up in the air. This is incredibly ambitious and profoundly provocative science fiction drama that you must see if you value thought as much as you do action in your cinema.
- MaryAnn Johanson, "Frequencies (aka OXV: The Manual) movie review: do you feel me?," flickfilosopher (25 May 2014).
Frequencies is a detached film, with a tone that takes some warming up to. The narrative takes place at a deliberate distance from the audience, leaving us silent observers even more than most films.
The film touches on a lot of themes—class inequality, determinism and free will—but it most speaks to the part of us that wants to believe that we can live outside of our potential. This is a story of a boy who's told again and again that he can't be who he wants to be, can't do what he wants to do, can't love who he wants to love—and he devotes himself, body, mind and soul, to the pursuit of dissolving those barriers. In doing so, Zak not only belies the debate of nature versus nurture, he proves that sheer will can overcome the mightiest of obstacles.
It's a romance and a philosophical experiment, and it's also a science fiction film of the best kind: one that favors ideas over special effects. Fisher creates a fully-realized new world in Frequencies, and he does it with words and concepts instead of computer graphics and creatures.
- Meredith Borders, "FREQUENCIES Review: A Sci-Fi Movie That Favors Ideas Over Effects," Birth.Movies.Death. (28 May 2014).
Fisher's intelligent and imaginative narrative revisits key scenes from different, ever wider perspectives—and will leave viewers mentally revisiting them for days afterwards as they try to disentangle what is at once a star-crossed romance, an allegory of (class) discord and (musical) harmony, and a theological investigation into nature and nurture, free will and determinism.
- Anton Bitel, "Mad, sad and audacious: Sci-Fi London 2014," BFI Film Forever (10 June 2014).

Cast edit

Daniel Fraser — Isaac-Newton "Zak" Midgeley
- Dylan Llewellyn — Teen Zak
Eleanor Wyld — Marie-Curie Fortune
- Lily Laight — Young Marie
- Georgina Minter-Brown — Teen Marie
Owen Pugh — Theodor-Adorno "Theo" Strauss

External links edit

Wikipedia

Wikipedia has an article about:

Frequencies (film)

Frequencies (film) quotes at the Internet Movie Database
Frequencies (film) at Rotten Tomatoes