In the landscape of modern romance cinema, Drake Doremus’ Newness operates as a quiet, unflinching ethnography of the digital age. While films like Her explored the emotional capabilities of Artificial Intelligence, and Searching utilized the screen-life format for thriller mechanics, Newness sits somewhere more uncomfortable: it is a drama about the exhausting labor of love in the era of infinite choice.
Starring Nicholas Hoult and Laia Costa as Martin and Gabi, the film is not a love story about meeting "the one"; it is a story about the terrifying realization that "the one" might be a statistical impossibility when better options are just a thumb-swipe away.
Pernahkah kamu berhenti sejenak di tengah hiruk-pikuk aplikasi kencan (dating app) dan bertanya, "Apakah ada yang lebih baik di luar sana?" nonton newness -2017-
Jika ya, maka film Newness (2017) adalah cermin yang perlu kamu saksikan. Disutradarai oleh Drake Doremus (yang juga menggarap Like Crazy), film ini bukan sekadar drama romantis biasa. Ia adalah eksplorasi yang tajam, mentah, dan terkadang menyakitkan tentang bagaimana teknologi telah mengubah cara kita mendefinisikan komitmen dan keintiman.
When Martin and Gabi finally match, their connection feels less like destiny and more like two car crashes happening in sync. They bond not over shared hobbies, but over their shared exhaustion with the game. The Architecture of Intimacy: A Deep Dive into
However, the "deep feature" of their relationship lies in their contrasting pathologies.
Their relationship works initially because it is a rebellion against the app. But Doremus cleverly posits that they didn't stop swiping because they found perfection; they stopped because they were tired. Refleksi Realitas: Jika kamu pengguna Tinder, Bumble, atau
The film’s pivot point—and its most harrowing segment—is the couple’s decision to open their relationship. This is not a celebration of polyamory, nor is it a puritanical condemnation of it. Instead, Doremus uses the open relationship as a diagnostic tool to measure the characters' insecurities.
In most romance films, the third-act conflict is infidelity. In Newness, infidelity is legalized. By allowing each other to sleep with others, they remove the thrill of the forbidden, only to discover that the pain of sharing is far worse than the thrill of secrecy. The film asks a brutal question: Does exclusivity validate love, or does it stifle it?
For Martin, the openness breaks him. He realizes that his desire for "newness" was a coping mechanism for his depression. For Gabi, it highlights that while she craves novelty, she cannot handle the reality of Martin finding it elsewhere. The scenes involving their trysts with others are shot with a cold, clinical distance, contrasting sharply with the warm, handheld intimacy of their scenes together. This visual language argues that while the "new" offers excitement, it lacks the texture of the "known."
Score elektrik yang digarap oleh Dustin O’Halloran ( The Crown) menjadi jiwa dari film ini. Musiknya yang minimalis namun menggema sempurna mengiringi adegan-adegan sepi di apartemen malam hari, membuat rasa kesepian dalam keramaian digital terasa sangat nyata.