All Is Lost involves a man (Robert Redford), whose name is never mentioned, is lost at sea. His ship is damaged and he goes through a series of obstacles trying to survive.
Following up on his debut Margin Call, director J.C. Chandor achieves a poetry and spirituality with barebones simplicity. The serene oceans are beautifully photographed and there is an impressive use of tranquility in its storytelling. Whether it’s an impending storm or a school of fish swimming by the ocean, Chandor crafts genuine moments of awe in the truest sense of man versus nature.
Robert Redford carries the entire movie on his shoulders, and it’s a testament to his onscreen charm and persona. With almost next to no dialogue, character backstory or another actor to play off of, the film’s visceral experience completely hinges on Robert Redford’s every facial expression, delivering joyful relief with a sigh or with a frown evoking disappointment. It is a natural and honest performance, as Redford never once preens for the camera but rather simply plays the truth of the situation.
Comparative to his competitors for the best leading actor award, Redford’s performance, while artful and impressive, is not Oscar worthy. It hits a deeper reflective note that is more difficult to quantify as the experience rewards as much as the viewer wants to invest in it.
Even in terms of Oscar politics, weighed against slavery, AIDS and degenerate stockbrokers, a man trying to survive in nature perversely seems opaque right now. Perhaps it’s just not where the social unconscious wants to be focused on. That might be too bad, but I wager the film will have longer shelf life than some of the films that are nominated right now. All things considered, All Is Lost fares like the underdog film of this year, even though there is nothing underdog about it.