ARRIVAL [2016 / 2017] [Blu-ray] [UK Release] The Best Sci-Fi Film In Years! A Riveting Intelligent Sci-Fi Film!
When a mysterious spacecraft touches down across the globe, an elite team – led by expert codebreaker Louise Banks [Amy Adams] is brought together to investigate.
As nations struggle to coordinate a response, mankind teeters on the verge of global war, Louise Banks and the team race against time for answers – and to find them. Louise Banks will take a chance that could threaten her life, and quite possibly humanity’s very existence.
FILM FACT No.1: Awards and Nominations: 2016 Austin Film Critics Association: Win: AFCA Award for Best Adapted Screenplay for Eric Heisserer. Nominated: AFCA Award for Best Film [3rd place[. Nominated: AFCA Award for Best Director for Denis Villeneuve. Nominated: AFCA Award for Best Actress for Amy Adams. Nominated: AFCA Award for Best Cinematography for Bradford Marcel Young. Nominated: AFCA Award for Best Score for Jóhann Jóhannsson. 2016 Awards Circuit Community Awards: Win: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Motion Picture for Aaron Ryder, Dan Levine, David Linde, Karen Lunder and Shawn Levy. Nominated: Best Director for Denis Villeneuve. Nominated: Best Actress in a Leading Role for Amy Adams. Nominated: Best Cinematography for Bradford Marcel Young. Nominated: Best Production Design for Patrice Vermette. Nominated: Best Achievement in Sound for Bernard Gariépy Strobl, Claude La Haye and Sylvain Bellemare. Nominated: Best Film Editing for Joe Walker. Nominated: Best Original Score for Jóhann Jóhannsson. Nominated: Best Visual Effects for Louis Morin. 2016 Black Film Critics Circle Awards: Nominated: Best Picture. 2016 Broadcast Film Critics Association Awards: Win: Critics Choice Award for Best Adapted Screenplay for Eric Heisserer. Win: Critics Choice Award for Best Sci-Fi/Horror Movie. Nominated: Critics Choice Award for Best Picture. Nominated: Critics Choice Award for Best Actress for Amy Adams. Nominated: Critics Choice Award for Best Director for Denis Villeneuve. Nominated: Critics Choice Award for Best Cinematography for Bradford Marcel Young. Nominated: Critics Choice Award for Best Production Design for André Valade, Patrice Vermette and Paul Hotte. Nominated: Critics Choice Award for Best Editing for Joe Walker. Nominated: Critics Choice Award for Best Visual Effects. Nominated: Critics Choice Award for Best Score for Jóhann Jóhannsson. 2016 Camerimage: Win: Silver Frog for Main Competition for Bradford Marcel Young. Nominated: Golden Frog for Main Competition for Bradford Marcel Young. 2016 Chicago Film Critics Association Awards: Nominated: Best Actress for Amy Adams. Nominated: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Original Score for Jóhann Jóhannsson. 2016 Dallas-Fort Worth Film Critics Association Awards: Nominated: Best Picture [5th place]. Nominated: Best Actress for Amy Adams [4th place]. Nominated: Best Director for Denis Villeneuve [5th place]. 2016 Detroit Film Critics Society Awards: Nominated: DFCS Award for Best Actress for Amy Adams. Nominated: DFCS Award for Best Screenplay for Eric Heisserer. 2016 Dublin Film Critics Circle Awards: Win: Best Director for Denis Villeneuve. Win: Best Screenplay for Eric Heisserer. Win: Best Actress for Amy Adams. Nominated: Best Film [2nd place]. Nominated: Best Cinematography for Bradford Marcel Young [3rd place]. 2016 Faro Island Film Festival: Win: Golden Train Award for Best Director for Denis Villeneuve. Nominated: Audience Award for Best Film for Denis Villeneuve. Nominated: Golden Train Award for Best Film for Denis Villeneuve. 2016 Florida Film Critics Circle Awards: Win: Best Visual Effects. Nominated: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Cinematography for Bradford Marcel Young. Nominated: Best Art Direction/Production Design for André Valade, Patrice Vermette and Paul Hotte. Nominated: Best Score for Jóhann Jóhannsson. 2016 Hollywood Music In Media Awards: Nominated: Best Original Score for a Sci-Fi/Fantasy Film for Jóhann Jóhannsson. 2016 Phoenix Film Critics Society Awards: Nominated: Best Picture. Nominated: Best Actress in a Leading Role for Amy Adams. Nominated: Best Screenplay Adapted from Other Material for Eric Heisserer. Nominated: Best Original Score for Jóhann Jóhannsson. Nominated: Best Cinematography for Bradford Marcel Young. Nominated: Best Visual Effects.
2017 Academy Awards®: Win: Best Achievement in Sound Editing for Sylvain Bellemare. Nominated: Best Motion Picture of the Year for Aaron Ryder, Aaron Ryder, Dan Levine, David Linde and Shawn Levy. Nominated: Best Achievement in Directing for Denis Villeneuve. Nominated: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Achievement in Cinematography for Bradford Marcel Young. Nominated: Best Achievement in Film Editing for Joe Walker. Nominated: Best Achievement in Sound Mixing for Bernard Gariépy Strobl and Claude La Haye. Nominated: Best Achievement in Production Design for Patrice Vermette (production design) and Paul Hotte (set decoration). 2017 Golden Globes: Nominated: Best Performance by an Actress in a Motion Picture in a Drama for Amy Adams. Nominated: Best Original Score in a Motion Picture for Jóhann Jóhannsson. 2017 BAFTA Awards: Win: BAFTA Film Award for Best Sound for Bernard Gariépy Strobl, Claude La Haye and Sylvain Bellemare. Nominated: BAFTA Film Award for Best Film for Aaron Ryder, Dan Levine, David Linde and Shawn Levy. Nominated: BAFTA Film Award for Best Leading Actress for Amy Adams. Nominated: BAFTA Film Award for Best Screenplay (Adapted) for Eric Heisserer. Nominated: BAFTA Film Award for Best Cinematography for Bradford Marcel Young. Nominated: BAFTA Film Award for Best Editing for Joe Walker. Nominated: BAFTA Film Award for Original Music for Jóhann Jóhannsson. Nominated: BAFTA Film Award for Best Achievement in Special Visual Effects for Louis Morin. Nominated: David Lean Award for Direction for Denis Villeneuve. 2017 Screen Actors Guild Awards: Nominated: Outstanding Performance by a Female Actor in a Leading Role for Amy Adams. 2017 AACTA International Awards: Nominated: Best Film. Nominated: Best Director for Denis Villeneuve. Nominated: Best Lead Actress for Amy Adams. 2016 Golden Schmoes Awards: Win: Best Sci-Fi Movie of the Year. Win: Best Actress of the Year for Amy Adams. Nominated: Favorite Movie of the Year. Nominated: Best Director of the Year for Denis Villeneuve. Nominated: Best Screenplay of the Year for Eric Heisserer. Nominated: Trippiest Movie of the Year, Nominated: Best Special Effects of the Year. Nominated: Best Music in a Movie. 2016 IGN Summer Movie Awards: Win: IGN Award for Best Drama Movie. Win: IGN People's Choice Award for Best Drama Movie. Win: IGN People's Choice Award for Best Movie Actress for Amy Adams. Win: IGN People's Choice Award for Best Movie Director for Denis Villeneuve. Nominated: IGN Award for Best Movie. Nominated: IGN Award for Best Movie Actress for Amy Adams. Nominated: IGN Award for Best Director for Denis Villeneuve. Nominated: IGN Award for Best Visual Effects. 2016 Indiana Film Journalists Association, USA: Nominated: IFJA Award for Best Picture. Nominated: IFJA Award for Best Adapted Screenplay for Eric Heisserer. 2016 Indiewire Critics' Poll: Nominated: ICP Award for Best Film [8th place]. Nominated: ICP Award for Best Director for Denis Villeneuve [7th place]. Nominated: ICP Award for Best Lead Actress for Amy Adams [6th place]. Nominated: ICP Award for Best Screenplay for Eric Heisserer [6th place]. Nominated: ICP Award for Best Original Score or Soundtrack for Jóhann Jóhannsson [4th place]. Nominated: ICP Award for Best Cinematography Bradford Marcel Young [3rd place]. Nominated: ICP Award for Best Editing for Joe Walker [7th place]. 2016 Internet Film Critic Society: Win: IFCS Award for Best Horror or Science Fiction. 2016 Kansas City Film Critics Circle Awards: Win: KCFCC Award for Best Adapted Screenplay for Eric Heisserer. Win: Vincent Koehler Award for Outstanding Science Fiction, Fantasy or Horror Film. Nominated: KCFCC Award for Best Film. 2016 Las Vegas Film Critics Society Awards: Nominated: Sierra Award for Best Actress for Amy Adams. Nominated: Sierra Award for Best Adapted Screenplay for Eric Heisserer. Nominated: Sierra Award for Best Cinematography for Bradford Marcel Young. Nominated: Sierra Award for Best Art Direction for Patrice Vermette and Paul Hotte. Nominated: Sierra Award for Best Film Editing for Joe Walker. Nominated: Sierra Award for Best Visual Effects. Nominated: Sierra Award for Best Score for Jóhann Jóhannsson. Nominated: Sierra Award for Best Horror/Sci-Fi Film. 2016 National Board of Review, USA: Win: NBR Award for Best Actress for Amy Adams. Win: NBR Award for Top Ten Films. 2016 Nevada Film Critics Society: Win: NFCS Award for Best Adapted Screenplay for Eric Heisserer. 2016 New York Film Critics, Online: Win: NYFCO Award for Top Films of the Year. 2016 North Texas Film Critics Association, USA: Nominated: NTFCA Award for Best Picture [6th place]. Nominated: NTFCA Award for Best Actress for Amy Adams [3rd place]. Nominated: NTFCA Award for Best Director for Denis Villeneuve [4th place]. Nominated: NTFCA Award for Best Cinematography for Bradford Marcel Young. 2016 Phoenix Critics Circle: Win: PCC Award for Best Science Fiction Film. Nominated: PCC Award for Best Picture. Nominated: PCC Award for Best Actress for Amy Adams. Nominated: PCC Award for Best Director for Denis Villeneuve. Nominated: PCC Award for Best Screenplay for Eric Heisserer. Nominated: PCC Award for Best Score for Jóhann Jóhannsson. 2016 Rondo Hatton Classic Horror Awards: Nominated: Rondo Statuette for Best Movie. 2016 San Diego Film Critics Society Awards: Nominated: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Editing for Joe Walker. Nominated: Best Cinematography for Bradford Marcel Young. Nominated: Best Production Design for Patrice Vermette. Nominated: Best Visual Effects. 2016 San Francisco Film Critics Circle: Win: SFFCC Award for Best Adapted Screenplay for Eric Heisserer. Win: SFFCC Award for Best Film Editing for Joe Walker. Nominated: SFFCC Award for Best Picture. Nominated: SFFCC Award for Best Director for Denis Villeneuve. Nominated: SFFCC Award for Best Actress for Amy Adams. Nominated: SFFCC Award for Best Cinematography for Bradford Marcel Young. Nominated: SFFCC Award for Best Production Design for Patrice Vermette. Nominated: SFFCC Award for Best Original Score for Jóhann Jóhannsson. 2016 Southeastern Film Critics Association Awards: Nominated: Best Picture [6th place]. Nominated: Best Adapted Screenplay for Eric Heisserer. 2016 St. Louis Film Critics Association, USA: Nominated: SLFCA Award for Best Film. Nominated: SLFCA Award for Best Actress for Amy Adams. Nominated: SLFCA Award for Best Cinematography for Bradford Marcel Young. Nominated: SLFCA Award for Best Visual Effects for Alexandre Lafortune, Ivan Moran, Jean-François Ferland and Joseph Kasparian. Nominated: SLFCA Award for Best Score for Jóhann Jóhannsson. Nominated: SLFCA Award for Best Horror/Sci-Fi Film. Nominated: SLFCA Award for Best Director for Denis Villeneuve. Nominated: SLFCA Award for Best Adapted Screenplay for Eric Heisserer. 2016 Turkish Film Critics Association (SIYAD) Awards: Nominated: Best Foreign Film [11th Place]. 2016 Utah Film Critics Association Awards: Nominated: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Cinematography for Bradford Marcel Young. Nominated: Best Original Score for Jóhann Jóhannsson. 2016 Vancouver Film Critics Circle: Nominated: VFCC Award for Best Actress for Amy Adams. Nominated: VFCC Award for Best Director for Denis Villeneuve. 2016 Venice Film Festival: Win: Arca CinemaGiovani Award for Best Film in Competition for Denis Villeneuve. Win: Future Film Festival Digital Award for Denis Villeneuve. Nominated: Golden Lion for Best Film for Denis Villeneuve. 2016 Washington DC Area Film Critics Association Awards: Win: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Film. Nominated: Best Director for Denis Villeneuve. Nominated: Best Actress for Amy Adams. Nominated: Best Cinematography for Bradford Marcel Young. Nominated: Best Editing for Joe Walker. Nominated: Best Original Score for Jóhann Jóhannsson. Nominated: Best Production Design for Patrice Vermette and Paul Hotte. 2017 Academy of Science Fiction, Fantasy & Horror Films, USA: Win: Saturn Award for Best Writing for Eric Heisserer. Nominated: Saturn Award for Best Science Fiction Film. Nominated: Saturn Award for Best Director for Denis Villeneuve. Nominated: Saturn Award for Best Actress for Amy Adams. Nominated: Saturn Award for Best Editing for Joe Walker. Nominated: Saturn Award for Best Special Effects for Louis Morin and Ryal Cosgrove. 2017 AFI Awards, USA: Win: Movie of the Year. 2017 Alliance of Women Film Journalists: Nominated: EDA Award for Best Picture. Nominated: EDA Award for Best Director for Denis Villeneuve. Nominated: EDA Award for Best Writing for an Adapted Screenplay for Eric Heisserer. Nominated: EDA Award for Best Actress for Amy Adams. Nominated: EDA Award for Best Cinematography for Bradford Marcel Young. Nominated: EDA Award for Best Film Editing for Joe Walker. 2017 Amanda Awards, Norway: Nominated: Best Foreign Feature Film (Årets utenlandske spillefilm) for Denis Villeneuve [USA]. 2017 American Cinema Editors: Win: Eddie Award for Best Edited for a Dramatic Feature Film for Joe Walker. 2017 American Society of Cinematographers: Nominated: ASC Award for Outstanding Achievement in Cinematography in Theatrical Releases for Bradford Young. 2017 Art Directors Guild: Nominated: Excellence in Production Design Award for Fantasy Film for Patrice Vermette (production designer), Isabelle Guay (supervising art director), Jean-Pierre Paquet (art director), Robert Parle (art director), Aaron Morrison (graphic designer), Carl Lessard (graphic designer), Martine Bertrand (graphic designer), Sam Hudecki (storyboard artist), Jean Gagnon (set designer), Simon Guilbault (set designer), Meinert Hansen (illustrator) and Paul Hotte (set decorator). 2017 ASCAP Film and Television Music Awards: Win: ASCAP Award for Top Box Office Films for Jóhann Jóhannsson. Nominated: ASCAP Composers' Choice Award for Film Score of the Year for Jóhann Jóhannsson. 2017 Association of Motion Picture Sound: Win: AMPS Feature Film Award for Excellence in Sound for a Feature Film for Bernard Gariépy Strobl, Claude La Haye and Sylvain Bellemare. 2017 Australian Film Critics Association Awards: Win: Best International Film (English Language). 2017 Bodil Awards: Nominated: Best American Film (Bedste amerikanske film) for Denis Villeneuve. 2017 Casting Society of America: Nominated: Artois Award for Outstanding Achievement in Casting for Big Budget Feature in a Drama for Francine Maisler and Lucie Robitaille (location casting). 2017 Central Ohio Film Critics Association: Nominated: COFCA Award for Best Director for Denis Villeneuve. Nominated: COFCA Award for Best Actress for Amy Adams. Nominated: COFCA Award for Actor of the Year for Amy Adams. Nominated: COFCA Award for Best Cinematography for Bradford Marcel Young. Nominated: COFCA Award for Best Film Editing for Joe Walker. Nominated: COFCA Award for Best Adapted Screenplay for Eric Heisserer. Nominated: COFCA Award for Best Score for Jóhann Jóhannsson. Nominated: COFCA Award for Best Picture [6th place]. 2017 Chicago Independent Film Critics Circle Awards: Nominated: Best Studio Film. 2017 Cinema Brazil Grand Prize: Win: Best Foreign-Language Film (Melhor Filme Estrangeiro) for Denis Villeneuve [USA]. 2017 Danish Film Awards (Robert): Nominated: Robert Award for Best American Film (Årets amerikanske film) for Denis Villeneuve. 2017 Denver Film Critics Society: Win: DFCS Award for Best Science-Fiction/Horror Film. Nominated: DFCS Award for Best Picture. Nominated: DFCS Award for Best Director for Denis Villeneuve. Nominated: DFCS Award for Best Actress for Amy Adams. Nominated: DFCS Award for Best Adapted Screenplay for Eric Heisserer. Nominated: DFCS Award for Best Visual Effects. Nominated: DFCS Award for Best Original Score for Jóhann Jóhannsson. 2017 Directors Guild of America: Nominated: DGA Award for Outstanding Directorial Achievement in Feature Film for Denis Villeneuve. 2017 Dragon Awards: Nominated: Best Science Fiction or Fantasy Movie for Denis Villeneuve and Eric Heisserer. 2017 Empire Awards, UK: Nominated: Best Film for FilmNation Entertainment and Paramount Pictures. Nominated: Best Actress for Amy Adams. Nominated: Best Director for Denis Villeneuve. Nominated: Best Screenplay for Eric Heisserer. Nominated: Best Sci-Fi/Fantasy for FilmNation Entertainment and Paramount Pictures. Nominated: Best Soundtrack for FilmNation Entertainment and Paramount Pictures. Nominated: Best Production Design for FilmNation Entertainment and Paramount Pictures. 2017 Evening Standard British Film Awards: Win: Best Technical Achievement for Max Richter (contribution to music). 2017 GALECA: The Society of LGBTQ Entertainment Critics: Nominated: Dorian Award for Visually Striking Film of the Year. 2017 Georgia Film Critics Association: Nominated: GAFCA Award for Best Picture. Nominated: GAFCA Award for Best Director for Denis Villeneuve. Nominated: GAFCA Award for Best Actress for Amy Adams. Nominated: GAFCA Award for Best Adapted Screenplay for Eric Heisserer. Nominated: GAFCA Award for Best Cinematography for Bradford Marcel Young. Nominated: GAFCA Award for Best Production Design for Isabelle Guay and Patrice Vermette. Nominated: GAFCA Award for Best Original Score for Jóhann Jóhannsson. 2017 Gold Derby Awards: Nominated: Lead Actress for Amy Adams. Nominated: Director for Denis Villeneuve. Nominated: Adapted Screenplay for Eric Heisserer. Nominated: Cinematography for Bradford Marcel Young. Nominated: Sound for Bernard Gariépy Strobl, Claude La Haye and Sylvain Bellemare. Nominated: Film Editing for Joe Walker. Nominated: Visual Effects for Louis Morin. Nominated: Original Score for Jóhann Jóhannsson. Nominated: Production Design for Patrice Vermette. Nominated: Motion Picture for Aaron Ryder, Dan Levine, David Linde and Shawn Levy. 2017 Hawaii Film Critics Society: Win: HFCS Award for Best Visual Effects. Win: HFCS Award for Best Sci-Fi/Horror Film. Nominated: HFCS Award for Best Director for Denis Villeneuve. Nominated: HFCS Award for Best Actress for Amy Adams. Nominated: HFCS Award for Best Adapted Screenplay for Eric Heisserer. Nominated: HFCS Award for Best Cinematography for Bradford Marcel Young. Nominated: HFCS Award for Best Editing for Joe Walker. Nominated: HFCS Award for Best Art Direction for Isabelle Guay, Jean-Pierre Paquet and Robert Parle. 2017 Houston Film Critics Society Awards: Nominated: HFCS Award for Best Picture. Nominated: HFCS Award for Best Director for Denis Villeneuve. Nominated: HFCS Award for Best Actress for Amy Adams. Nominated: HFCS Award for Best Screenplay for Eric Heisserer. Nominated: HFCS Award for Best Cinematography for Bradford Marcel Young. Nominated: HFCS Award for Best Original Score for Jóhann Jóhannsson. 2017 Hugo Awards: Win: Best Dramatic Presentation in Long Form for Denis Villeneuve (director), Eric Heisserer (screenplay) and Ted Chiang (based on a short story). 2017 Il Festival Nazionale del Doppiaggio Voci nell'Ombra: Nominated: Film Award for Best Female Voice for Barbara De Bortoli for the dubbing of Amy Adams. 2017 International Cinephile Society Awards: Nominated: ICS Award for Best Editing for Joe Walker [Runner-up]. 2017 International Film Music Critics Award: Win: IFMCA Award for Film Score of the Year for Jóhann Jóhannsson. Nominated: IFMCA Award for Best Original Score for a Fantasy/Science Fiction/Horror Film for Jóhann Jóhannsson. 2017 International Online Cinema Awards: Win: Best Sound Mixing for Bernard Gariépy Strobl and Claude La Haye. Win: Best Film Editing for Joe Walker. Win: Best Sound Editing for Sylvain Bellemare. Nominated: Best Picture. Nominated: Best Actress for Amy Adams. Nominated: Best Adapted Screenplay for Eric Heisserer. Nominated: Best Visual Effects for Louis Morin. 2017 Iowa Film Critics Awards: Win: IFC Award for Best Actress for Amy Adams. 2017 Irish Film and Television Awards: Nominated: IFTA Award for Best International Actress for Amy Adams. 2017 London Critics Circle Film Awards: Nominated: Actress of the Year for Amy Adams. Nominated: Technical Achievement of the Year fpr Sylvain Bellemare (sound design). 2017 Motion Picture Sound Editors, USA: Nominated: Golden Reel Award for Best Sound Editing and Dialogue and ADR in a Feature Film for Sylvain Bellemare (supervising sound editor), Stan Sakellaropoulos (supervising adr editor), Claire Pochon (dialogue editor) and Valéry Dufort-Boucher (dialogue editor). Nominated: Golden Reel Award for Best Sound Editing in Sound Effects and Foley in a Feature Film for Sylvain Bellemare (supervising sound editor), Nicolas Becker (foley artist), Gregory Vincent (foley artist), Dave Whitehead (sound designer), Olivier Calvert (sound designer), Michelle Child (sound designer), Pierre-Jules Audet (sound effects editor), Alan Robert Murray (sound effects editor), Mathieu Beaudin (sound effects editor), Mimi Allard (sound effects editor), Daniel Capeille (sound effects editor), Simon Girard (sound effects editor), Patrick Rioux (sound effects editor), Steven Ghouti (foley editor), Olivier Guillaume (foley editor), Niels Barletta (foley editor) and Luc Raymond (foley editor). Nominated: Golden Reel Award for Best Sound Editing for Music in a Feature Film for Clint Bennett (music editor). 2017 North Carolina Film Critics Association: Win: NCFCA Award for Best Adapted Screenplay for Eric Heisserer. Nominated: NCFCA Award for Best Narrative Film. Nominated: NCFCA Award for Best Cinematography for Bradford Marcel Young. Nominated: NCFCA Award for Best Special Effects. 2017 Oklahoma Film Critics Circle Awards: Win: OFCC Award for Best Actress for Amy Adams. Win: OFCC Award for Best Adapted Screenplay for Eric Heisserer. Win: OFCC Award for Best Body of Work for Amy Adams. Nominated: OFCC Award for Best Film [5th place]. 2017 Online Film & Television Association: Win: OFTA Film Award for Best Sound Mixing for Bernard Gariépy Strobl and Claude La Haye. Nominated: OFTA Film Award for Best Actress for Amy Adams. Nominated: OFTA Film Award for Best Picture for Aaron Ryder, Dan Levine, David Linde and Shawn Levy [4th Place]. Nominated: OFTA Film Award for Best Director forDenis Villeneuve. Nominated: OFTA Film Award for Best Writing for Screenplay Based on Material from Another Medium for Eric Heisserer. Nominated: OFTA Film Award for Best Film Editing for Joe Walker. Nominated: OFTA Film Award for Best Cinematography for Bradford Marcel Young. Nominated: OFTA Film Award for Best Production Design for Patrice Vermette and Paul Hotte. Nominated: OFTA Film Award for Best Sound Effects Editing for Sylvain Bellemare. Nominated: OFTA Film Award for Best Visual Effects for Louis Morin. Nominated: OFTA Film Award for Best Music for an Original Score for Jóhann Jóhannsson. 2017 Online Film Critics Society Awards: Win: OFCS Award for Best Adapted Screenplay for Eric Heisserer and Ted Chiang. Nominated: OFCS Award for Best Picture. Nominated: OFCS Award for Best Director for Denis Villeneuve. Nominated: OFCS Award for Best Actress for Amy Adams, Nominated: OFCS Award for Best Editing for Joe Walker. Nominated: OFCS Award for Best Cinematography for Bradford Marcel Young. 2017 Palm Springs International Film Festival: Win: Chairman's Award for Amy Adams. 2017 PGA Awards: Nominated: Outstanding Producer of Theatrical Motion Pictures for Aaron Ryder, David Linde, Dan Levine and Shawn Levy. 2017 Prix Aurora Award: Nominated: Aurora Award for Best Visual Presentation for Denis Villeneuve. 2017 Santa Barbara International Film Festival: Win: Artisan Award for Joe Walker for Editing. Win: Outstanding Director of the Year Award for Denis Villeneuve. 2017 Seattle Film Critics Awards: Win: Seattle Film Critics Award for Best Cinematography for Bradford Marcel Young. Win: Seattle Film Critics Award for Best Original Score for Jóhann Jóhannsson. Win: Seattle Film Critics Award for Best Visual Effects for Louis Morin. Nominated: Seattle Film Critics Award for Best Picture. Nominated: Seattle Film Critics Award for Best Director for Denis Villeneuve. Nominated: Seattle Film Critics Award for Best Actress for Amy Adams. Nominated: Seattle Film Critics Award for Best Screenplay for Eric Heisserer. Nominated: Seattle Film Critics Award for Best Production Design for Patrice Vermette (production design) and Paul Hotte (set decoration). Nominated: Seattle Film Critics Award for Best Film Editing for Joe Walker. 2017 SESC Film Festival, Brazil: Critics Award for Best Foreign Director (Melhor Diretor Estrangeiro) for Denis Villeneuve. 2017 Teen Choice Awards: Nominated: Choice Movie Actor: Sci-Fi for Jeremy Renner. Nominated: Choice Movie: Sci-Fi for Paramount Pictures. Nominated: Choice Movie Actress: Sci-Fi for Amy Adams. 2017 USC Scripter Award: Nominated: Film for Eric Heisserer (screenwriter) and Ted Chiang (author) and adapted from the novella "Story of Your Life." 2017 World Soundtrack Awards: Win: World Soundtrack Award for Film Composer of the Year for Jóhann Jóhannsson. Nominated: Public Choice Award for Jóhann Jóhannsson. 2017 Writers Guild of America: Win: WGA Award (Screen) for Best Adapted Screenplay for Eric Heisserer (screenplay) based on the story “Story of Your Life” by Ted Chiang. 2018 Grammy Awards: Nominated: Best Score Soundtrack for Visual Media for Jóhann Jóhannsson. 2020 Austin Film Critics Association: Win: AFCA Award for Best Movie of the Decade. 2020 Gold Derby Awards: Nominated: Lead Actress of the Decade for Amy Adams. Nominated: Adapted Screenplay of the Decade for Eric Heisserer. Nominated: Original Score of the Decade for Jóhann Jóhannsson. Nominated: Sound of the Decade for Bernard Gariépy Strobl, Claude La Haye and Sylvain Bellemare.
FILM FACT No.2: Principal photography lasted for 56 days, beginning on the 7th June, 2015. Filming was done mainly in and around Montreal, Quebec, Canada, with Saint-Fabien serving as Montana. The team took some time to find the right site to represent the landing of the spacecraft, because producers wanted to avoid a mountainous site that might dwarf the scale of the ship, but thought that a barren location would be clichéd. Bradford Young was sought out by Denis Villeneuve as he was looking for a cinematographer with a sensibility towards natural lighting.
Cast: Amy Adams, Jeremy Renner, Forest Whitaker, Michael Stuhlbarg, Mark O'Brien, Tzi Ma, Jadyn Malone (6 Year Old Hannah) Abigail Pniowsky (8 Year Old Hannah), Julia Scarlett Dan (12 Year Old Hannah), Frank Schorpion, Lucas Chartier-Dessert, Christian Jadah, Lucy Van Oldenbarneveld, Andrew Shaver, Pat Kiely, Sonia Vigneault, Mark Camacho, Sabrina Reeves, Julian Casey, Tony Robinow, Larry Day, Matthew Willson, Ruth Chiang, Russell Yuen, Sergiy Marchenko, Anana Rydvald, Bineyam Girma, Abdelghafour Elaaziz, Abdul Ayoola, Alex M. Yeuh, Daniel Esteban, Albert Kwan, Brittany Teo, Joe Cobden, Lorne Brass, Genevieve Sirois, Victor Andres Turgeon-Trelles, Michael Nangreaves, Reda Guerinik, Adrien Benn, Sasha Samar, Kathleen Stavert, Kattia Thony, Leisa Reid, Brent Skagford, Gurdeep Ahluwalia, Shawn Campbell, Brian Dunstan, Dan Duran, Lori Graham, Orla Johannes, John Sanford Moore, Sangita Patel, Hal Roberts, Camille Ross, Ola Sturik, Tammie Sutherland, Max Walker, Marc-André Goulet, Paul-Antoine Taillefer, Martin Pelletier Jr., Leslie Baker (uncredited), Karen Belfo (uncredited), Dave Campbell (uncredited), Alexander Da Mota (uncredited), Akul Dang (uncredited), Frank Fiola (uncredited), Carmela Nossa Guizzo (Hannah 4 year old) (uncredited), Mustafa Haidari (uncredited), Philippe Hartmann (uncredited), Eric Largo (uncredited), Robert D. Morais (uncredited), Laurean Adrian Parau (uncredited) and Nathaly Thibault (uncredited)
Director: Denis Villeneuve
Producers: Aaron Ryder, David Linde, Dan Cohen, Dan Levine, Eric Heisserer, Glen Basner (uncredited), Karen Lunder, Martin Henri, Michael Jackman, Milan Popelka, Paul Barbeau, Shawn Levy, Stan Wlodkowski and Tory Metzger
Screenplay: Eric Heisserer (screenplay) and Ted Chiang (based on the story "Story of Your Life")
Composer: Jóhann Jóhannsson (music)
Cinematography: Bradford Marcel Young, A.S.C (Director of Photography)
Image Resolution: 1080p
Aspect Ratio: 2.40:1
Audio: English: 7.1 DTS-HD Master Audio
English: 2.0 DTS-HD Master Audio
English: 2.0 DTS-HD Master Audio Description
English: 5.1 Dolby Digital Audio
Subtitles: English SDH
Running Time: 115 minutes
Region: Region B/2
Number of discs: 1
Studio: Filmnation Entertainment / Lava Bear Films / 21 Laps Entertainment / eOne
Andrew’s Blu-ray Review: ‘ARRIVAL’ [2016] is a stunning science fiction film with deep implications for today. One of the year’s best films is about linguistics, metaphors, and aliens and how we would be able to communicate with aliens who did not speak our language and how to solve such logistics. ‘ARRIVAL’ dazzling science-fiction that will leave you speechless and is a magical oddity and Denis Villeneuve’s alien film transports us into a realm of weightless wonder.
‘ARRIVAL’ remarkable new film by director Denis Villeneuve, begins aptly enough with an arrival, though perhaps not the kind you would expect. A baby is born, and her mother, played by Amy Adams, explains in voiceover, “I used to think to this was the beginning of your story.” We see the girl’s life, in flashback and games of cowboy, arguments, reconciliations as her mother continues, “I remember moments in the middle ... and this was the end.” We see the girl, now a teenager, in a hospital bed. Then we see the bed empty. And while at first it appears to be mere backstory for Amy Adams’s character, it is in fact much more, perhaps the most crucial thread in Denis Villeneuve’s intricately woven film.
Amy Adams plays Dr. Louise Banks, a world-class linguist whom the Army once asked for help with a Farsi translation. “You made quick work of those insurgent videos,” a Colonel Weber [Forest Whitaker] reminds her; “you made quick work of those insurgents,” she rebuts. The Army needs her help once again, although this time the work is decidedly more esoteric and very complicated.
Twelve of these giant UFOs have landed across the globe. Do they intend war or peace? China, we learn, has made sword-rattling noises. So Adams has hours, not days, to be elevated recurrently up the space silo’s interior, where gravity and grammar evaporate in a realm of weightless wonder. As she watches the inky sign-words issue from the starfish-shaped hands and float in air, the blurry, spiky O-rings they form start to look like crowns of thorns.
The Aliens have arrived on Earth in a dozen giant craft scattered across the globe, one of them in the wilds of Montana. Colonel Weber would like Dr. Louise Banks to come with him, learn the aliens’ language, and ask them why they’re here. On the flight into Big Sky Country, Dr. Louise Banks is introduced to her partner in this endeavour, a genial physicist named Ian Donelly [Jeremy Renner]. As the chopper bearing the scientists skims over the plains, the alien craft emerges, literally, from the mist: a 1,500-foot edifice of what looks like black rock floating weightlessly just above the ground, like a giant skipping-stone poised on one tip.
Accompanied by soldiers and technicians, Louise Banks and Ian Donelly enter the craft by means of a square shaft in its base. Once inside, however, gravity releases them and then shifts 90 degrees, such that the shaft is now a corridor and one of its walls is the floor. Where Ian Donelly responded to the sudden inversion with “holy fuck,” I was right there with him.
At the end of the corridor they meet their hosts, two giant, squid-like beings that float on the other side of a transparent barrier. Louise and Ian call them “heptapods” owing to their seven symmetrical tentacles, and name the two “Abbott” and “Costello.” Efforts at verbal communication are unsuccessful, but written language proves more promising. From their starfish-like hands, the “heptapods” can emit swirling circles of inky gas, each one of them and as Louise Banks concludes a fully formed sentence with neither beginning nor end. Communication with the creatures moves slowly, but it at least begins to move.
As she and Ian try to decode the creatures’ language, they are constrained in their efforts by Colonel Weber and, especially, a CIA agent named Halpern [Michael Stuhlbarg]. Until we know more of the aliens’ intentions, like conquest? Moreover, there is geopolitics to consider. Eleven other alien craft hover elsewhere on Earth: Shanghai, Siberia, Sudan, Sierre Leone, and even a few places not starting with “s.” What if China or Russia makes a breakthrough with the aliens first and uses what it learns against the United States?
What if shots are fired, bringing alien wrath down upon the whole globe? Already their arrival has enveloped America in a sense of dread and anxiety not seen since, well, this entire political season. Looting breaks out in the cities; Pentecostals self-immolate; talk-radio tough guys demand “a show of force, a shot across their bows.” Will we find out about the aliens intentions, will the human race survive or will the stupid military fire at the aliens and Earth is destroyed, or will the mystery of the aliens landing on Earth be resolved. To find out for sure, you will of course have to purchase this Blu-ray disc to find out.
The best space-alien sci-fi films keep you guessing, at least during act one. ‘ARRIVAL’ which is from French-Canadian director Denis Villeneuve, teases us the French-Canadian way. Hollywood stars may prowl the American valley where the giant upended egg has “landed” and ubiquitous Amy Adams as the linguistics boffin recruited to decode the sounds and ink-squirting signs of the squid-like “heptapods” and Jeremy Renner as her physicist team mate, and splendid and spectacular Nordic visuals could have escaped from some Québécois artist film.
In its low-key lyricism with glimpses into the epiphany, this is a beautifully controlled sci-fi film. Icelandic-born composer Jóhann Jóhannsson’s film score adds a deeper layer of the fathomless-ethereal. ‘ARRIVAL’ is a totally magical oddity, keeping us moored to this planet while suggesting the distant, sonorous possibilities of those beyond in some distant galaxy.
The look of ‘ARRIVAL’ is stately and elegant; its pace, sober and deliberate. This is Denis Villeneuve’s first collaboration with the cinematographer Bradford Marcel Young do a brilliant job. The film score by the brilliant Jóhann Jóhannsson, is multifaceted and occasionally spellbinding, not least when its low horns boom with menace, almost like an alien voice themselves.
The script is by Eric Heisserer, who cunningly adapted and expanded it from a short story by Ted Chiang. It’s tempting to describe ‘ARRIVAL’ as a “thinking person’s science fiction,” and there is reason you’ll probably see that phrase plenty in conjunction with the film.
The basic insight of ‘ARRIVAL’ is that if we were to encounter a culture so radically different from our own that simple matters we take for granted as part of the world as it is were radically shifted, we could not simply gather data, sort out grammar, and make conclusions. We’d have to either absorb a different way of seeing, despite our fear, or risk everything.
To underline the point, Dr. Louise Banks and the entire operation are constantly experiencing breakdowns in communication within the team and with teams in other parts of the world, who aren’t sure whether the information they glean from their own visits to the pods should be kept proprietary or shared. But as usual with these types of sci-fi films, the military are the bad guys and we find Republican right wing soldiers who want to start a third world war with these aliens who came in peace and jarhead nasty soldiers do not know what that is, as American soldiers always thinks and are brain washed that everyone is a communist and out to destroy America.
‘ARRIVAL’ is about more than talking to one another. It’s about the roadmaps we use to navigate the world. It’s not hard to see where this is going, I imagine something along the lines of how if we want to empathize with each other we need to talk to one another, and that’s the way the human race will survive. And for sure, because ‘ARRIVAL’ suggests that our mental roadmaps need constant adjustment.
But ‘ARRIVAL’ also layers in some important secondary notes that add nuance to that easy takeaway. Because it’s not just deciphering the words that someone else is saying that’s important: It’s the whole framework that determines how those words are being pinned to meaning. We can technically speak the same language, but functionally be miles apart.
The entire cast is strong, but ‘ARRIVAL’ is basically Amy Adams’s film from the first frame to the last. I confess that I initially thought that her gifts might be wasted on such space-invader fare, but the performance Amy Adams gives is mesmerizingly from start to the end of the film. If you are unmoved by the film’s conclusion, then you are made of considerably harder stuff than me. So sit back and enjoy a very intelligent sci-fi film that we have all been waiting for. But of course the big question is why have the aliens come to Planet Earth? Is it to destroy us or have they instead come in peace? Well that big question can only be answered if you view the film and there is an amazing outcome at the end of the film on why they wanted to come to Planet Earth, and first you will be puzzles, but by the time the end credits appear all will become clear with this very intelligent amazing sci-fi film by a very intelligent director.
In the meantime, though, good films are somewhere to start. Luckily Arrival is a tremendously well-designed film, with complicated and unpredictable visuals that embody the main point. Nothing flashy or explosive; in some ways, which grounded its humanist story in deep quiet.
‘ARRIVAL’ concludes on a different note from the linguistic one — one much more related to loss and a wistful question about life and risk. This to some critics that may be why they feel ‘ARRIVAL’ is its biggest weakness; the emotional punch of the ending is lessened a bit because it feels a little rushed. But even that conclusion loops back to the possibilities of the reshaped human imagination. And this week, especially, you don’t need to talk to an alien to see why that’s something we need. Well that question is left for you to decide if you agree with those critics?
ARRIVAL MUSIC TRACK LIST
ON THE NATURE OF DAYLIGHT (Written by Max Richter) [Performed by Max Richter]
ARRIVAL (Written by Jóhann Jóhannsson)
HEPTAPOD B (Written by Jóhann Jóhannsson)
SAPIR-WHORF (Written by Jóhann Jóhannsson)
HYDRAULIC LIFT (Written by Jóhann Jóhannsson)
FIRST ENCOUNTER (Written by Jóhann Jóhannsson)
TRANSMUTATION AT A DISTANCE (Written by Jóhann Jóhannsson)
AROUND THE CLOCK (Written by Jóhann Jóhannsson)
XENOLINGUISTICS (Written by Jóhann Jóhannsson)
ULTIMATUM (Written by Jóhann Jóhannsson)
PRINCIPLE OF LEAST TIME (Written by Jóhann Jóhannsson)
HAZMAT (Written by Jóhann Jóhannsson)
HAMMERS AND NAILS (Written by Jóhann Jóhannsson)
XENOANTHROPOLOGY (Written by Jóhann Jóhannsson)
NON-ZERO-SUM GAME (Written by Jóhann Jóhannsson)
PROPERTIES OF EXPLOSIVE MATERIAL (Written by Jóhann Jóhannsson)
ESCALATION (Written by Jóhann Jóhannsson)
DECYPHERING (Written by Jóhann Jóhannsson)
ONE OF TWELVE (Written by Jóhann Jóhannsson)
RISE (Written by Jóhann Jóhannsson)
KANGARU (Written by Jóhann Jóhannsson)
Serenade in E Major, Op. 22, B. 52: IV Larghetto (Written by Antonín Dvorák) [Performed by the Berlin Chamber Players] [Conductor Benoît Fromanger]
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Blu-ray Image Quality – eOne presents us the film ‘ARRIVAL’ with a beautiful 1080p image experience and is equally helped with a stunning 2.40:1 aspect ratio. It goes without saying that the black levels, colour qualities, and contrast capabilities are all divine. You also get to view what is best described as excellent picture quality. Images are sharp and focused at times and particularly the military gear, wide shots, costumes and skin textures and also there are a good amount of details hidden in the shadows. Also you get to view some amazing unsaturated colour palette that goes with all aspect of the films visual treat, which suits the Montana landscapes and alongside muddy contrast and black levels inside the alien spaceship looks brilliant. This specific look for the film really works, and creating a dreamlike atmosphere, a fluidity of memories, and adding to the overall uniqueness of the experience of the film. In other words, ‘ARRIVAL’ doesn't look like most films in this genre and definitely gives great image qualities and gives a definite pristine HD presentations, which made for a very enjoyable quality experience of the Blu-ray image and it added to the atmosphere and ambience to the film. Please Note: Playback Region B/2: This will not play on most Blu-ray players sold in North America, Central America, South America, Japan, North Korea, South Korea, Taiwan, Hong Kong and Southeast Asia. Learn more about Blu-ray region specifications.
Blu-ray Audio Quality – eOne brings us the film ‘ARRIVAL’ with a stunning 7.1 DTS-HD Master Audio that is totally immersive and dynamic, and is a definite award-winning sound design that creates a coherent acoustic world, packed to the rafters with all sorts of finely-etched sound effects. The whole sound experience is underscored by a powerful and resonant low-end audio that will keep your subwoofer extremely satisfied, for example, the film starts with the sound of helicopters, slowly building to fill the entire soundstage, which becomes the hallmark of the sound design throughout the film, and you will be amply rewarded. Because the sound elements themselves are the terrific film score, effects, or dialogue, crackle with fidelity and unique tones. I've never quite heard a score like this, and pay special attention to the dialogue spoken into various. All of this audio design work gives the elements a very textured and dynamic feeling, especially the alarm blare in the background, car horns and confusion litter the stage, and fighter jets zoom through. A helicopter powers towards the listener a few minutes later. Rotors are heavy and the sound from both outside inside are strikingly immersive. Deep, penetrating lows signal key moments that are equal parts exhilaration and fear. Bass does get more pronounced powering is wonderfully realized and deeply penetrating with amazing full-stage immersion. More traditionally sourced music enjoys positive spread and balanced surround detail. Dialogue is clear and well prioritized. It enjoys natural centre positioning for the duration. So it definitely gets a five star rating for me and again adds to the atmosphere of the amazing sci-fi film.
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Blu-ray Special Features and Extras:
Special Feature: Xenolinguistics: Understanding ‘ARRIVAL’ [2016] [1080p] [1.78:1 / 2.40:1] [30:02] This feature is just what the doctor ordered, because it explores the story of ‘ARRIVAL’ and what it all means and of course I cannot go into further detail without spoiling the story for everyone. Denis Villeneuve [Director] talks about how he had wanted to do science fiction since the age of 10 years old. This feature also goes into how the short story "Story of Your Life" was selected and adapted into a screenplay for this movie. Here the producers also talk about how they lured Denis in to direct. Furthermore this extra traverses into areas such as casting, designs of the spaceships and aliens, costumes, cinematography and the real reason we are all here, the alien language. Interestingly Amy Adams was Denis’ one and only choice he wanted to lead here. Amy Adams chats about what drew her to the project rather than her wish to take some time off. Contributors include: Ted Chiang [Author of “Story Of Your Life” / Scientific & Engineer Consultant], Eric Heisserer [Screenwriter/Executive Producer], Shawn Levy [Producer], Denis Villeneuve [Director], Dan Levine [Producer], David Linde [Producer], Aaron Ryder Producer], Amy Adams [Louise Banks], Jeremy Renner [Ian Donnelly], Forest Whitaker [Colonel Webber], Jessica Coon [Linguist Consultant], Stephen Wolfram [Scientific & Engineering Consultant], Patrice Vermette [Production Designer], Louis Morin, Renée April [Costume Designer]and Bradford Marcel Young [Director of Photography].
Special Feature: Acoustic Signatures: The Sound Design of ‘ARRIVAL’ [2016] [1080p] [2.40:1 / 1.78:1] [13:59] This feature is all about the sound design and how it being its own character in the film. Denis Villeneuve [Director] says he needed someone who can create crazy sound effects, but goes into mentioning the most powerful sound effects in the film, which is the silence. They talk about how they wanted organic sound and nothing electronic sounding. Contributors include: Sylvain Bellemare [Supervising Sound Designer], Dave Whitehead [Hetapod Vocals Sound Designer], Michelle Child [Hetapod Vocals Sound Designer] and Denis Villeneuve [Director].
Special Feature: Nonlinear Thinking: The Editing Process of ‘ARRIVAL’ [2016] [1080p] [1.78:1 / 2.40:1] [11:19] Here we get an in-depth discussion of the film's editing process and, like the music piece, and it discusses rather intelligently how the process makes and enhances the film. It explores the parallels between the two different nonlinear stories going on here and how it influenced the editing. It is cool how a lot of the people who work on the film ‘Sicario’ followed here with Denis Villeneuve [Director]. So needless to say the editor of the film goes into further detail on his art of editing here. Contributors include: Joe Walker [Editor], Javier Marcheselli [Supervising VFX Editor] and Denis Villeneuve [Director].
Special Feature: Principles of Time, Memory, & Language of ‘ARRIVAL’ [2016] [1080p] [2.40:1 / 1.78:1] [15:24] This feature explores some of the core story nuance through multiple scientific prisms. They also discuss the subject of time and knowing your future explained through physics and mathematics. I love pieces like this that explains in detail that give us a sense of scientific reality. This one gets real deep when it dives into the theory of relativity of explaining the perception of time and formation of memories. Contributors include: Ted Chiang [Author of “Story Of Your Life” / Scientific & Engineer Consultant], Stephen Wolfram [Scientific Engineering Consultant] and Jessica Coon [Liguist Consultant]/
Theatrical Trailers: Here you get to view three theatrical trailers that play instantly when you load up the Blu-ray disc and you hear them in 5.1 Dolby Digital Audio and they are as follows: ‘MISS SLOANE’ [2016] [1080p] [2.35:1] [1:26]; ‘A MONSTER CALLS’ [2016] [1080p] [2.20:1] [1:36] and ‘JACKIE’ [2016] [1080p] [1.66:1] [1:39].
Finally, the sci-fi film ‘ARRIVAL’ is an emotional movie-going experience that is built on the foundation of a thematically-haunting short story and an exceptionally tight well thought out screenplay. Director Denis Villeneuve and team have made an incredible intelligent sci-fi film that is smart, tense and human. But what is totally outstanding in my opinion about ‘ARRIVAL’ is that is totally far superior to the those rubbish mindless pathetic films like ‘Interstellar’ and ‘Contact’ that leave you perplexed and a totally pointless viewing experience. ‘ARRIVAL’ certainly makes for a terrific watch and represents a breath of fresh air in a stuffy landscape of repurposed and largely mindless cinema. eOne have done a sterling job in presenting this film in the best way possible and it is a film that is a must to include in your Blu-ray collection. Very highly recommended!
Andrew C. Miller – Your Ultimate No.1 Film Aficionado
Le Cinema Paradiso
United Kingdom
