The Universal Theory | Fresh Takes

Fresh takes and film reviews from new voices in film.

Harry, Ewelina, Jamie & Zara

02 Dec 24

Fresh Takes is Picturehouse's space for the next generation of film lovers to share their thoughts on the latest films coming to our screens.

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This time, our writers unravel The Universal Theory: a visually breathtaking, mind-bending mystery from director Timm Kröger, set against the towering landscape of the post-war Swiss Alps.

The Universal Theory arrives in cinemas from 13 December. Book your tickets now.

Harry Denton, 19

Harry is a second-year Film Studies student, passionate about both the past and present of film, always keeping an eye out for and championing emerging talent in today's cinematic landscape.

Harry says...

Ever since its premiere at the Venice Film Festival in 2023, where it was nominated for the top prize the Golden Lion, it's been a wait for The Universal Theory, but it makes for an intriguing alternative film to watch this Christmas season.

It's a real blend of genres, paying tribute to classic film noir while adding experimentalism in its mind-bending twists – theories of which will not be universally agreed upon. The former comes through the film's style, shot in black and white but with more modern styles like the Cinemascope aspect ratio, making it reminiscent of recent classic-styled films like Aferim! and Mank.

Alongside the classical score, this blend of old and new works, both as homage and as a visually striking way to capture the Swiss Alps' contrasts and scope. The sci-fi aspects add a unique flavour and make for an unpredictable ride that may warrant re-watches to fully grasp together the mystery it throws your way later. I found the emotion – which initially feels as cold as the Alps – does shine through in its coda, and helps to recontextualise what came before.

If the current state of mainstream cinema lacking original fare disinterests you, then this makes for a memorable journey into the unexpected.

Ewelina S, 22

Ewelina is a Design for Film and TV graduate with a deep passion for all things film and graphics. She finds inspiration in the way powerful narratives, thoughtful production design and an evocative soundtrack come together to craft vivid, immersive worlds on screen. Catch more of her work @eviesaw_design.

Ewelina says...

Universal wavelengths and skiing in the Swiss Alps were the first thoughts that came to mind after seeing The Universal Theory. The story is set against the beautiful backdrop of the Alps, which is cleverly integrated into the narrative to enhance its impact. As someone who is fascinated by set design, this film truly delivers: the way it film contrasts the vibrancy of the 1970s with the monochromatic visuals of the 1960s, combined with the carefully thought-out characters and set decoration, made me feel completely transported back in time.

Despite this, I must admit that at times I was sceptical whether the film would explain all of the questions that naturally arose as I was introduced to its multiverse. Similarly to protagonist Johannes, I wanted to figure out who the mysterious Karim was, and what happened to Professor Blumberg. I feel that when we add unfamiliar ideas and experiment with time travel, as many previous films have done, it can create plot holes and confuse the viewer. That being said, I enjoyed the sense of mystery and the process of uncovering the truth alongside Johannes. Even if not every question was answered, perhaps that is the point; some things, like universal wavelengths, are meant to remain unknown.

Jamie, 24

Jamie has moved over to London from Ireland, igniting an obsession with seeing as much cinema as he can. He's a fan of animation and will most likely cry if there is a dog on screen. You can find more of his insightful reviews on Letterboxd @JamieGilmore.

Jamie says...

Nothing grips me more than a bizarre setup and a strong commitment to a style. The Universal Theory combines both, diving so directly head first into the Noir style that when the yellow text of the end credits came up, it felt like seeing colour for the first time. In so many aspects, the film feels directly plucked from the '50s, with paper set backdrops, big and bold titles on screen and a score from Diego Ramos Rodríguez that could turn me into a femme fatale for the rest of my life.

The Universal Theory puts a nice spin on the traditional mystery thriller, with a 'real life' set up at the beginning. We then get thrown back in time to watch this ski-sloped set adventure: an unravelling mystery of possible time travel (or maybe espionage scheming). While it's not a crazy action-thriller, the story was enough for me to lean forward at times – and occasionally squint my eyes – at the mystery unfolding.

My only real issue with the film is that I did find myself drifting away from knowing what was going on in the middle section, where it deepens its mystery and starts to feel slightly complicated. But for me, it came together really well in the end though, with a satisfying conclusion – and a quick second shoutout to the score. It's worth a double compliment.

Zara Petranova, 24

Zara is a Film Studies and Philosophy graduate who loves the cinematic sensory experience. Currently working at a Literary Agency, she is always chasing after the next best film adaptation of her favourite books.

Zara says...

The Universal Theory, directed by Timm Kröger, is difficult to define or pin down. An intriguing mixture of science fiction, thriller, and mystery, with a doomed romance and some nods to film noir, we follow Johannes, a young physicist working on his dissertation, accompanied by his supervisor as they attend a conference in the Swiss Alps. While there, strange occurrences unfold – clouds gather in unnatural patterns, and mysterious mountain-side caverns are discovered alongside a dead body.

The film is extremely striking in black and white – so much so, that I couldn't even imagine what it would have been like to watch in colour. The blinding white brings the glare of the snowy Alps directly into the cinema, and we tumble alongside characters into deep, dark, shadowy caverns and corridors. Accompanied by perfectly eerie music, we're plunged into the thick of the mystery and action ourselves.

Though certainly masterful in its formal aspects, the film perhaps relies a little too much on its cinematography and atmospheric music to do the heavy lifting, leaving the complex central themes a little too mysterious – shrouding both audience and characters from getting to the crux of the enigmatic happenings.

While we are expertly guided along the film's labyrinthine plot, and empathise with Johannes' desire to discover the truth about the curious ongoings in the Alps, I found the most pleasure in losing myself in the stunning visuals more than anything – which, by themselves, are reason alone to delve into the mystery of The Universal Theory.

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