Michael Almereyda’s Paradise begins with a slow tracking shot taken from a moving walkway in an airport. It’s a contradiction of movement and stasis: the camera and its holder are completely still, yet the ground beneath them perpetually propels them forward. Later in the movie, a character will comment that they love natural disasters because they “like that the earth is changing and moving.” Even the modernist architecture of the passageway—cool and steely lines converging in a distant vanishing point and whose hues fluidly shift from blue to green to purple—lends an aura of science-fiction to the shot, as though we are more than moving through a single corridor, but traveling beyond the liminal boundaries of our everyday world.
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