IF you want to see this same concept done PROPERLY, see the Bollywood film P.K. Its a masterpiece, as for this film I am giving this a 10 star rating just for the good concept.-1 For the alien who is supposed to be naked, but in one early show the camera is misplaced and her lower garment can be seen.-1 for the alien who can speak PERFECT Aussie and knows what a frog is and has no issue with earth words or language or connotations.-1 for wasting time on the round and round time lapse over indulgence in the start. We get it director, you just discovered time lapse! -1 For the entire movie having a voice over, thats just lazy screen play!-1 For the entire damn movie being about two people just speaking.-1 even if the entire movie is some people speaking, it can be better done, like the man from earth -1 for having an environmental theme and NOT showing any polluting factories and extreme crap humans do! that would have made this film a LOT better!over all a huge missed opportunity so 3/10 rating!

The basic vision of this movie struck me -- and still strikes me -- as an excellent starting point. The cinematography is marvelous and the devotion to environmental and societal questions is admirable. Even without any answers, the importance of the questions the film highlights gives it validity. Unfortunately, the writing and direction left huge holes in the logical development of "She" as an alien character. "The Man" is required to fulfill each of "She's" requirements in thought pattern and relationship development. Unfortunately "She" violates every premise she, herself, dictates. Even "The Man's" most notable leaps in understanding are insulted and demeaned by the alien visitor. When "She" stoops beneath the level of Earth human cruelty by destroying "The Man's" favorite tree (with which he had "shared blood") every supposed superiority of the proposed advanced galactic peoples is totally eradicated. The lesson seems to be that trying to communicate with a less developed individual will destroy your own more delicate feelings and understandings. What could have been a thought provoking challenge to our society wound up being a cheap grouping of pot-shots taken at civilization by childish, dissatisfied, spoiled whiners.

Epsilon proves that science fiction need not be only about huge special effects, cross marketing and vapid story lines. (Don't get me wrong, I like these things to, they just aren't essential)This film has an incredible heart, a storyline which while fairly simple is nonetheless thoughtprovoking and powerfully emotional, some fantastic performances from The Man and She, who are under the camera in every scene and shine and beautiful cinematography.Rolf de Heer is like an Oz Cohen brother, he has put his hand to a wide variety of genres of film and never once failed to deliver a masterpiece (or near masterpiece)It may be hard to find this film and you may find it a little slow to begin with, but just let it draw you in and feel your consciousness evolve. (Ok, that maybe a little over the top but it is pretty profound)

This film had the potential to be a truly great flick .. but was let down badly by its 'sledgehammer' approach to environmental issues, and the appallingly bad acting in the closing scene.As an armchair greenie, I was pleased to see a film that brought the issues of sustainable resource development to the forefront .. but the continuous hammering on a single issue became annoying.There are, however, some excellent moments in the movie.The concept of "You breathe the foul air" as a dismissive insult is particularly evocative, and the ever-changing scenery does far more to draw attention to Ullie Birve's 'alien-ness' as She than all of Hollywood's FX could ever do.Unlike most science-fiction of the 90s, this was not a chance to show off technological whizz-bangery .. and Rolf de Heer has, with just a few camera angle & location changes, done a masterful job of showing us changed perceptions.Syd Brisbane, another de Heer favourite, plays the role of The Man with just the right combination of wide-eyed wonderment and plodding suburban pig-headedness .. but there needed to be more made of his Saul-like conversion if his later, unseen role was to be believed.Which brings us to the final scene.Althea McGrath's narration was quietly brilliant throughout the film, and her on-camera acting in the final scene was OK, if not outstanding. But oh, her grandchildren ...Chloe and Phoebe Ferguson got quite good reviews for their roles in another de Heer film, "The Quiet Room" .. but unfortunately in Epsilon, their minor (but crucial) roles as "Child" and "Child" in the campfire sequence don't work.In fact, the closing scene makes the entire movie like the fire itself: it casts light, it crackles and flares .. but eventually the wooden performances in the dying embers of the film leave nothing but ashes .. and the mood that de Heer has tried to conjure up blows away like so much smoke.Which is a pity because, as I began, this movie could have been so much more.