This is a deeply philosophical, emotional, and surrealistic film about a theory in physics known as 'the Many Worlds Interpretation of Quantum Mechanics', a theory originated by Hugh Everett (1930-1982), a physicist who has now become famous long after his early death. That, at least, is the scientific basis of the film, the film itself being a highly dramatic multi-story showing the same two people enacting their relationship in multiple strands of a continuously splitting universe. It is based on a play by John Mighton, who also wrote the screenplay. He is a mathematician, and has also written several plays and books. This was apparently the first 'alternative universe' film. Another and more extended portrayal of the multiple universe theory within a dramatic context is found in the long-running series made several years later, FRINGE, 2008, although it only had one alternative universe, and is therefore better therefore described as a parallel universe series; see my review. The two lead characters here are played by Tilda Swinton, who as usual is brilliant and intensely dramatic, and Tom McCamus, who perfectly under-plays his multiple roles with an air of multiple-world-weariness. Yes, it seems that one can be world-weary in several worlds at once. The cares of those worlds certainly do seem to hang from him like draperies. The film is directed by the highly sensitive Robert Le Page, a Canadian director who can intuit the slightest twinges of human emotion with the precision of an earthquake detector. He intentionally makes the film drama surrealistic, to highlight the theme. And he uses some very unusual camera movements. For instance, just simply showing us a sign direction in an office, he dollies the camera straight at it from a distance until it is in closeup, as if he were attacking it. And that only lasts two or three seconds and he instantly cuts away to the action. The film is full of such visual surprises. In fact, the opening shot of the film is of a caretaker washing a large window early in the morning with a spectacular yellow sunrise behind him. Le Page really is an inspired film creator, not just an ordinary director. It took a lot of courage to put a heretical idea in physics on screen. But it works. Of course there are some people who hate the film because it is not their sort of thing. They think it's all just one big pretentious yawn. Fine. I don't wish to run them down, merely to point out that maybe they should be playing Candy Crush instead. This film is really trying to tell us something. Hugh Everett was the Ph. D. student of John A. Wheeler, one of America's most brilliant scientists of the 20th century. I knew Wheeler and even discussed Everett with him. I can assure viewers that this film has an impeccable scientific pedigree. It is not just some science fiction idea cooked up as a fantasy. There are very serious scientists such as David Deutsch who genuinely believe that the timelines of our lives are continuously splitting into an infinite number of alternative and co-existing worlds. We are alive in some and dead in others. This film shows the same two characters having varying relationships in several of them simultaneously, cutting back and forth between them. The catch is that the character George Barker, played by McCamus, differs from everybody else in that he is consciously aware of the multiple versions of himself, which is a form of torment for him. Swinton vaguely senses her other selves but never really gets to grips with what it all means. This is just about the most unusual film, from the point of view of its underlying theme, that you will ever see. And do try to see it, if only to experience multiple universes.