There's always something of a melancholy tinge to Thanksgiving, an unspoken, primal awareness not only that this is one final bacchanal before the privations of winter set in, but that gratitude can't really exist without the experience of grief. The things and the people we feel most thankful for are too often the ones that are no longer with us. Perhaps that helps explain why several new films this Thanksgiving season center on loss and how to move on from it.
Eternity doesn't rank among them, though director David Freyne and his co-writer Pat Cunnane deserve some credit for setting their sights so high. They have built an entire vision of the afterlife to serve as the setting for their otherwise modest romantic comedy. Okay, some credit ... and maybe also some blame. The beyond that they've conjured up is so ridiculously specific that we can't help but start poking holes in it.
The loved ones we call the deaddepart from us and for a whileare absent. And then as ifcalled back by our love, they comenear us again. They enter our dreams.We feel they have been near uswhen we have not thought of them.They are simply here, simply waitingwhile we are distracted amongour obligations. At lastit comes to us: They live nowin the permanent world.We are the absent ones.
Set in 2033, Upload imagines a process by which living humans can upload their consciousness to a digital avatar in a virtual world. Typically, this occurs when death is imminent, though that may or may not be the case for Nathan (Robbie Amell), whose pushy girlfriend Ingrid (Allegra Edwards) urges him to do it after his self-driving car smashes into the back of a truck.