The luminous Judy Greer shines in a rare leading role as a widowed Los Angeles mother given the chance to rewrite history — an opportunity she can't help but take.
When it comes to time travel, the go-to scenario is usually, of course, snuffing out Hitler. But if we actually could take advantage of an inexplicable wormhole, chances are we’d be more concerned with meaningfully fixing our own lives.Jared Moshé
’s small-scale fantasy “Aporia.” A mix of rough-around-the-edges logic and heartfelt suspense, it likably reclaims sci-fi’s speculative, moral heft from the province of shiny, plastic world-ending epics, dropping it squarely onto, as “Casablanca” memorably put it, “the problems of three little people.”’s stressed-out, grieving Sophie, a long-term care nurse living with her 11-year-old daughter, Riley in East Los Angeles.
The second of the three is Sophie’s close friend Jabir , a ride-share driver and Iranian exile years away from his life as a physicist. He can’t stop thinking about the Revolutionary Guard member who separated him from his family, and at night tinkers on a clumped hunk of old metal, car batteries, cables and ’80s-era computer hardware that suggests a lonely soul’s private madness.
However, nothing is simple about forever altering the space-time continuum. First off, there’s now a timeline of memories Sophie can’t access . But also, after acting on understandable curiosity, there’s her nagging guilt about lives worse off, namely her victim’s widow, Kara , now leading a decidedly harder life with her own daughter for an entirely different causal reason.
Might “Aporia” — a Greek word conveying philosophical puzzlement — have benefited from the kind of tightening and oiling theof “Memento” and “Inception” could offer? Perhaps, if this movie’s focus were geared toward heady, white-knuckle thrills. But Moshé is clearly more interested in the heart’s imperfect logic than flow-chart rigor.
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