The Heart of the World, one of a half-dozen shorts he made between his dreamily surreal pastoral fantasy Twilight of the Ice Nymphs (1997) and his ballet-as-expressionist horror meditation Dracula: Pages from a Virgin’s Diary (2003), is the essence of Guy Maddin condensed into a brilliant, breathless, breakneck science fiction thriller. How marvelous that Maddin’s first major film of the 21st century looks like a mad masterpiece from the fevered mind of a silent moviemaker from 1925, discovered in the buried time-capsule vault of an asylum for insane artists. It just may be the greatest six-minute film ever made.
Maddin described his silent movie fantasia, produced for the 2000 Toronto International Film Festival to celebrate the 25th Anniversary of TIFF, as “world’s first subliminal melodrama.” There are two brothers, Nikolai the youthful mortician who seems just a little too passionate about his work, and Osip, an actor playing Christ in a passion play who takes lives the role outside of the play. They are both in love with Anna, a scientist who turns a vast telescope inward to the center of the earth to study the heart of the world: a literal beating heart, of course, and in danger of a world-shaking heart attack.