The perspective is ostensibly chosen to build her character, but it's so far removed from the meat of the film that the viewer is immediately jarred when the gears shift. Although the bulk of the story is The Djinn's, the film forces Alithea's point of view early, kicking off with one of her scholarly lectures and mind-numbing narration. There's much to unpack and many varyingly effective elements, but Miller dooms himself from the start with an awkward and forced framing device. Alithea must choose her own three wishes to fulfill her soul's most inner desire and help free The Djinn for all time. The Djinn recants his history to Alithea, detailing the many loves and tragedies he has catalyzed in three ancient societies. The film follows Alithea, a narrative scholar who uncorks The Djinn, a mystical being who has been imprisoned multiple times over thousands of years.
It's a strange film full of strange choices, zippy enough to be enjoyed in the moment but too jumbled for satisfactory mental congealment after the fact. Whatever the case, the joy for the material is evident, alongside some extremely obtuse and unrelatable elements. There are many idiosyncratic choices throughout Three Thousand Years which mark it as a passion project it wouldn't be surprising to learn that the film languished in development hell or lacked the proper budgeting for its globe trekking story. Although it's not his best work, Three Thousand Years seems to be a deeply personal film. It's an eclectic mix which has led to his most eclectic film yet, Three Thousand Years of Longing. Much of his film work has revolved around the Mad Max franchise, but he's done a variety of work such as Happy Feet and The Witches of Eastwick. George Miller has had a hell of a career.
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