Effective montage moves the story with a series of poignant moments. One only has to think of the Rocky montage to appreciate the potential: Mr. Balboa going from drinking raw eggs to surmounting the steps of the Philadelphia Arts Museum in the final iconic shot.
Montage has become so commonplace that a more sophisticated approach is needed, perhaps with a gag and non-sequiturs or two; otherwise the audience gets bored.
Such is my current issue in Anori. Dee Sinclair spends a year aboard a ship, collecting animals from across the world with a group of biologists. The montage of eight locations – moving from Lisbon to the Galapagos – is there to emphasize the power of the expedition along with Dee’s isolation from others.
Army escorts appear, pirates attack, and Dee observes oddly from a distance throughout, not because she isn’t affected by the dramatics but more so that she doesn’t feel connected to any of it. But does it work? I don’t know.