360 is a multinarrative shape-shifter of a film that tracks a dozen characters through as many cities around the world. Directed by Fernando Meirelles (The Constant Gardener) from a script by Peter Morgan (The Queen), it’s another Babel-style fairy tale for the age of globalization that lifts its crisscross story tricks from Pulp Fiction, though with a mood that’s more furrowed-browed. 360 is about the six degrees of separation that pull people across lines of class, ethnicity, and fate.
In Vienna, a woman (Dinara Drukarova) is photographed for a website that advertises hookers. At a hotel bar, we meet the mild Brit businessman (Jude Law) who has hired her, then his wife (Rachel Weisz) back in London, then the Brazilian hunk (Juliano Cazarré) the wife is sleeping with, then the hunk’s girlfriend (Lucia Siposova), who leaves him in disgust before encountering a courtly-cool old dude (Anthony Hopkins) and then a cute young dude (Ben Foster) with a dark secret. An AA meeting links the action back to Europe and to a Russian gangster, who takes the film in a whole other direction. 360 has a circular structure that’s deftly pleasing, though the human drama is just facile enough to make it seem, in the end, a little too much like connect the dots played with people. B