The BFG,” Steven Spielberg’s film of Roald Dahl’s novel. It’s about a London orphan who gets kidnapped by The Big Friendly Giant, or BFG (Mark Rylance, in the first motion-capture performance to equal Andy Serkis’ best) and whisked away to the land of the giants.
The BFG is indeed friendly—befuddled and a bit sad, but nice. But there are other giants here. They’re scary, stupid bullies, and so big that they tower over the BFG the way he towers over Sophie. They love to eat people, whom they call “human beans,” or simply “beans.”
When Sophie hides from the bigger giants and they clomp around looking for her, the first thing the BFG does is find Sophie’s glasses and hide them in his pocket. He does it so that the bigger giants won’t see them and know for sure that he’s hiding a child, but there’s a more basic motivation: to prevent them from getting crushed.
“Do you have my glasses?” she asks him late in the film, during another action scene. “Of course,” he says.
The movie is filled with gestures that meaningful. Like the BFG, it cares about the little things, and it moves with a grace that belies its size.
It’s a film about about dreaming and storytelling, parenting and childhood, nostalgia and pragmatism, and the necessity of standing up for yourself even when you know you can’t win. But most of all, it’s a film about two unlikely friends.