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Had James Gray (‘The dream of Ellis’, ‘Z the lost city’) in a recent interview promotional ‘Ad Astra’, her new film recently passed in ‘The Lido’, one of the ideas that pulularon through your mind when tackling this project (which had, according to account, to macerate from almost a decade ago) was the press conference of Armstrong, Aldrin and Collins to return to the Earth. They were the first human beings to visit a celestial body, with all the load metaphysics to humanity, which it involved, and however that could not stop talking about it is of logistical issues, depresurizaciones and circuits damaged.
“Space I understand” is one of the first things that we hear name during his incessant (and unnecessary), monologue intern at Brad Pitt in the role of Roy for ‘Ad Astra’. He is also a man of science, as these major reference cited, but is also someone with a thin point: his father, a benchmark that you try to achieve. Clifford (Tommy Lee Jones) was the best astronaut alive, literally I got further away. Someone who, as it tells the official narrative, sacrificed himself for humanity by committing his whole life to the search of other beings in space and solve as well the famous Drake equation. Surprise, surprise, our models have their face hidden.
A study of character. A process of self-Exploration.
‘Ad Astra’ is constructed on the surface more as a study of character as a pyrotechnic space adventure (although yes, some of the points you have of this), but also, as we announce the labels for the initial of the film, is a discourse on the search for the hope in us in these troubled times in the societies only know how to escape forward. Roy, which Ulysses, or Hercules, or a hero of a thousand faces, has passed in its journey through a process of self-exploration (phase-to-phase, astro to astro) that will make you abandon your belief in science and the emotional coldness to embrace a faith more human, that will take you, without intending it, to surrender to the father.
Although Gray seems to have in mind ‘2001 a Space Odyssey’, ‘Solaris’ and even ‘Apocalypse Now’, it is curious that this new film will mate much better with ‘First Man’, another work of individuals that jump out of the vacuum and shipped to the nothing to find a peace with epistemological and, in the background,
speaking of the lost and orphans who are the men of a sense of duty, of objectives for which to fight.
The final message, as in other films of Gray, is being made clear, without demand great efforts of the viewer to provide some visual metaphors simple, but, despite having a lot against it, ‘Ad Astra’ manages to awaken an interest in film unexpected: one of the directors who best embodies the classic formal hollywood to this day has dared to bathe in the space opera.
we Cannot here provide more details so as not to make spoilers, but has your grace that with a script and some scenes so solemn, middle shakespearianas, and an actor like Brad Pitt, able to build a huge likelihood, we take in some of the sequences isolated to the ground of the action camp to the ‘Star Trek’, something that could pull off some of the film but, in my case, it seems to me a bold step in favor of the game and the visual entertainment, which is the best approach with the one that landed on the moon on this film.
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The news ‘Ad Astra’: a classical study of character that unites Shakespeare with ‘Star Trek’ was originally published in Espinof by Esther Miguel Trula .
August 29, 2019
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