Ryan Gosling travels into the space of Spielberg and Tarkovski

He’s not alone: ​​he’s befriended by a rough-textured alien capable of changing his shape, with whom he then communicates using an encrypted system. To consider him the theme of the film is loneliness. The main character overcomes his Islam in the most suspicious way in the most remote place imaginable.

Inspired by Andy Weir’s novel, which he also wrote Marchingadapted for cinema in 2015 by Ridley Scott, Proyecto Salvación if plantea as el anti-blockbuster. Despite the need to count on a big star and a millionaire premise and a return to such a popular genre as science fiction, the film wants to satisfy the themes. It lasts for two hours and medium and it doesn’t matter much. Además de Gosling intimando con el extraterrestrial, también vemos, via flashbackshow it ended up there: recruited by a secret organization of scientists whose goal is to prevent the extinction of the sun.

Gosling’s character’s mission is to travel to a planet so small that it is impossible to travel; It is said to be a suicide mission based on the premise that if he doesn’t, he will die like the rest of humanity. An actor creates something authentic escapadehe gives life to a scorned scientist, someone disillusioned and more shy and antisocial, who has no less interest in becoming a hero.

There has always been a genuine obsession with Hollywood at the end of the world as a real possibilityeven more than we wanted to mention. Ahí están un blockbuster device with ecologist como advice 2012 (Roland Emmerich, 2009) or a metaphorical drama about human brutality and Way (John Hillcoat, 2009). Here is a film by Phil Lord (Miami, 1975) and Christopher Miller (Everett, Washington, 1975), directors A flood of albondigas (2010) The Lego Movie (2014) and the producers of the animated saga Spider-Man de Sony starring Miles Morales.

A double child here from Spielberg, no doubt, because the friendship between this disgraced fellow and the unclassifiable alien is real, real. On the other hand, in this inhospitable world, thousands upon thousands of kilometers of Earth, the directors are doing great beautiful images that radiate transcendent poetics.

for moments the lyrical power is remembered by this poet named Tarkovski, who signed two works of science fiction masters as Solaris (1972), in which the study of astronauts turned into a psychological investigation of memory and trauma, and Stalker (1979), in which the mysterious post-apocalyptic “dark zone” becomes a scenario of philosophical resonances that captivate us for the beauty of its images.