Damn. It took me almost five months to write about two of my favorite films in 2014. Supposedly they are to be classified under “Awards Circle” but given the disappointing turn-out of this year’s Oscar nom–
Why do they have to be validated by awards anyway? Interstellar and Gone Girl are spectacular in their own way; two dark horses prancing in a cinematic year befuddled of conventional biographies and pretentious fictional personalities. Most of the Best Picture nominees are based on a person but these two films in particular are based on an idea which definitely has its intriguing way of piquing one’s curiosity. Both are genre-films that the Academy typically overlooks but they are a must-see for everyone’s viewing pleasure, not just for the Nolan loyalists or mystery-diggers and/or miserable-avenging wives. Detractors are common, but in this case, are hyped on their misdirected attacks of alleged illogical plot holes and biased misogyny – all the more making these films thrilling to see. I’ve come to love the imperfections Interstellar and Gone Girl are speckled of, but those don’t lessen their value as absorbing, mesmerizing and though-provoking films of recent memory.
A three-hour expedition of mankind’s last refuge for survival, INTERSTELLAR is Christopher Nolan’s most ambitious and personal craft that may arrive highfalutin with its cosmic conquest bounded by emotional gravity, but the overall film is not to be defined by its disproportionate narrative fragments. An epic space opera immersive of exhilarating visual effects, INTERSTELLAR creates an alternate world where the astonishment of what is beyond the living planet and the imagination is beguilingly stunning, foreign and perilous.
Here’s another film (succeeding 2013’s behemoth Gravity) that pulls off another argument on why it should stand out and matter as the line between science and fiction blurs ominously. More than the underlying theme of preserving one’s existence during the ever-changing global landscape, is the universal message of hope and love that buoys INTERSTELLAR from the impartiality of its genre. The outer space is a peculiar podium for a father-daughter story but it’s the key to the film’s coherence in depicting love as an equally formidable force along with the unfathomable time and immense space. It takes a visionary to propel such auspicious story and Nolan goes for the challenge, along with its charismatic ensemble led by Matthew McConaughey as the former NASA pilot forced to abandon his children for a space mission with a bleak chance of return. It’s in those moments of doubt the film assures that love is as binding as gravity and as critical as time – the complex factors fuelling this one-of-a-kind intergalactic and interpersonal adventure.
Anne Hathaway and Jessica Chastain also star as Amelia, Cooper’s determined shipmate; and Murphy, Cooper’s daughter whose radical scientific knowledge and personal memories prior to her father’s departure were established to unlock the narrative loop that spans dog-years and speeds in wormholes. Some viewers may be dogged in burrowing the film’s disputed plot holes but in my opinion, it’s defensible for the film to not overwhelm itself from its fictitious galaxy, nor succinctly solve the mystery of space travelling which in reality hasn’t even been deciphered and accomplished. Nolan has a penchant for creating a unique mythology for his films and INTERSTELLAR exists in an intriguing astronomy that calls for an admiration on the filmmakers’ dedication and passion in conceptualizing a stellar visual and intellectual experience for its perceptive viewers.
Cooper and younger Murphy (Mackenzie Foy)
Given the standards of a Nolan film, Christopher Nolan outdoes himself in terms of thematic scale and graphic set that stretch to the metaphysical elements of space, orbiting at the center of the undeniable pull of love presented by the film as universal as the governing incomprehensible principles of the galaxies. INTERSTELLAR affirms that such human virtue is as vast and compelling as the entities beyond us. It doesn’t require the audience to believe on the pronouncement; rather, they are inherently released into unabashed tears, especially in the post-apocalyptic future complicated by the mortal component of Murphy’s longing and frustrations on her father and the ‘almost’ mission failure of Cooper and co., where hope and love are the last two things we can only cling to.
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