Claire Denis’ grotesque, mesmerizing, one-of-a-kind new science fiction movie High Life opens with a series of peculiar images. A lush garden covers the floor and walls of a spaceship greenhouse. A toddler cries from an improvised playpen. An astronaut tries to console her from outside the ship, and accidentally loses one of his tools, which drops down into the void below him — emphasis on down, as it appears gravity is still asserting its will far outside the Solar System. All these elements exist in defiance of what most audiences will assume about both cinematic and real space travel, where humans adjust to unnatural conditions and subject themselves to the punishing rigors of astrophysics. For Denis, baffling the audience early on is…
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