Accustomed to gravity in outer space, to the metaphorical journey to reach the stars, the really serious thing is in what you leave, and here there is nothing stronger and more personal than the bond of a mother with her daughter.
Splendid shout in the sky of the French director Alice Winocour to knock on the doors of Hollywood. Your movie, Next (2019), gives off feminism, sorority and motherhood, but also manages to have a presence in our emotional fiber without the need for that amazing epic of the subgenre of space adventure.
It is in the same narrative line of the relationship parents and children of Ad astra (2019), addresses the personal issue of First man (2018) and can even remember the already legendary Interstellar (2014), but in Next a simple and close aroma is also noticed that can make it stand out equally among the others without the need for so much postproduction. It is in the absence of those digital resources when the film gets big at every leaps and bounds that it takes in the drama.
For Alice Winocour the real mission to
Mars was on Earth. It is the mission of loving you (if I am allowed to play
words) as mother and woman. Accustomed to gravity in space
outside, to the existentialist odyssey, to the metaphorical journey to reach the
Stars, the truly serious (and I redeem myself in the double sense) is
in what you leave, and here there is nothing stronger and more personal than the bond of a
Mother with her daughter.
He fails to convey as much pain as he presumes in some scenes that seem forced to do so.
Powerful, how could it be otherwise, Eva
Green in his great leading role. Almost alone, Green eats the
screen in both critical and calm scenes. It is very strong
of interpretation on his face and in his gestures, but also a great
effort to fit with his daughter in fiction. However, they will like more
quarrels and tension on screen alongside the characters of Matt Dillon and Sandra
Hüller, two of the great attractions of this film, leaving a mark
tremendous in its punctual scenes.
In fact, and unfortunately, the mother-daughter relationship here feels less interesting and energetic than, for example, the one Alicia Vikander and Jacob Tremblay had in The room (2015). I believe that Next He had everything to make you suffer and cry like that, and he tries, but he fails to convey as much pain as he sometimes presumes in some scenes that seem forced to do so.
On the other hand, and lastly, I insist on the great capacity to bring this empowered message of women where the director Winocour reaffirms it, remembering the credits of all those mothers and astronauts who once performed such a stratospheric mission in parallel.
Synopsis Sarah is a French astronaut who trains at the European Space Agency in Cologne. When Sarah is chosen to be part of the crew of a year-long space mission called Proxima, there is chaos in the relationship between mother and daughter.
Direction Alice Winocour
Script Jean-Stéphane Bron, Alice Winocour
Photography Georges Lechaptois
Distribution Eva Green, Matt Dillon, Lars Eidinger, Sandra Hüller, Jan Oliver Schroeder, Nancy Tate, Marc Fischer
Duration 107 min.
Original title Next
The post Proxima (2019), by Alice Winocour – Crítica appeared first on The Cinema in the Shadow.