Interstellar

interstellar-imax-movie-posterGreat films, in my opinion, must be treated as if they are incidents taking place out the window of your room. I’ve been an advocate of strict pragmatic motion pictures, although the subject matters can be just based on creativity or the truth – such treatment of the great films pertains, respectively, to all of the genres. A film must be taken seriously by the filmmaker, first and foremost, just to present to his/her audience a piece of work in a cogent manner. There’re many films, taken unfortunately quite lightly, their subject matter and also the art of making films by some filmmakers. It’s a problem that should be discussed and solved, for the film industry is all business first, meaning there’s money at all times involved, left and right. So, where does Interstellar, a film directed by Christopher Nolan, fit? – the film is from a screenplay that Christopher Nolan, co-wrote with his brother Jonathan Nolan, based on a premise conceived by producer Lynda Obst and theoretical physicist Kip Thorne.

A group of explorers makes use of a newly discovered wormhole to surpass the limitations on human space travel and conquer the vast distances involved in an interstellar voyage.

Interstellar, after viewing it twice in 70MM IMAX, fits, without any surprises, in the same category of great films for me, for director Christopher Nolan is an artist, who takes his films, their subject matters, serious. He comprehends, like any great artist, filmmaker, out there that while writing a screenplay is the beginning of the journey and carrying it on as an onus, there’s a bigger responsibility, which is to deliver, delicately as possible, the very essential subject matter of the work. And, within the subject matter and the art form that film is, also lies a film-maker’s point of view.

What I noticed this time is that the film is director Christopher Nolan’s very clear note on pointing out his point of view solely as the director, though from a very different perspective, through the source knows as science-fiction genre. He’s now in a different phase, where his creativity via his oeuvre, is gradually transcending. Interstellar is his homage, a thank-you-note to all-time greats Stanley Kubrick, Ridley Scott and Steven Spielberg. This is the beginning of that mark the film-maker’s been waiting for to step into a different direction with an artistic rage and passion. As we know, Chris Nolan is ultimately competent to create ideas, direct his own products and therefore Interstellar is the man’s sharpest arrow aimed at the bulls-eye. Though, the film’s been criticized by some for its subject matter, its third act, and I’m not sure if it’s been also bashed, coldly, due to the film-maker’s point of view – film criticism, as we all know, is subjective. But, there lies a line, through which one must see, try to see, a film-maker’s point of view, especially when you know the film-maker’s oeuvre. If so, one must then spend the energy to comprehend the very infra-narrative of the product what the filmmaker is truly attempting to convey.

Interstellar tackles longing, journey, time, of course, science and most importantly, love, all based on one of the most sophisticated screenplays. Christopher Nolan sees it important enough to set a film this ambitious within what is essential, what is holding humankind together – love and hope.

I’d like to point out in short, without spoiling the film, that the conclusion of Interstellar is perhaps one of the most important conclusions. To challenge his audiences, when you make a film with an ending like this, in my eyes it is nothing, but a bold act from a great artist. We’re witnessing this uniqueness over and over just to grab and never at the end let go. As time passes, the last 10 to 20 minutes of the film will be adored by the critics of the filmmaker. What Chris Nolan is attempting to convey via his body of work here is that in the end, what matters the most, in order to hold ourselves together as we are all connected, is to see hope. Interstellar, its sub-text defines the film’s very essential points on the essence of humanity. The surroundings of his central character, the human beings in the end, does it even matter? – I think it does not matter, for they’re simply there already as the subjects of the central character’s thoughts. What matters is to look up at the sky and wonder at our place in the stars.