An extraterrestrial, as Stanislaw Lem knew well, is more than just a sad alien with big eyes (although that too), it is a desire. We imagine in it everything we have been unable to achieve. It is, if you will, a negative thought, a nightmare, a bad dream, or simply an unfulfilled wish. The author of Solaris insisted, dedicating his entire life to it, that if beings from other worlds existed, we would not know how to communicate with them (we wouldn't even realize it) or, given our potential for brutality, they would destroy us (our friendship wouldn't last long). No one seeks out other worlds unless it is to ravage, exploit, or colonize them. We know plenty about that, and just in case there was any doubt, H.G. Wells crafted a beautiful metaphor in The War of the Worlds. And so it went until we met E.T. and his captivating drooping eyelids. Since then, cinema has returned to us the possibility that has been so well worked since its beginnings: self-deception. Since reality stinks, let's trust in poetry (or Warner Brothers) to add a bit of flavor to all of this. And here, right here, Salvation Project,the film by the (almost) always witty Phil Lord and Christopher Miller, brings back to the screens the possibility of entertainment, escapism, and a touch of whimsy.
Essentially, the movie recovers the most optimistic fables generally associated with an expanding world. Whenever we feel in good spirits, science fiction takes the lead. It happened in the 60s with the Star Trek saga and later in the 80s with the aforementioned E.T. or with Enemy Mine, for example. The bad vibes of the Cold War and its chilling The Day the Earth Stood Still or Invasion of the Body Snatchers are over. What's odd is that in a world, our world, crumbling under bitterness, resentment, and stupidity, Lord and Miller propose themes such as solidarity, understanding, sacrifice, and, pay attention, hope. One must be woke, for heaven's sake. And in its oddity, which has a touch of silliness, there's no choice but to stand by their side. And without remedy.
Salvation Project tells the story of a man (Ryan Gosling) alone in the middle of space and light-years away from Earth. One day he wakes up from his weightless and perfect dream, unable to understand why he's there and what for. And so, little by little, he discovers that the only purpose of his life is to find a way to stop the corrosive power of a substance that is about to extinguish the sun and, in the process, wipe out all traces of life on that Earth he is so far from. Neither he nor those who sent him on such a suicidal mission could have imagined that he is not alone and that his problem is also the problem of others. It tends to happen.
Lord and Miller (the masterminds behind that wonder called The Lego Movie) use the immense charisma of their protagonist to delve one by one into all the clichés of space sentimentality (let's call it that) patented by Spielberg. They do so with an infectious sense of humor, without the slightest fear of looking ridiculous, and with a somewhat debatable idea of narrative coherence. And thus, they create a peculiar artifact that, while not original (nor pretending to be), garners a rare unanimity in the audience with the appearance and elegance of a wide-open smile. Everything seems as irresistibly silly as it is indispensable. And please, do not miss the ending (we mean the ending after the ending). No one has ever dared to take science fiction to such a level of absurdity. But what a delight.
Directors: Phil Lord and Christopher Miller. Cast: Ryan Gosling, Sandra Hüller, Milana Vayntrub. Duration: 156 minutes. Nationality: United States.