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THE STAR ABOVE (Zgamer of Eagle, Idaho)
Directed by: Neill Blomkamp
Written by: Andrew Niccol and Neill Blomkamp
Produced by: Peter Jackson, Scott Rudin and Andrew Niccol
Cinematography by: Trent Opaloch
Edited by: Julian Clarke
Music by: Clint Mansell
Main Cast:
Michael C. Hall as Darren Seljaas
Anna Torv as Marjal T’slani
Adam Baldwin as Tyler Reynolds
Jeffrey Wright as Senator Paul Thurgood
Tagline: The universe is smaller than you think…
Synopsis
The solar calendar date is August 29th, 2109. Senator Thurgood anxiously addresses the press conference to discuss the situation with Tyler Reynolds, former sergeant of the United Order Military Division, being held in a Skithian prison. Humanity had barely ventured the reaches of space when the Interplanetary War was fought against the human-like Skithians. Even after fifteen years of peace and attempts of intermingling, many feared the lingering wounds could easily be re-opened. Now a human ex-soldier is being charged with the murder of ten Skithian civilians on the human colony of Paxton. Amidst the claims of xenophobia stirred by his war service, Reynolds is intentionally complicating things by refusing to admit any involvement in the act. As the verdict continues to be delayed, the leaders can only watch as the populations on various co-existing colonies begin to grow uneasy towards each other.
All of this comes at the most inconvenient time, as earlier that week the United Order had attempted to conduct a “goodwill experiment” with the Skithian triumvirate. In an attempt to show the improving relations between the races, Thurgood and the UO arranged for an event that was previously deemed ludicrous: a marriage between two alien races. Each race offered one of their own to showcase how two upstanding individuals could co-exist peacefully. The humans selected Darren Seljaas, a respected doctor who saved the lives of fifty men in the Battle of New Haven. The Skithians selected Marjal T’slani, one of the most trusted members of the triumvirate’s honor guard. After a broadcasted ceremony, the couple was sent to the co-existing colony of Haskal to show how this could all work.
Unfortunately, no one has asked the couple how they felt about this. Darren still harbors deep emotional scars over what he experienced during the war and being on a Skithian owned colony does not help much. Marjal had never expected being joined to a partner and this level of closeness is foreign to her. Both understand the seriousness of the situation, but it does not mean that meeting the demands of their leaders will be easy. Their cultures are strange, their anatomies are different, their interests involve things the other knows nothing about and yet they are expected to be a standard for the future of interplanetary relations. With the news of the Reynolds dilemma finally hitting their colony, it does not take long for tension to build in the population around them.
What follows is the week following the press conference on the Reynolds dilemma. The couple is already strained in their relationship and this does not help at all. In an attempt to still fulfill their duty, the couple agrees the only way to understand the situation is to understand each other. New opinions will arise, ideas will be experimented on and as the days go by, the leaders of the races have rekindled a fool’s hope that the positive influence from the couple may soften the trial. Only time will tell what will happen to the races and the couple when the verdict is finally announced…
What the Press Would Say
Strange, thoughtful, entertaining and surprisingly touching, The Stars Above is a fine example of what science fiction is capable of beyond action and high budget effects. As we start with a news channel presentation of Wright addressing a divided public, we see that this is a sci-fi film hoping to be taken more seriously. “District 9’s” Neill Blomkamp and “Gattaca’s” Andrew Niccol are making a gamble here, as Blomkamp is at risk at losing his action audience and Niccol is at risk of alienating the casual public with quite (forgive the pun) alien subject material. However, what we have is a unique piece of fiction that has exceeded expectations to become a dark horse for this year’s Oscar ceremony.
Like an onion, Niccol and Blomkamp’s story wears layers of themes that the audience peels with careful viewings. On the surface, it has been easily cited as a commentary on interracial marriage, mostly because of the union of a white human and a blue skinned alien. As we look into what the two have written, however, we see there are much more interesting and existential topics trying to be addressed. The whole plot about Reynolds opens discussion on how a government must deal with different cultures, as we see that even a small decision could yield messy results. And as the plot shifts more to the connection between Darren and Marjal, concepts on philosophy, intimacy, commitment and sense of duty are presented but never written in stone. Even with a specific ending to what happens, insightful dialogue and careful plot constructions allows the viewer to have their own view on how they feel about it.
Blomkamp’s second feature film is decidedly different than “District 9”, yet it retains the style and substance that made the former a hit. His documentary directing is in full force here, with tight camera angles and precision editing giving a controlled speed to the story. While there is almost no action, the aura of tension created through cut-away interviews and glimpses of the population’s reactions is effectively utilized. Haskal is presented as a place of wonder and mystery, thanks to architecturally distinct art direction, strategic use of visual effects and Mansell’s subtle yet ominous music. There is immediate connection to the setting as you are just as fascinated to learn about how this colony works as the leads are. Even small scenes like Marjal explaining Skithian delicacies (I do not blame Darren for his reactions) or a nostalgic tour through a make-shift human history museum are major compliments to Blomkamp’s dedication to the story. However, while his skills with settings are quite impressive, Blomkamp is showing an important step forward with how he handles the more personal story of the leads. While certainly not a romance film, it borrows from “Lost in Translation’s” theme of two minds connecting as the couple comes to an understanding of each other and their culture. There are some bold moves made and some of them may repel certain audience members (particularly when the intimacy elements come into play), but how it is handled is a testament to Blomkamp’s evolving directorial talents.
Thankfully, the strong hand of the two creative leads does not overlook the actors. Blomkamp’s documentary style keeps the star power at bay to create an illusion of authenticity to the story. Yet the main cast rises above being just extras by having distinct and interesting characters to follow. Hall creates a great sense of connection in how he portrays Darren’s conscious effort to fight against his reactions towards Skithian culture. How he utilizes his voice and quirks to communicate Darren’s past is understated and completely natural. Firefly’s Adam Baldwin, despite his limited screen time, has surprised many critics with the amount of presence he carries in the film. The way he toys with the public with his decisions and the slight snarl to his line delivery is exactly what a good supporting role should do. The real surprise, however, is Fringe’s Anna Torv as the primary Skithian character. Aside from wearing her extensive make-up nicely, Torv creates a very physical performance where mannerisms and speech patterns speak just as loud as words. Seeing how Torv gradually softens Marjal’s personality is quite touching and believably builds chemistry with Hall over the course of the film.
It is quite impressive to see two talented New Zealand filmmakers collaborate on such an ambitious project and yield great results. Whatever its relevance or longevity down the road, as of now it is an impressive high point in this year’s best films.
Award Possibilities
Best Picture-
Best Director (Neill Blomkamp)
Best Actor (Michael C. Hall)
Best Actress (Anna Torv)
Best Supporting Actor (Adam Baldwin)
Best Original Screenplay (Neil Blomkamp and Andrew Niccol)
Best Cinematography (Trent Opaloch)
Best Art Direction (Phillip Ivey and Guy Potgieter)
Best Editing (Julian Clarke)
Best Visual Effects (Dan Kaufman, Robert Habros and Matt Aitken)
Best Original Score (Clint Mansell)
Best Make-Up (Frances Richarson and Leon von Solms)
Written by: Andrew Niccol and Neill Blomkamp
Produced by: Peter Jackson, Scott Rudin and Andrew Niccol
Cinematography by: Trent Opaloch
Edited by: Julian Clarke
Music by: Clint Mansell
Main Cast:
Michael C. Hall as Darren Seljaas
Anna Torv as Marjal T’slani
Adam Baldwin as Tyler Reynolds
Jeffrey Wright as Senator Paul Thurgood
Tagline: The universe is smaller than you think…
Synopsis
The solar calendar date is August 29th, 2109. Senator Thurgood anxiously addresses the press conference to discuss the situation with Tyler Reynolds, former sergeant of the United Order Military Division, being held in a Skithian prison. Humanity had barely ventured the reaches of space when the Interplanetary War was fought against the human-like Skithians. Even after fifteen years of peace and attempts of intermingling, many feared the lingering wounds could easily be re-opened. Now a human ex-soldier is being charged with the murder of ten Skithian civilians on the human colony of Paxton. Amidst the claims of xenophobia stirred by his war service, Reynolds is intentionally complicating things by refusing to admit any involvement in the act. As the verdict continues to be delayed, the leaders can only watch as the populations on various co-existing colonies begin to grow uneasy towards each other.
All of this comes at the most inconvenient time, as earlier that week the United Order had attempted to conduct a “goodwill experiment” with the Skithian triumvirate. In an attempt to show the improving relations between the races, Thurgood and the UO arranged for an event that was previously deemed ludicrous: a marriage between two alien races. Each race offered one of their own to showcase how two upstanding individuals could co-exist peacefully. The humans selected Darren Seljaas, a respected doctor who saved the lives of fifty men in the Battle of New Haven. The Skithians selected Marjal T’slani, one of the most trusted members of the triumvirate’s honor guard. After a broadcasted ceremony, the couple was sent to the co-existing colony of Haskal to show how this could all work.
Unfortunately, no one has asked the couple how they felt about this. Darren still harbors deep emotional scars over what he experienced during the war and being on a Skithian owned colony does not help much. Marjal had never expected being joined to a partner and this level of closeness is foreign to her. Both understand the seriousness of the situation, but it does not mean that meeting the demands of their leaders will be easy. Their cultures are strange, their anatomies are different, their interests involve things the other knows nothing about and yet they are expected to be a standard for the future of interplanetary relations. With the news of the Reynolds dilemma finally hitting their colony, it does not take long for tension to build in the population around them.
What follows is the week following the press conference on the Reynolds dilemma. The couple is already strained in their relationship and this does not help at all. In an attempt to still fulfill their duty, the couple agrees the only way to understand the situation is to understand each other. New opinions will arise, ideas will be experimented on and as the days go by, the leaders of the races have rekindled a fool’s hope that the positive influence from the couple may soften the trial. Only time will tell what will happen to the races and the couple when the verdict is finally announced…
What the Press Would Say
Strange, thoughtful, entertaining and surprisingly touching, The Stars Above is a fine example of what science fiction is capable of beyond action and high budget effects. As we start with a news channel presentation of Wright addressing a divided public, we see that this is a sci-fi film hoping to be taken more seriously. “District 9’s” Neill Blomkamp and “Gattaca’s” Andrew Niccol are making a gamble here, as Blomkamp is at risk at losing his action audience and Niccol is at risk of alienating the casual public with quite (forgive the pun) alien subject material. However, what we have is a unique piece of fiction that has exceeded expectations to become a dark horse for this year’s Oscar ceremony.
Like an onion, Niccol and Blomkamp’s story wears layers of themes that the audience peels with careful viewings. On the surface, it has been easily cited as a commentary on interracial marriage, mostly because of the union of a white human and a blue skinned alien. As we look into what the two have written, however, we see there are much more interesting and existential topics trying to be addressed. The whole plot about Reynolds opens discussion on how a government must deal with different cultures, as we see that even a small decision could yield messy results. And as the plot shifts more to the connection between Darren and Marjal, concepts on philosophy, intimacy, commitment and sense of duty are presented but never written in stone. Even with a specific ending to what happens, insightful dialogue and careful plot constructions allows the viewer to have their own view on how they feel about it.
Blomkamp’s second feature film is decidedly different than “District 9”, yet it retains the style and substance that made the former a hit. His documentary directing is in full force here, with tight camera angles and precision editing giving a controlled speed to the story. While there is almost no action, the aura of tension created through cut-away interviews and glimpses of the population’s reactions is effectively utilized. Haskal is presented as a place of wonder and mystery, thanks to architecturally distinct art direction, strategic use of visual effects and Mansell’s subtle yet ominous music. There is immediate connection to the setting as you are just as fascinated to learn about how this colony works as the leads are. Even small scenes like Marjal explaining Skithian delicacies (I do not blame Darren for his reactions) or a nostalgic tour through a make-shift human history museum are major compliments to Blomkamp’s dedication to the story. However, while his skills with settings are quite impressive, Blomkamp is showing an important step forward with how he handles the more personal story of the leads. While certainly not a romance film, it borrows from “Lost in Translation’s” theme of two minds connecting as the couple comes to an understanding of each other and their culture. There are some bold moves made and some of them may repel certain audience members (particularly when the intimacy elements come into play), but how it is handled is a testament to Blomkamp’s evolving directorial talents.
Thankfully, the strong hand of the two creative leads does not overlook the actors. Blomkamp’s documentary style keeps the star power at bay to create an illusion of authenticity to the story. Yet the main cast rises above being just extras by having distinct and interesting characters to follow. Hall creates a great sense of connection in how he portrays Darren’s conscious effort to fight against his reactions towards Skithian culture. How he utilizes his voice and quirks to communicate Darren’s past is understated and completely natural. Firefly’s Adam Baldwin, despite his limited screen time, has surprised many critics with the amount of presence he carries in the film. The way he toys with the public with his decisions and the slight snarl to his line delivery is exactly what a good supporting role should do. The real surprise, however, is Fringe’s Anna Torv as the primary Skithian character. Aside from wearing her extensive make-up nicely, Torv creates a very physical performance where mannerisms and speech patterns speak just as loud as words. Seeing how Torv gradually softens Marjal’s personality is quite touching and believably builds chemistry with Hall over the course of the film.
It is quite impressive to see two talented New Zealand filmmakers collaborate on such an ambitious project and yield great results. Whatever its relevance or longevity down the road, as of now it is an impressive high point in this year’s best films.
Award Possibilities
Best Picture-
Best Director (Neill Blomkamp)
Best Actor (Michael C. Hall)
Best Actress (Anna Torv)
Best Supporting Actor (Adam Baldwin)
Best Original Screenplay (Neil Blomkamp and Andrew Niccol)
Best Cinematography (Trent Opaloch)
Best Art Direction (Phillip Ivey and Guy Potgieter)
Best Editing (Julian Clarke)
Best Visual Effects (Dan Kaufman, Robert Habros and Matt Aitken)
Best Original Score (Clint Mansell)
Best Make-Up (Frances Richarson and Leon von Solms)