A cry for yearning to accept, you either let go then or rattle yourself to stand alone and fly alone.
Point. And another point. Hopefully another followed by one other. The storytelling of a film- let us stick to that, for now- has been of these various points, stringed strongly by profound characters with profound theories pulsating on that attention grabbing screen. We jump from one to another, float, skip merrily, exhale boringly and criticize ambitiously. These formats have been kept in front of us over the ages in cinematic history. But lately, I found myself with extravagant projects standing against those obligatory notes; that they, the writers, the makers, are told to deliver, and reject the hypothesis, the notion on succumbing to those elements. “That’s the spirit!” is my reaction, and the cinema takes its turn towards new possibilities.
Almost like a new exploration. Something that is extra terrestrial to us. And I’d be disappointed and not angry, if years, decades later Ad Astra, co-written and directed by James Gray, won’t get a nod for this analysis. The film is set in the future which has got only one thing to bring alive in that fabric and that is the fact that the quality of the filmmaking is higher, mature, than what we receive and might even deserve. We are not ready for this kind of a show. I was not.
There are themes so pure and alone out there in the space, stripped emotionally by Brad Pitt, that horror seems a by product. A by product that you fall under it, every now and then, amongst this post social media world. This hitchhiking version of the sci-fi adventure that we have never even thought of, has a man single handedly pull up a sun. A star. And it is that pull which Gray feels in Pitt’s friendship over the years and that same pull that has kept Pitt young on the screen; artistically, his performance is still raw and decolorizing.