(95% Spoiler free, read without caution)
If Kieslowski had ever been inclined to tackle science-fiction, Gravity, I suspect, would have been something close to the film he would have made.
Ostensibly a loose remake of Kieslowski’s first film in the Three Colors Trilogy, Blue (1993), Cuarón’s return to film after an agonizing eight-year absence similarly features a bereaved mother struggling to cope with the loss of a child. Indeed, if I explained it is a film that illuminates the startling vicissitudes between life, death, faith, hope and the universe of human emotion, bound up in a work of sublime grandeur, you’d be forgiven for thinking I was still talking about Blue. Cuarón’s singular feat, however, is the way in which he gracefully navigates between the chaos of the universe and the supreme beauty of its idiosyncrasies that we as mere spectators in a cosmic dance have the supreme fortune of observing, and more amazing still, are sometimes called to participate within. Continue reading