taining the “ proper ” blood-alcohol level of 0.05 %. Boldly declaring that to dare nothing means to lose themselves , the men decide to go for it : they adopt Ernest Hemingway and Winston Churchill as their boozy yet highly effective role models .
Martin , who has reluctantly gone along with his buddies , becomes aware of a remarkable improvement in himself . The constant level of alcohol in his blood allows him to be more present ; more musical ; more open ; more courageous . His wife and students are delighted with his renewed vigor : he incorporates funny stories about drunken world leaders into his lesson plans . Nikolaj documents the group ‘ s alcohol self-administration in a psychological study : after all , they ‘ re
academics . As the experiment moves from its initial test phase to phases two and three — individualized drinking , then drinking to the max — things predictably take a sober turn .
Nikolaj ‘ s final observation notes that “ due to unforeseeable negative social consequences , the experiment is coming to an end .” Despite — or perhaps because of — its unorthodox subject , the film manages to be both boisterous and sobering , a love poem to the world . Life is an endless cycle of beginnings and endings , it tells us . Time for another round . ( Brenda Benthien )
Proxima © Koch Films
Proxima — Die Astronautin ( Proxima ) *** 1 / 2 USA 2019 Opening April 29 , 2021
Directed by : Alice Winocour Writing credits : Alice Winocour , Jean-Stéphane Bron Principal actors : Eva Green , Zélie Boulant , Matt Dillon , Aleksey Fateev , Sandra Hüller
The time-eternal conflict in
Proxima — Die Astronautin ’ s narrative ( women entering a male-dominated profession ) is particularly absorbing considering the behind-thescenes drama and excitement as astronauts prepare for a space mission . Not only the stringent physical preparation and training but also the tricky emotional maneuvering as astronauts leave families , particularly children , and Mother Earth far behind . French director Alice Winocour and Jean- Stéphane Bron ’ s screenplay draws attention to the disparities when women compete .
Eva Green brilliantly portrays a woman caught in the middle : Sarah , training in Cologne , Germany , is chosen as a last-minute replacement for an imminent yearlong venture aboard the International Space Station . Sarah ’ s lifelong goal . A single mother , she and daughter Stella are close , albeit since her parent ’ s separation , the eight-year-old ’ s clinginess has been disconcerting , suffocating . Outstanding is young Zélie Boulant as the petulant , lonely , yet basically loving child and Lars Eidinger as her father ; Sarah ’ s mission forces them together . The European astronauts share camaraderie , whereas the sexist remarks and patronizing attitude of American Captain Matt Schannon , played by Matt Dillon , are annoying . Aleksey Fateev ‘ s moderate attitude as cosmonaut Anton Ocheivsky balances Shannon ’ s machismo . During the grueling training , Sarah earns her coequals ’ respect and understanding ; they admire her honesty in expressing emotions , but male ego inhibits any reciprocation .
Production values are strong : Ryuichi Sakamoto ’ s music , Julien Lacheray ’ s editing , and Georges Lechaptois ’ cinematography nimbly moves in / out of simulators , as well as amplifying star-bedecked skies . Production designer Florian Sanson and art director Anja Fromm add to the atmospheric impact . Equally impressive are scenes shot at the European Space Agency facilities , including the Baikonur Cosmodrome spaceport in southern Kazakhstan , leased to Russia .
The message is clear : when women compete , more is expected and bars are set higher , or insultingly lower . Females are expected to carry a heavier load while wading through levels of guilt . Unnecessary is the muddling section between Sarah and Stella near the end ( re . the quarantine ). Still , Proxima ’ s central focus , strong cast , and fascinating authenticity / locations more than compensate . Stay for the end credits , when numerous female astronauts with children are shown . 107 minutes ( Marinell Haegelin )
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