Ad Astra
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Ad Astra

Ad Astra there is a love of this Mostra, which comes from recent times, for the adventurous cinema in pursuit of outer Ad Astra space. Here they inaugurated the Alfonso Cuarón festival with Gravity in 2013 and last year Damien Chazelle with The First Man. It was taken for granted that the bet of the magnificent James Gray for science fiction with Ad Astra would fly far beyond the keys of pure genre in this Brad Pitt odyssey to Neptune. Not in vain Gray conforms -together with Quentin Tarantino and Paul Thomas Anderson- the trident of majestic directors that explains the North American cinema of what goes of century. And once again the leitmotif of blood ties is the axis of this film: of the family and its fatal centripetal forces, as a universe of tragic reverberations that presides over all of his work, from the immigrants of Little Odessa or Ellis’s Dream to the mafia clan. from The night is ours or the broken hugs of Two Lovers.

Ad Astra is breathed as such a tragedy based on the canonical and agonist infinite search for the father. Gray embarks Brad Pitt on this mission that has much of a remake of his previous film, the overwhelming The Lost City of Z. Except that what there was a thick and feverish foray into the Amazon, into that jungle whose vegetation it engulfed, and its Obvious reference to The Heart of Darkness, in Ad Astra the space without limits is posed as – quite the opposite – a hostile territory whose course towards panic of a weightless dance of death makes Gray depend – in a shocking achievement of the script. and rhythm – in primary, almost prehistoric elements: a scene where an attack takes place in the lunar wasteland by pirates or primates whose bizarre irruption leads you to terror in its purest and brutal state.

Duration: 123 min


IMDb: 6.6