A therapeutic analysis explored through an extraterrestrial relationship, examining an astronaut's regrets and memories he may be running away from.  

 

Jakub’s dreams and memories are infinitely surreal. Applying a nauseating kaleidoscope effect through the lens, the Director of Photography offers an eye into the deepest depths of isolation this astronaut must be feeling. Where the story expresses this emotion well, the decision to shoot these scenes in this particular fashion leaves a bit of irritation the longer they continue forward. A minor setback to intervene with a tonal shift between that of an all encompassing horror, a devastating romance and that of a beautifully told sci-fi. 

 

Sandler is soft-spoken, confined in his speech. His interactions hold a sense of depression in each action he takes. He’s clearly exhausted in every aspect of his travel and as things progress for the worse, we begin to witness numerous reasons for his “self-inflicting” loneliness. 

 

Back on the homeland, Lenka, Jacub’s pregnant wife, makes a difficult decision, while ground control contains the situation for the success of the mission. Carey Mulligan offers a worthy performance and in her crucial scenes, she delivers a case for someone who’s seemingly been left behind to find her own solace. 

 

It’s tough to view glimpses of a once glowing romance, coming to its possible conclusion millions of miles apart from one another. Spaceman is emotionally draining in the most wonderful of ways, allowing a film that understands how to showcase its characters through extensive closeups and a color palette of pastels. 

 

Spaceman’s science fiction unveils a lot of concepts, all while allowing a story to flow through the stars between a confined astronaut and a stowaway lifeform. The creature design is compelling, a living nightmare that’s able to inhabit and control our mental stability. Even with these unfavorable aspects of the character, Paul Dano (V.O.) follows suit with Sandler’s somber tone as the creature: Hanus, and becomes attached to the company. 

 

From an internal perspective of a decrepit ship to the vibrant exterior of the surrounding universe. Spaceman isn’t afraid to invest in its claustrophobic moments and as Jacub comes to terms with his mistakes, the emotional turmoil begins. 

 

It’s meticulously thought out and yet open for exploration, Johan Renck’s visually marvelous journey is an oddly heavy one in the most unexpected ways. It’s an exploration that had me in tears, not for the connection between Jacub and Lenka but for an unlikely friendship lost in deep space.