This is an ambitious film even for Christopher Nolan’s standards. Its acting ensemble—including Matthew McConaughey, Jessica Chastain, Matt Damon, Casey Affleck—and production crew are stacked with talent. More importantly, Interstellar dabbles in the physics of quantum mechanics, unified field theory, spacetime, wormholes, black holes, event horizons, and multiverse theory (Nolan collaborated with famous theoretical physicists like Kip Thorne). It isn’t a film that pleased everyone. The early scenes drag on—and the premises by which the characters later solved what connects the four fundamental forces were a bit contrived. But there is a sense of distilled magic throughout the film. Is it the plot? Is it the cinematography? Is it Hans Zimmer’s transcendental score? I don’t know. Perhaps this film runs on the very sense of wonder that galvanized our journeys into space, into the unknown. And despite its strange pacing and conflicting themes, Interstellar lives on in the heads of millions. It conjured public curiosity for theoretical physics. It raised the bar for visual effects and scope tons. It stirred us. It also accomplished what no film has since Tarkovsky’s 1972 epic Solaris: a space film that explores not only outward but also inward—into the heart and soul of humanity. And I’m not merely biased toward these types of Nolan films. I think Inception is one of the most overrated films ever. Still, Interstellar is on another level. It is a daring pilgrimage that journeys into the human condition while spiraling out into a vast universe with trillions of galaxies and billions of trillions of stars.
This gives you instant goosebumps and spoils nothing. What a perfect trailer.