After a near year-long hiatus, I’m turning Sound/Off back on, bringing you some overdue insights into new and upcoming releases that may otherwise float under your radar.
Aptly labeled “hard science fiction” films are occupy an oft overlooked but beloved niche in a time of explosive blockbusters. Drawing from and yearning for a place in the pantheon of every-other-year smart space movies, Europa Report thrives on gritty believability in the face of otherworldly unknowns.
It’s rough not being Avatar. Hell, it’s rough not being Transformers. Trying to sell a science fiction film without the aid of 3D-enhanced explosions, Smurf-cat-people, or, for that matter, hundreds of millions of dollars, requires a certain tenacity and stringent adherence to understatement most movie studios and goers are quick to dismiss. That said, there have been some pretty stellar (HA! See what I did there???) exceptions to that rule over the past few years, particularly out of the independent sector: 2009’s Moon managed to merge space-based hard sci-fi with classic identity-thriller hallmarks, while, that same year, District 9 used a faux-documentary style to further the otherwise action-heavy alien apartheid film’s believability. Taking more than a few hints from both, Sebastian Cordero’s Europa Report blends hard sci-fi with found-footage and faux-doc structure to admirable and mostly successful results.
Set in the not very distant future, the film follows an international team of intrepid explorers and scientists who set off to Jupiter’s moon of Europa in the hopes of discovering life underneath it’s frozen, jagged ice sheets. Predictably, things don’t really go as planned: after an early tragedy, as well as a communications blackout, the space-farers are left drifting towards their enigmatic destination without guidance or the certainty of returning home ever again. Built around the aforementioned framing of a found-footage documentary, Report takes recorded video feeds from the mission and tosses it together with interviews collected from the team’s coordinators back on Earth. It’s an intriguing model to frame the action around, but consistently feels forced to the point that the mission’s actual narrative feels a bit to jumbled at times.
Luckily, once the comm-towers go down and the astronauts are left to their own devices, the film takes a sharp turn toward the engaging. The faux-doc framework pops up only occasionally after the proverbial sh*t hits the fan, and the rest of the story is basically told through crew logs. Surprisingly enough, the found-footage feel works pretty well here given the claustrophobic nature of the events at hand. Stuck in their proverbial tin-can and left without direction from their Earth-bound overwatch, the team is forced to move past their various personal differences in the name of science and human discovery to carry out their primary objective: to search for traces of alien life in Europa’s icy oceans. Of course, what they end up discovering is far more terrifying and dangerous than any of them bargained for.
The film boasts a pretty strong, under-the-radar cast: Michael Nyqvist (Girl With the Dragon Tattoo [Swedish], Mission Impossible: Ghost Protocol) aptly plays a veteran cosmonaut in the thralls of guilt over an early mission mishap, while Christian Camargo (Dexter‘s Brian Moser) and Karolina Wydra (House) are familiar and welcome faces. Lead billing goes to Sharlto Copely, coincidentally revisiting the faux-doc sci-fi niche he helped pioneer with the aforementioned District 9. Interestingly enough, Copely’s role in the film, while pivotal, is fairly confined, his screen-time cut down to the first-half of the adventure.
While the actors all seem game, sadly, their characters are underwritten, basically boiling down to tropes like hopelessly inquisitive scientist, snarky skeptic guy, space janitor, and survivor chick with short haircut. Nyqvist breathes some life into the hardened yet vulnerable Andrei, though, given the filmmakers’ preoccupations with focusing on the science more than character development, any depth these personalities have are put on the back-burner. It’s a shame, considering the opportunity a claustrophobic environment like a space capsule can offer for inter-character conflicts and complex relationships.
Thankfully, the mechanical aspects of the film are tied together quite nicely. The special effects are admirably effective, from a lander’s slow descent onto an alien moon to a dramatic POV shot of an ever shrinking spacecraft in an endless blanket of black. It looks low-budget in a way that only adds to its plausible aesthetic. The editing is all over the place: structurally, the film crumbles under its jumbled and jumpy faux-doc narrative, though when the action stays within the confines of the mission, the cuts are done quite effectively. Flourishes of “radiation interference” cause color bursts and video noise and act as nice visual touches in contrast to the blue-tinged HD cams the mission logs are mostly comprised of. Every so often, a crew member picks up their own handheld cam, often leading to some of the most intimate and surprisingly touching moments in an otherwise strictly business outing.
Without going into much detail (which, luckily the filmmakers don’t really, either), the extraterrestrial presence bolstering heart of the flick is tastefully and intriguingly presented. The nature of this outside force is kept a cleverly veiled, yet accessible, mystery that will keep you guessing till the last few frames of the movie. Without exaggeration, this is one of the finest portrayals of a third encounter I’ve ever seen. There’s no early reveal, no shadowy figures coming up behind our heroes and heroines, and really no explanation. And it’s cool, because we really don’t need one. Hats off to Cordero for holding back just enough to draw us in completely.
While it can be a bumpy ride, this trek to Europa is ultimately rewarding, offering not only a delicately reserved and believable look at a deep space search for alien life, but a fresh blending of sci-fi filmmaking styles that pay tribute to those that preceded it, while offering something fresh and understated to the pantheon. An impressive feat for an indie release, and for a genre that relies so heavily on inordinate amounts of money to draw in an audience. It may not pioneer the concept, but, despite its shortcomings, Europa Report boldly goes where few films have gone before and makes it feel like something exciting and new. Cheers to that.