This was my first big screen experience for a film since seeing Portrait of a Lady on Fire for the second time, 147 days earlier, and it’s another French film directed by a woman, the title literally translating as “Next”. It’s very different in its setting though, being about a woman training to become an astronaut, but there feels like something similar to it, in its scope perhaps or the feeling with which it is imbued.
Like a lot of the best films about space travel, this is really about the human relationships on the ground, to the extent that it never actually goes into space (that would presumably have put it in a different category for the producers trying to scrounge a budget). Still, it’s got Eva Green and she’s giving a fantastic and controlled performance as the leading lady, so it has all the special effects you could possibly want. She plays Sarah, a French astronaut training for her first flight in Germany and then Kazakhstan (nimbly switching languages from line to line, whether German to her husband played by Lars Eidinger, French, English and then Russian), but trying to deal with her daughter (Zélie Boulant-Lemesne) at the same time. You could say that films about male astronauts don’t deal with the family quite so much, but that’s presumably why Matt Dillon is cast as Mike, a sort of lunkish, sexist guy, a very all-American type familiar from the genre, who has rather set ideas about women (though he has his sensitivity at times, too, so it’s not a one-note performance). For the most part I really liked the way the film handled its central themes, but the one moment that lost me a bit was well, no spoilers… but let’s just say that someone breaking quarantine maybe doesn’t go down quite as well in mid-2020 as when this film was made.
Director Alice Winocour; Writers Winocour and Jean-Stéphane Bron; Cinematographer Georges Lechaptois; Starring Eva Green, Zélie Boulant-Lemesne, Matt Dillon, Lars Eidinger, Sandra Hüller; Length 107 minutes.
Seen at Curzon Bloomsbury, London, Saturday 8 August 2020.