Leave it to Swedish sci-fi to explore brave new worlds of depression. I assume this is the future; I didn’t get a read on the clock (and I’m bad at converting metric time anyway). Where we are is a reality in which 1) The Earth no longer supports human life and 2) Mars is an option, just book your three-week space cruise now! Sure, why not? It’s only space … what could go wrong?
Viewed from afar, the Aniara has all the aerodynamics and grace of a government building. Long, rectangular, and flat, the ship looks an enormous flash drive. Maybe that’s how it docks. Does Mars have a USB port? The interior is a little more forgiving … food court, planters, putt-putt golf; while the Swedish space program is in the 22nd century, their interior design is challenging limits set by the 1980s.
There is one new innovation, however, the Mima room. Mima is a cross between a floating watercolor and one of those empaths from Minority Report. What happens is you go in the empty Mima room and stare at the floor, cuz the trampoline-shaped kaleidoscope above you reads your thoughts through your neck. Then the corporeal adult in charge, Mimaroben (Emelie Garbers), forces you to lie on the ground with your head in a cheese wheel.
Look people, I can only describe what I see.
The Mima takes you to a place of tranquility, which looks a lot like the pre-death documentary screening in Soylent Green: “look, it’s the Earth before it got all f***ed up!” People forced to this holodeck reality emerge much calmer than when they entered, like going to a spa.
At first, nobody wants in. Mimaroben can’t pay people to try out her little room. And then … well, a movie happens. In order to avoid space debris, Cap’n Crunchsson decides to steer out of the way. Major damage is avoided, however, the solid debris clips the steering mechanism, leaving the ship adrift and not on the correct path. Two questions: 1) Do you have any idea how long you can drift in space randomly without hitting anything? 2) If the ship no longer steers, is the Captain still a Captain?
So, spaceship adrift. Home, Mars, Pluto, Sun? None of that is happening now. Not for years at least. You may recognize this as the plot to “Avenue 5.” While I might remind you that Aniara came first, “Avenue 5” thought to add humor, which was a wise choice. Back on Aniara, suddenly everybody and his grandmother wants in on Mimaworld. Tempers are high and patience is low everywhere. OTOH, when existence is doomed, there are great opportunities for hooking up.
Aniara was inventive but frustrating. It took a genuine dilemma, a great chance for cinematic heroism, and turned it into a symposium on the meaningless of life. Whatever sci-fi one comes to see will be drowned out by a steamroller of depression. I didn’t dislike Ariana, but I can’t stop thinking about it, and none of my thoughts are positive. The world is currently being re-molded by the COVID-19 virus and, consequently, I can recommend this film to exactly no one.
Humanity moving to Mars
When alignment was not in the stars
The spacecraft zoomed
With its residents doomed
Better off on a mission to SARS
Rated R, 106 Minutes
Director: Pella Kågerman, Hugo Lilja
Writer: Pella Kågerman, Hugo Lilja
Genre: ♪A three (million) hour tour
Type of being most likely to enjoy this film: The Mars threatened
Type of being least likely to enjoy this film: “Avenue 5” fans wondering where all the humor went
