Sunshine (2007)

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David: Science fiction has been crowded from our movie screens by a plethora of comic strip adaptation. Sunshine raised the flag for serious sci-fi cinema in a very lean decade. It recalls Kubrick’s 2001 in positing space as a spiritual destination, with the sun, the source and nurturer of life, not unlike a god to its hapless progeny, who are on a precarious mission to keep its dying light alive. In the end one of Sunshine’s revealled truths is that a film cannot transcend its script. Much vision and beauty unravels as the story switches genres and loses its way in the third act. But for all that it stands tall, because it dared to dream.

Jules: Saving the world is often an extremely external affair: places, (often generic) people, and objects relating in a way that either guarantees or negates an apocalypse. Here, an internal story is attempted, where beliefs, perceptions, and personalities are the focus.
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Black Narcissus (1947)

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Jules: The clash of cultures, faiths, races, and civilisations entire was hardly ever so agreeable as it is in this 1947, somewhat-forgotten classic. See vertiginous, mountain-perched bordellos revamped to serve as nunneries! See lanky actors in too-short short-shorts attempt to maintain their gravitas whilst riding Shetland ponies! See skin-tinted occidental girls reinvented as oriental firebrands!

David: One ought not to rebel against nature, it seems. Nor the nature of things. A gaggle of nuns embark on a girl’s own Heart of Darkness.

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