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: It seems Kubrick’s last film (excluding conspiracy theories, or Spielberg public relations) disappointed, riled, puzzled, or otherwise stymied almost everyone who saw it upon first release. A publicity campaign that teased a salacious treatment of the hottest Hollywood couple at the time didn’t altogether help. But has the passage of time, and the rumors that surround the film, suggested a re-reading? Is it a cynical, last gesture of a cool-minded technician? A plodding attempt by a blocked artist to reconnect with fading emotions? A final confession by a regretful propagandist? Or the closest thing to a love story Kubrick could make?
David: A film that punctuates the lives of both its stars and and its director, marking the end of Kubrick’s life and the end of Tom and Nicole’s marriage. Is this about too much honesty or too much mendacity? Intimations of infidelity send Tom on a walking tour of a hitherto undiscovered hell populated by lost women, to ends and threats obscure.