In an era where sci-fi films are most often an action picture with a couple of science fiction elements tossed in to qualify, ANIARA stands apart, even if its not nearly as successful as one would wish. Unsurprisingly, it's an overseas production based in Sweden (inspired by a poem from that country). Written and Directed collaboratively by Pella Kagerman & Hugo Lilja ANIARA tells the tale of a fateful voyage on a ship of the same name. Decked out to resemble a giant boat cruise ship, it's a mission to Mars. We are told it's a "routine" three week voyage.
When an accident occurs, the ship is tossed off course and they become a band of castaways (sorry, couldn't resist the Gilligan's Island references - "A three week tour, a three week tour..."). At this point, it must be said that the viewer is asked to accept a couple of galaxy sized plot holes (I will save it for a small spoiler section, clearly marked, at the end).
The movie is broken up into several chapters, but, our principle character is Mimaroben (Emelie Jonsson) a sort of psychic healer (a position which becomes more and more important as the crew drifts aimlessly in space). It's through her eyes and interactions that traverse space and time over the journey. Her bunk-mate is a crusty astronomer (Anneli Martini) who's knowledge of science makes her more and more bitter about the mission's outcome. Mimaroben eventually falls for one of the ship's navigators Isagel (Bianca Cruzeiro).
But, 'plot' isn't at the heart of ANIARA. The central point of the excursion to Mars becomes irrelevant to that of simple survival. And, endurance. The grand cruise ship with its opulent restaurants, mall style stores and bowling alleys becomes a contained world all its own. As with any contained society, the span of human emotions and behavior rears its head. While it never dissolves into a Lord Of The Flies type situation, breakdowns are inevitable.
Again, if one can get past the plot holes, ANIARA does build up some interest over time. It has an intelligence and determination to follow through on its vision. The production design is quite good for a modestly produced picture, even if one doesn't fully buy that the interior matches the wide exterior views of the craft. As stated at the outset, it's a welcome departure from most mainstream sci-fi releases. Still, the mood is relentlessly grim and the dulled acceptance on the part of the passengers comes much too quickly. Push back against the crew is meek and, frankly, unbelievably so. The screenplay also exhibits much too much mysticism (shades of Danny Boyle's similarly disappointing SUNSHINE). If you can make it past all that, the final few sequences do land with a certain wistful and meaningful impact. And, that's something most sci-fi movies currently can't hold claim to.
**********MINOR SPOILERS************
As I noted, the Mission to Mars is termed "routine" at the beginning of the movie. Yet, we are to believe that there is no backup plan whatsoever? No rescue ships? No space lifeboats? Nothing? And, contact with earth isn't maintained? Yes, the earth is in apparent shambles seen in stock footage flashbacks, but, then how is this a 'routine mission'? If this is some kind of space Noah's ark, why isn't there panic to get aboard? It simply doesn't add up.
**********MINOR SPOILERS************
As I noted, the Mission to Mars is termed "routine" at the beginning of the movie. Yet, we are to believe that there is no backup plan whatsoever? No rescue ships? No space lifeboats? Nothing? And, contact with earth isn't maintained? Yes, the earth is in apparent shambles seen in stock footage flashbacks, but, then how is this a 'routine mission'? If this is some kind of space Noah's ark, why isn't there panic to get aboard? It simply doesn't add up.