At least for now: Hollywood is an interesting use-case for private space stations, particularly before they launch - and presumably, before they start generating in-orbit revenues. Shooting for the film is expected to take place in 2023, and the companies behind Orbital Reef won’t launch the first modules for the station until 2027 or so, so this is firmly a terrestrial project. Orbital Reef will appear throughout the movie as “the latest-generation space station used as a critical resource by the HELIOS crew,” the companies said in a statement. The film, which will be set in 2030, will be the story of a spaceship dubbed HELIOS and its crew. The companies announced today that the space station will be featured in a forthcoming film, HELIOS, in a deal with production company Centerboro Productions. You may not feel for her, but you will certainly think about it all.Orbital Reef, the in-progress private space station headed by Blue Origin and Sierra Space, is coming to the big screen. It’s uncomfortable to sit with the full complexity of a human being, including this talented, self-absorbed, blinkered, vituperative one undone by her own emotional cruelty. There’s the unnerving score by Icelandic musician and composer Hildur Gudnadóttir, and the magnificent sight of Blanchett, baton in hand, looming above the camera and on the precipice of thundering orchestral sound.īut the film’s chief achievement is its intellectualism, one that assumes the audience’s ability to keep up. Though, in a film this meticulously crafted, there are many: Tár’s bespoke suits and imposing minimalist wardrobe by renowned costume designer Bina Daigeler production designer Marco Bittner Rosser’s incantation of chilly and brutalist Berlin. Revelations about her relationships with former female students, particularly the blackballing of a former protege, bubble up her justified paranoia at the truth’s toxic potential and her white-knuckling denial go into overdrive the combination undoes both her career and her simmering home life in Berlin with wife Sharon (Nina Hoss), a concertmaster and Berlin’s first violin, and their young daughter.įield’s deft handling of Tár’s unraveling is one of the film’s primary enjoyments. It plays like a taut thriller, the villain being Lydia Tár’s own sins. It shouldn’t work, but the film succeeds by being a relentless character study rendered undeniable by Blanchett’s truly unmissable performance. Among them: the deferential excuses in the name of genius, cancel culture, digital realism and social media, #MeToo, the perspective of a perpetrator, the cloistered and rarefied world of elite classical music. For every year that Field took away from film-making – this is his first feature since 2006’s Little Children – he seems to have come up with a topic that would derail a lesser film. Tár is a feat of world-building, especially for one that so closely resembles our recent timeline. (In a bold and fittingly pretentious move, the film plays the entire credits montage first.) She is of our current world, and from the first moments we meet her – filmed through someone’s phone on a private jet, interviewed by the New Yorker’s Adam Gopnik, teaching a Juilliard masterclass – we inhabit hers: intense, exacting, narcissistic, fraying at the seams. Tár is a fictional character, played superlatively by a career-best Cate Blanchett, but Todd Field’s film so specifically captures the trappings of highbrow celebrity, and so sublimely embeds in her cocooned world, that some viewers have not unreasonably mistaken her for a real person.
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