In between these two bookends and baseball games, we see many variations on the theme. Cooper is inside an O’Neill Cylinder, a vast space habitat, with occupiable territory on the inner surface, sealed against a vacuum, and spun for artificial gravity. The ball breaks the skylight on a suburban house overhead. But instead of empty space, the ground has looped up and turned over us. The batter hits a fly ball and the camera follows it up into what should be the sky. He has been transported back from his voyage through time and space to find life familiar on a satellite colony. The last survivor of a crew sent through a wormhole to find a new planet for humanity to live on, Cooper wakes up in a hospital room he looks out a window and sees another baseball game. In the movie’s final scenes, this scenario is inverted. Soil, which when healthy is an intricate, living system, constantly changing in time, has lost its organic components, becoming mere mineral again, simple inert matter wiping out the sky. Unrooted and at the whim of strong winds, earth is stirred into massive clouds that block the sun and kill still more plants. Drought and blight have killed the plant life that binds the soil, the near-future world of the movie has become a dust bowl, and as fields go fallow the end is nigh. Cooper (the main character) and his family are at a baseball game when a dust storm rises, looming like a growing mountain. The first appearance of this effect is early in the movie-the horizon-obliterating dust storms that sweep across the American Midwest. 1 2 But the best and most curious thing about Interstellar is its topology.Īgain and again, in different ways, we see the ground lifting up to become the sky. The physics in the film is either shockingly sloppy, or accurate enough to generate new peer-reviewed research, depending on which review you read. It has been controversial for its use of emotional themes, and its scientific accuracy. The movie won the Oscar for Best Visual Effects, many of which were created with analog camera techniques. Christopher Nolan’s Interstellar was nominated for five Oscars.
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