010. To The Stars, Fiveism x Three, 4 Things
Regarding spoilers: I avoid all major spoilers to the best of my ability (left out almost the last half to third of the film to prevent them)!
Husband and I watched ‘Ad Astra’ two Sundays ago, and it's been ruminating, fringing, flowing, and lingering in my head ever since. It's also edged its way to my top, favorite space epic film. Previously, that position was firmly held by Christopher Nolan's 'Interstellar' (2014).
James Gray's ‘Ad Astra’ released September of last year. His previous film, 'The Lost City of Z,' had left quite an impression. Having seen that and envisioning what a space odyssey of his would look like, I had high hopes for this movie, but couldn't quite bite the bullet to purchase it on iTunes. Space epics tend to be polarizing. Either they live up to the name, or they fall very short of it. After watching it on HBO Max, I know I'll be purchasing it on iTunes (can't wait to watch the extras).
Let's get the basics out of the way: I love this film. It truly lives up to a sci-fi epic. It's brilliantly acted and edited, the score is spectacular, and the cinematography is breathtaking, literally. It's also an incredibly technical feat while remaining emotional, always drawing back to that human element. This may be controversial to say (especially to my younger self), but this is what Alfonso Cuarón's 'Gravity' (2013) hoped to be. It is unfair to compare the two since the stories are different, so maybe the better way to phrase it is: this is what I wished 'Gravity' was. 'Interstellar,' on the other hand, is much closer, and in fact, the cinematographer is the same: the unstoppable Hoyte van Hoytema. It could be why the two play similarly, even with radically different ideas and goals. But in many ways, 'Ad Astra' feels the most genuine. And we'll get to that later.
The plot is simple: Roy McBride (Brad Pitt) is tasked to contact his father, H. Clifford McBride (Tommy Lee Jones). A hero presumed dead and now alive again after a mysterious power surge travels to our solar system from outer space, killing thousands on Earth. McBride senior was Commander of the Lima Project, a doomed expedition last stationed (and heard) near Neptune. The twist is the surge is traced back to an anti-matter device from that very famous mission, and the goal is for Roy to travel to Mars in hopes of reaching his father to pinpoint his location.
The film's total runtime is 2 hours and 4 minutes (less without studio logo animations and end credits). Compared to recent space epics, it sits comfortably in the middle ('Gravity' was 1 hour and 31 minutes, 'Interstellar' 2 hours and 49 minutes). There's a lot packed into these 2 hours, and it's a very tight edit, which means not rushed, but instead impeccably honed, with no extraneous or unnecessary moments. The story is clear even with flashbacks, and the two never get muddled. And it's particularly impressive because the film tackles so much as so many sci-fi epics tend to do.
First and foremost, we're so invested in Roy: his well-being, mission, and answers. We're with him every step of the way, given rare glimpses into his past, and consistently reminded of the dangers of his present and future. His past plays very organically as flashbacks when he’s alone, and feels authentic to how it feels to look back on something in real life. One of Hoytema’s most formidable skills is the ability to place the viewer in an intimate headspace of a character.
It’s most often done through a series of zoom shots, closeups, or following in their footsteps (camera close to their back as the character moves). Early on as we put together the portrait that is Roy, he narrates:
So many times in my life, I've screwed up. I've talked when I should've listened. I've been harsh when I should've been tender…I made a promise to always be truthful, but I wasn't.
In a particular scene before Roy sets off on his mission, he conducts a message to (one can only assume) his ex, Eve:
Listen, I wanted to say, I didn't want you to go…
But right as he said that most crucial part, he decides to delete and cancel the message. This is a recurring trait of our flawed hero: the ability to recognize an emotional disconnect with a loved one and then hold himself back from the action to let them in, learn, and grow closer with them.
Everyone involved asks him time and again if he’s alright (with himself and the mission), and it takes him a long time to admit that he isn’t okay with it. The entire movie is a reminder that life is unpredictable and out of our control, but it’s the people we tether ourselves to that help us through it. And that’s not without conflict and strife. Any moment Roy has a chance to breathe or enjoy the beauty of suspended sand on the Moon’s surface, he’s immediately hit with a crisis.
And in these moments of high risk, the film also reminds us that life is not without loss—especially loss of loved ones. Roy's overseer, Colonel Thomas Pruitt (Donald Sutherland), is held for review of his irregular heartbeat after a particularly dangerous travel stint on the Moon. As he sits for a moment between the chaos, he struggles to inform Roy that he, unfortunately, can't accompany him to Mars. Roy has an earlier narration where he says,
He's supposed to be my security blanket. Why does he still do it? Why can't he just let go? My Dad couldn't either.
Though Pruitt's screentime is short, he takes on a father figure for Roy. He divulges classified information that risks Roy's life but is essential he knows. When his health betrays him, he tells Roy he must go and repeats it with urgency, as Roy looks back hurt and sadness, rejected another time by a male figure in his life. Even on his way to the shuttle, he looks back, unsure. Once on board, he plays the message passed to Pruitt: there was an SOS signal from the Lima Project's crew. McBride disabled all external communications, so if the son fails to reach him, all measures must be taken to destroy the Commander.
At this moment, we learn of McBride, from the viewpoint of the world, and then of his son. The world saw him as the most decorated Astronaut in the program, U.S. Air Force Academy, has a doctorate from MIT, the first man to Jupiter, to Saturn, and then nothing. Roy saw him as the father who promised him that he could someday join him in his pursuits and that he'd come back for him.
Later, after an unfortunate loss of life from one of the crewmembers during an unforeseen response to a Mayday call, Roy does a psychological evaluation and, in it, lays to bare all he knows that's hindering him. He reflects on his own emotions and actions and how they're troublesome and problematic. Yet he still doesn't know how to move past it—a very moving delivery of man's internal struggles and complexities at our core. Even when we recognize it, taking appropriate action still eludes us.
Halfway through the film, he arrives on Mars. He’s welcomed by Helen (Ruth Negga), the one in charge (of 1100 souls) here on the colonized Red Planet.
After his first message transmission to his father, Roy knowing he's being used to locate his father so they can destroy him. As he paces around in his room, he thinks:
I don't know if I hope to find him, or finally be free of him.
During subsequent transmissions, you can see his anxiety building. Finally, he rejects the approved drafted message and speaks from the heart. It’s a short but touching message, and the only one to receive a response. Quickly, they shut out Roy. His part of the mission is over, and surprisingly, Helen, (much like her namesake) shines a light for Roy. But the message she brings is devastating. She shows him a classified transmission from the Lima Project, which implicates his father as the crew’s murderer.
Hoytema frames almost the same shot as early on when we first glimpsed Roy playing a message from McBride senior as he's about to embark on the Lima Project. Except now Roy faces directly to camera, a literal perspective shift of how he views his father after learning the mortifying piece of information.
I won't spoil the rest of the film, but instead will leave you with Roy's last psychological exam monologue:
I am steady, calm. I slept well, no bad dreams. I am active and engaged. I’m aware of my surroundings and those in my immediate sphere. I’m attentive. I am focused on the essential to the exclusion of all else. I’m unsure of the future, but I’m not concerned. I will rely on those closest to me. And I will share their burdens, as they share mine. I will live and love.
A note on allegory: it's clear 'Ad Astra' is one. There are a few well-hidden (few not) biblical references. The film opens with Roy's literal fall from Heaven, his ex's name is Eve, and he travels through space in search of why the man who made him left him. Food for thought.
Final thoughts: When we watched this, it was very much during the eye of the storm of the BLM protests and movement. It felt kismet to watch this during such a turbulent time as we all looked inward. Films help me time and again recognize that none of us understand the complexities of human life and connection. Even within families, there's much torment, and in the unsaid lies so much hurt, anger, and pain. This was portrayed in 'Interstellar' too, but the flaws of Roy and Pitt's acting choices made it feel most genuine and realistic. Pitt's most formidable performance yet. The original score by Max Richter with Lorne Balfe and Nils Frahm was truly magnificent. I'd highly recommend only listening to it after watching the film. And if none of these things interest you, the camera work and visuals alone are works of art—one of the most impactful films I've watched as of late. I can't recommend this masterpiece enough.
Let’s start by saying this is not conscious/clean/natural/green beauty. I was initially excited by this brand for many reasons because, first and foremost, I love THREE Cosmetics.
For those who don’t know, THREE Cosmetics is a Japanese skincare and makeup brand. They’re marketed as clean though, as we all know, that definition most often is a pendulum. I’m a massive fan of their creative direction, design, packaging, everything. I’ve tried a bit of their skincare range, but have only gelled with two items: the Balancing Point Makeup Remover, and Nourishing Lip Balm. I loved the lip balm so much, that I kept the original container and reused it for (7) years (and going)!
But the standout items from the brand is their makeup line. I’ve adored every collection’s color story, they apply, blend, and last beautifully, and their packaging is so chic—space gray, with small makeup brushes in compacts that actually work, and would undoubtedly look beautiful wherever you may keep it. I could talk about THREE makeup all day long, so if you’d like a rundown of my (very long list of) favorites, let me know in a comment or reply to this email, and I’ll do one!
Moving back to the star of today's show, let's talk about the sister brand, FIVEISM x THREE. When this first launched, I saw it as the unisex, for-all, brand that skews more towards men. It very much embodies the same THREE philosophy where the products help enhance your complexion while still allowing your natural skin to shine through (think Kjaer Weis, Kosas, Glossier, etc.).
Their brand story excites me. On their site, they talk through their philosophy (The Five Roads to Individuality), name (5; the number of freedom and change with ISM; a philosophy, ideology or thought), symbol design (the five points that shape the world and the circle; a barrier that the points transcend), and packaging. All of it resonates with me and is one of the most beautiful brand stories as of late. Which is why I'm so bummed that I did not like the Lip Defense in 03 (¥3200, ~$30, 3g | 0.10oz).
Unfortunately, this just isn't for me. It’s a very sheer tint. I have pigmented lips, so it doesn't show up on me at all. The formula also feels very waxy, which is something I don't prefer (I like balms that melt into thin oils than something that feels thick on the lips). I also have dry lips, and while it didn't feel drying, it was by no means hydrating.
The other thing that I'm not thrilled about is the ingredient list* (in Instagram post caption). *Caveat: I used Google Translate to find out the ingredient list, so not it may not be the most accurate, but it seems pretty close! The first two ingredients are vaseline and mineral oil, and paraffin is listed a few ingredients down, and I just never use any products with them in it.
What I do appreciate is the matte finish of this! In the pot, it's very emollient, and because of how glossy it looked, I didn't expect it to look so matte. And anything glossy I put on underneath mattifies when I layer this over it! So it's pretty cool that I can use this to attain a matte lip instead of using powder. I just wish there was more pigment payoff.
Here are four things I’ve been enjoying lately:
Lenox Hill (Netflix): It's a vast reflection of how diverse humankind is and how inexplicable disease and treatments can be as well as a love letter to our human race, being there and showing up for one another.
CRWNMAG The Money & Power Issue (Magazine): I am loving taking an hour out of each day to read this. The photography and design are stunning, and there's nothing quite like the feel of paper in between the fingers is there?
Rooted Woman (Black Woman-Owned Nailcare): I adore the naming of their polishes and how intentional they are about self-care. I can’t wait to pick up some nail polish colors and their polish remover!
Summer Eats w. Maggie + Olivia (Shameless YouTube Plug): In case you missed it, Olivia (@livwarmly) and I gathered two recipes for you to enjoy this season: her Vegan Tuna Sandwich, and my Summer Smoothie. Please give it a watch, thumbs up and subscribe if you aren't already!
Thanks so much for reading! And to those who are new here, hi! You can meet me in the comments or simply reply to this email directly for one on one chats. I hope you have a great upcoming week and see you next Sunday!