I honestly wanted to like this movie more than I did. It has a lot going for it, but it also has some uncomfortable flaws for me.
On the high side, it was nice to be reminded that science fiction simply means that the story cannot happen without an aspect of science holding it together. Proxima takes some of the themes we’re seeing now in tales like Away and Gravity and really focuses on the personal challenges of space travel without disaster as the background to drive it forward. It even takes place almost entirely before the mission rather than during it.
And, also on the plus-side, Eva Green (Dumbo) makes a relatively credible astronaut in training…relatively. And here is the turn. Some of her decisions would seem to make her psychologically unfit for the position, but her effort and focus in the face of the training and toxic male attitude from colleagues like Matt Dillon (The House that Jack Built) are impressive.
Then again, the problem is primarily with Alice Winocour’s (Mustang) script more than her direction of the story. Green is even saddled with an asshole of an ex-husband in Lars Eidinger (Dumbo, High Life) as the father and Zélie Boulant as the over-indulged and petulant daughter. If I sound judgmental on this, I am. I understand the desire to create tension for the characters, but given that this is a tale intended to be in our future rather than the past, the issues feel both forced, and Green’s reaction too accepting of the situation, rather than pushing against them. And, honestly, the character needs some serious parenting skills and a better divorce attorney.
And then there were the penultimate scenes leading to the finale, which really is more of a coda. I can’t say I was entirely comfortable with the story as it was finally laid out. It was effective narratively, but bordered on the absurd.
Ultimately, the story tries to look at the conflict between dreams and family, as well as the cost of space travel and the kind of people and commitment it takes for it to happen. But what we get is a questionable statement of what it is to be a woman generally, let alone in a male dominated industry. We get no counterpoint or balancing commentary. The tension of motherhood versus career has been around for centuries, but some careers do have particular requirements, and any story that tackles those spaces should get it a bit closer to accurate.
All of my frustrations aside, again mostly focused on the end rather than the journey, Winocour does create an interesting tale. And Green delivers a smart, driven character (again, with certain qualifications). Given her previous efforts, I actually am a bit surprised by Winocour’s choices. Still, this film is worth seeing for a number of aspects, and your reaction to the resolution may be less intense than my own.