When it comes to science fiction films, Interstellar is also an excellent film that cannot be detoured. In this film, Nolan has perfectly balanced the relationship between commerce and art. In this film, he has weakened his usual non-linear narrative, but in the movie, Nolan has given free rein to his imagination and talent.
In Interstellar, Nolan shows the two attitudes of humanity towards preserving the fires of civilization in the face of death. He allows society to finally return to the only measure of value – love – after a wild ride through high-dimensional space, time distortion, black holes, and technological development. What sets Interstellar apart from other science fiction films is the flesh and blood of its characters: Matthew McConaughey, for example, does a great job of portraying a father who is caught in a dilemma between saving humanity and returning home to his children and who also believes in family first. Anne Hathaway’s lines and words are compelling whether she is talking about severe scientific theories or in love with the idea that love can travel through the dimensions of time and space; even Michael Caine’s old Professor Brand, who appears in few but for every Nolan film, has struggled between his personal morality and the future of humanity.
“One thing you’ll understand when you become a parent is to make sure you make your children feel safe.”
Unlike in the usual apocalyptic sci-fi movies, there is always a hero who falls from the sky to save the day. Interstellar is firstly set up from the start to escape from Earth, with all the scientists and space practitioners preparing for this, as well as meticulously planning planA and planB. Secondly, Interstellar doesn’t feature an ecumenical savior, and it’s always his family that is uppermost in the mind of the hero Cooper. Nolan directs a lot of his camera to the stories behind these characters in the film, slowly filling in the flesh and soul in the framework of these otherwise empty and distant characters. By creating frequent dilemmas and contradictory characters, the film’s characters are given a human touch. Even in that seemingly alien apocalypse, it is never the heroes who save the world, and it is always the ordinary everyone who drives the cogs of history forward.
As with Nolan’s creation of 2010’s Inception, the film eventually returns to the topic of family, children, and because of its entwined plot development, intimate emotions and sense of purpose. The power of love, in Nolan’s answer, is the driving force behind a human being that transcends time and space and can exist forever.