Interstellar

After the success of The Dark Knight Rises, Christopher Nolan returns to the director’s chair and expands his horizons, with Interstellar, his largest challenge to date.
The earth is dying and Academy Award winner Matthew McConaughey stars as part of a team sent to find humanity a new home. A widowed engineer, McConaughey must leave behind his two children, knowing that he may never return.
There are few better placed than Nolan, who transformed the Batman franchise from campy superhero capers to a brooding and dark masterpiece, to capture the necessary tone of a world in despair. The psychological depth that he helps bring to his characters could mark Interstellar out among a plethora of aesthetically impressive but shallow space films.
McConaughey is joined by fellow Academy Award winners Michael Caine and Anne Hathaway, both of whom collaborated with Nolan on The Dark Knight Rises, to form an exceptionally strong cast.
With his usual partner Wally Pfister working on his own directorial debut Transendence, Nolan will be working with cinematographer Hoyte van Hoytema. With credits like Tinker Tailor Soldier Spy and The Fighter, van Hoytema’s background is in a more grounded visual style than recent space epics like Gravity. From what we have seen so far,the special effects and cinematography are extraordinary, so it looks like van Hoytema has managed to combine the gritty visual style of his earlier work with the spectacular visuals of this genre.
Breathtakingly realised galaxies; the suggestion of infinitudinous, abysmal Space, only serves to assert the power of humanity. “I’m coming back”, McConaughey promises his daughter. As with all Space films worth their salt, Interstellar is not about the vastness of the Universe, but the relationships that transcend this distance.