Is this a male thing? I found it in your things. I realized I was not her. Assume in principle that abortion is morally permissible. Did Rheya have an obligation to consult Chris before aborting her fetus? An infinite number of them, in fact. It was a violation of all of our various laws regarding the Universe, Space, or Space-Time. It was completely counter-intuitive. We had to unlearn everything.
Steven Soderbergh. Steven Soderbergh , Stanislaw Lem. Nov 27, wide. Jul 29, George Clooney Chris Kelvin. Natascha McElhone Rheya. Jeremy Davies Snow. Viola Davis Gordon. Ulrich Tukur Gibarian. John Cho Suited Professional 1. Morgan Rusler Suited Professional 2. Donna Kimball Mrs. Michael Ensign Friend 1. Elpidia Carrillo Friend 2. Kent Faulcon Patient 1. Lauren Cohn Patient 2. Steven Soderbergh Director. Steven Soderbergh Screenwriter. Stanislaw Lem Writer.
John Cameron Producer. Rae Sanchini Producer. Jon Landau Producer. Gregory Jacobs Executive Producer. Steven Soderbergh Director of Photography. Philip Messina Production Designer. Steven Soderbergh Film Editor.
Milena Canonero Costume Designer. Michael Polaire Co-Producer. Charles V. Bender Co-Producer. Cliff Martinez Original Music. Steve Arnold Art Direction. Keith P. Cunningham Art Direction. Michael Polaire Unit Production Manager. Gregory Jacobs First Assistant Director. Kristen Toscano Messina Set Decoration. Debra Zane Casting. View All Critic Reviews One of the most celebrated filmmakers of the 20th century, Tarkovsky here melds gorgeous, stark visuals with a meditative commentary on our place in the universe without missing a beat.
Kris Kelvin Donatas Banionis spends his remaining time on earth wandering the quaint countryside near his childhood home, situated by an algae-covered pond far from any cities. Kelvin, a psychologist, has been tasked with travelling to the Solaris space station to determine why its spartan crew of three have begun communicating in gibberish, hallucinatory messages.
From its poignant opening 20 minutes, with Kelvin shedding his ties to his family and his past in the quiet grove where he grew up, Solaris instantly establishes itself as a film about what it means to be human, and our relationships with the world and those who inhabit it. Aboard the space station, Kelvin is haunted by a mirage of his late wife and memories of his home, and the suicide of a previous scientist casts its long shadow through the empty chrome corridors. All the life in this film is hanging in the balance, on the event horizon of a cataclysm of identity.
He can hold her, speak to her, and so he alone gives licence to her existence. Tarkovsky extends this idea to all our relationships, past and present, and asks us whether they really exist at all.
Death may have no dominion, but Solaris does. Sign Up: Stay on top of the latest breaking film and TV news! Sign up for our Email Newsletters here.
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